The Nigerian gospel music is as old as the Nigerian Church. As the normal Church services are conducted and laced with different spiritual songs, popular Christian festivals such as Christmas and Easter, and Church programmes like crusades, revivals, dedications, thanksgiving and Harvests (in some orthodox Churches) are celebrated with a special service of songs performed by the choir.
However, with the advent of the electronic age and borrowing from the western gospel singers like the Black Wood Brothers, the Speer Family, the Staple Singers, Jim Reeves and Al-Green, many of whom are American musicians that have succeeded through the vinyl in taking gospel music out of the confines of their Churches to the wider embrace of the public, Nigerian Churches through their choirs began to wax gospel records.
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One of the first Churches to bring gospel songs to the public in Nigeria is perhaps the Evangelical Church of West Africa (ECWA) based on Igbaja, Kwara State. The Church headquartered in Monrovia, Liberia became popular through its religious broadcast on a private radio channel, Radio ELWA from the 50s to the early late 1980s. Most of the songs played on the radio were those produced by the various ECWA Churches in the Kwara environ.
Of note among the ECWA Churches was the ECWA Choir, The Singing Bird of Jesus, popularly known as Takete Voice based in Takete Isao, Kwara State, led by M.A. Balogun (now late). This group more than any other ECWA choir is recognised as the pioneer gospeller on radio. Another was the ECWA Choir in WokoWomu area of Kwara State with their popular song Furugbin Igbagbo.
The popularity of Radio ELWA spurred by its broadcast of the sermon and songs in English, Yoruba, Hausa and Igbo language must have influenced other Churches into thinking of doing same. Between 1967 and 1970, when the Nigerian Civil War lasted, flurry of activities took place in the gospel scene, but little were the records kept of them. Sources however said that in 1967, the St. Peters & Paul Catholic Church, Ibadan, Oyo State debuted on the gospel music scene with a single entitled Motikole Mi Sori Apata released on Decca label.
The Church musical group called the "Yoruba Liturgical Development Group" founded in 1966 and led by Reverend Father (Dr) Thomas Ilesanmi followed up its debut with four other singles entitled Mo Ti Gba Kristi Loba, Bo Sinu Ayo Re, Ore Wa Ba Mi Dupe and Baba Mimo Wa Gbo Temi all released between 1967 and 1969. By these acts, Rev. Ilesanmi was said to have emerged the first to introduce songs in Yoruba into the rather conservative Catholic Church and perhaps the first to wax gospel records in Yoruba.
Following the heels of Rev. Ilesanmi were other trailblazers like Prince S. O. Adeosun and Evangelist S. O. Akinpelu. Adeosun was the choir leader of the Christ Apostolic Church (CAC), Alago-Meji Yaba Lagos while Akinpelu led the choir of same Church in Oke-Ayo, Ibadan. It is not clear when exactly both of the released their albums but it was thought to be around 1971.
Macaulay Balogun (Takete)
S. A. Akinpelu
Samuel Adeoshun (CAC Alagomeji, Yaba Lagos.
| * Pioneer gospel musicians...then and now |
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Akinpelu with an extended album entitled Teje Re Ni Koro while Adeosun debuted with Tete baba Ko gbo temi. Teje re Ni Koro which became an instant hits, was re-issued by popular demand in 1974 and also in 1985. Since his debut, Akinpelu has released about 30 albums. See Akinpelu and Adeosun for details.
By the late 70s and the 80s the number of gospel groups in Nigeria had increased astronomically with virtually all the Churches having their own groups. The gospel music scene, however, became revolutionized with the emergence of musician like Pastor Bisi Adeoye-King followed closely by singers like Evangelist Dr. Bola Are, Evangelist Sola Rotimi and the CAC Good Women Choir led by Mrs. D. A. Fasoyin and the splinter group led by Mrs. F. A. Obisakin.
"The beginning of the revolution of gospel music cannot be much separated from us," Pastor Adeoye-King declared, " When I started, the revolution started." According to the musician, though gospel music has being in existence ever before he came on the scene, it was not well known because very few people patronized it.We had the privilege of playing on the radio then known as the Revival Musical Group. But God put it in my mind to charge the name of the group in 1972 by which we called it African Singing Philosophers" he said.
Pastor Adeoye - King who in 1976 released his debut album, Oluwa Semi L'ogo/Mo ni Baba Kan said his journey to the recording studio was rough and tough. "I did not know how to go about releasing album. I went to S. O. Akinpelu for advice. He tried his best to explain to me. I was at DECCA, they did not give me audience. In fact, they shunned me. At EMI, they told me to bring demo (cassette) but there was no reply from them until six months later. They refused me because they thought they would not make any gain from gospel music," he reminisced.
Emphasizing that the record companies did nothing to encourage gospel musicians, the pastor who has about 40 albums in the kitty said that they trudged on in the belief that they were working for God. "We always believed what they told us we did not feel it much because we thought we are doing it for God. We only persisted that the message has to be delivered," the musician said.
The disco fever of the mid-80s tremendously altered the course of Nigerian gospel music. Bored with conventional gospel music that is devoid of entertainment and does nothing more than proselytise, the Christian youths began to clamour for a gospel music that is capable of catering for their modern tastes.
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| A gospel music that contains all the ingredients of pop/disco yet retaining its spiritual message. Believing that the old generation of gospel singers could not adequately cater for their tastes, the youths put their fates in their hands either as a group or a soloist headed for the studios and came out with something different - a discofied, funky gospel rhythm.
Carol Bridi, a soloist probably emerged the first Nigerian to funkify gospel music with her 1984 top hitter entitled One Big Family. Borrowing lyrically from the disco vibes and sounding like those black American pop singers like Diana Ross, Whitney Houston, Bridi sings about love like in pop music.
