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Nigeria 70 - Lagos Jump

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Nigeria 70 - Lagos Jump
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A melodic tour of Lagos in the ’70s that doesn’t stint on rhythm

  • We Say...

    Whatever else you call 2008, you can add “the year of the Nigerian reissue compilation.” With a trio of goodies in Soundway’s Nigeria Special series, and now this collection on Strut, there’s never been a better time to live in the past a little and survey the amazingly rich terrain of Nigeria in the 1970s.

    The primary differences between Nigeria 70 and the Soundway albums is that this one emphasizes tunes and skews more toward highlife than the rock-era styles the Specials highlight. Which isn’t to say that Nigeria 70 stints on rhythm by any means — or that it makes no concessions to US/UK styles, as the straight-up disco-funk of Peter King’s “African Dialects” and the British Invasion soul of the Immortals’ “Hot Tears” prove. But there’s something refreshingly basic about the propulsion of these cuts in aggregate; something like Eric (Showboy) Akaeze & His Royal Ericos’ “Wetin De Watch Goat, Goat Dey Watcham” just builds and builds without letup for ten solid minutes, and most of the shorter cuts (in the three-to-six-minute range) are more immediate. Olufemi Ajasa & His New Nigerian Bros’ “Aiye Le” propels on a Bo Diddley-ish rhythm, modestly intricate vocal back-and-forth and an arresting, astringent little guitar line, while Rex Williams’s stone simple “You Are My Heart” is like lemonade on a sunny day.

  • They Say...

    The 2001 three-CD compilation Nigeria 70 was revelatory in that it introduced Westerners to the reality of post-independence Nigeria: that there was plenty of other music -- music of great variety -- to be found in the country besides that of Fela Kuti and King Sunny Ade (although they too were included in the set). Nigeria 70: Lagos Jump takes it to the next step by digging deep and coming up with 16 obscure tracks that, like its predecessor, run the gamut stylistically. Ify Jerry Krusade's "Everybody Likes Something Good" is quasi-psychedelic, organ-dominated funk; Chief Checker's " Ire Africa" is deep roots reggae to rival anything emerging from Jamaica at the time; and Peacocks Guitar Band, on their "Eddie Quansa," turn to Latin rhythms for inspiration. Everything from hard soul to classic rock to jazz and, of course, the numerous indigenous Nigerian forms of juju, highlife, and palmwine shows up in this richly rewarding, historically vital collection of rarities.

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