"I'am just trying to portray love", she said several years ago. "It's not that I can't sing pop. I just wanted to do something different. I want to sing something from my heart to the glory of God."
Since Bridi, a crop of gospel singers have followed the funky path.They include Panama Percy Paul whose album, Bring Down the Glory remains an evergreen in the funky gospel music category, Mike Tetegi, Patty Obassey, Harry Jackson, Ori Okoroh, Funmi Aragbaye Dupe Olulana, Gbemi Olaleye, Anselm Ahman, Bode Ogundimu, Demos Deniran (late), Remi
Olabanji, Prophet Cos Nwoye, Lorine Okotie the Gladd Tiddings, the Karis, Earnest Ukaeji's UCH Chapel choir, Prof. Sonny Oti (late), Brothers Okeke & Elias. Eugene Mbaebe, Japhet Igwe, Fred Adoo, Brothers Obi & Vincent, Pius Achonit, Kingsley Ogunde, Tokunbo Kilani, Rev. White Goodness Ude, Emma Asiegbu, Kingsley Ike, and Pastor Kunle Ajayi.
Others are Chika Okpalla, Joe Briel, Rev. Mrs. Evelyn Nwane, Tony Onyejekwe, Ken Udubusi, Lawrence Olaiya, Echendu Nweze, Brothers Israel and Reginals, Brother Okwey, Bob Amekeme, Faith Nwamo, Chuks Ofejebe, Obi Igwe, Rennie Cotton Heart, Godwin Shagaya, Sister Kenny Ogungbe, Pastor Faith Praise, Broda Martins, Timi Oshukoya, Goodnews Washington Maduike, Toun Soetan and Stella Nadis.
Gospel Fuji, Gospel Waka, Gospel Reggae, etc |
If the coming of disco had altered the face of Nigerian gospel music, the rise of indigenous musical idioms like Afrobeat, reggae, Fuji and Waka has also impacted positively on it. In spite of the fact that Fuji and Waka music originated from the Islamic religion, they have attracted a number of gospel musicians.
Pastor Matthew Dairo, Sister Sarah Kokumo, Sister Ibidun Anifowose, Sister Yemisi Olaleke and Sister Foluke Awoleye have all injected a touch of Fuji and Waka into their gospel music. However, the most popular today include Bukky Bolarinwa known as Senwele Jesus, with her gospel Waka, Dekunle Oloyede (Dekunle Fuji) with his Gospel Fuji, and another upcoming Fuji Gospel artistes, Adedoyin Adeotun (Okiki Jesu). Also, Broda Martins (real name Martyns Akarutu-Balogun of Mushin Olosa fame injected a dose of reggae and Afrobeat with his 1991 album Battle Axe.
Unlike Sisters Sarah Kokumo and Ibidun Anifowose former Muslims and Waka musicians who on becoming Christian decided to win more souls for Christ with gospel Waka, Sister Foluke Awoleye's foray into gospel Fuji music was nothing but divine.
According to Sister Awoleye her call to sing Gospel Fuji came in 1990 at a revival in Akure, Ondo State. "One night, a man appeared to me in a trance. He told me that henceforth I would be singing gospel Fuji," she narrated "To me this sounded quite funny since I was never in love with Fuji music.
But the man appeared to me three times that same night repeating the same message. I therefore prayed about it, told other men of God, who also confirmed the same thing. I then went into a session of three days fasting and prayer. At the end of the day, I got the inspiration for all the tracks in my first album". Since then, Sister Awoleye and others like her have waxed several gospel Fuji and Waka albums.
However, it must be said that the gospel acts need a better grasp of the purpose, innards and dynamism of praise. Better discernment and anointing should be prayed for so as to separate entertainment from worship/ministrations. Some of the ultra-modernists who are experimenting with gospel paraphernalia need to work harder to dish out new and original songs that are laced with prophetic and apostolic exhortations. Only through this can we "breakdance" into breakthrough.
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Secular to Gospel Musicians |
Although, it is a familiar trend in Europe and America for pop musicians who have attained the apogee of fame and fortune to suddenly change from their 'sinful ways' which means jettisoning all the fun, the frolicking, the womanising, the drug and all sort of 'vices' that make the showbiz world bubble, and embrace a new life in Christ, here in Nigeria the trend is as new as the break of day.
Following the path of popsters like Al Green, Jim Reeves and Donna Summer who quit the pop music scene and decided to sing for the Lord, several Nigerian artistes have dropped secular music to become born again musicians.
Juju music maestro, Chief Commander Ebenezer Obey reputed for his soulful religious tunes folded up his juju band immediately after his 50th birthday in 1992 and went into full time gospel music ministry. Obey who confessed of giving his life to Christ several years ago released his first gospel album, Good News in 1993.
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Like Obey, popular reggae musician Sonny Okosuns is another instrument God is using to spread the word. Though his sudden change few years ago had set tongues wagging, Okosuns whose debut gospel album, Song of Praise became an instant hit attributed his change to a divine call.
Today, Okosuns continues to wax stronger as a born again Christian to the extent of building a Church for the Lord. Other born again musicians making waves in the gospel music circuit include Onyeka Onwenu, Kris Okotie, Jide Obi, Skid Ikemefuna, Esse Ogoro, Stella Yama, Dizzy K. Falola, Julie Pip, Tony Grey Ozimba and Naomi Owobowale.
But then, not a few believe that the latter day gospel musicians are fakes who are only out to make money for themselves. Dr. (Mrs) Joy Lo' Bamijoko, a music lecturer at the University of Lagos (Unilag) opined that most of those latter day gospel artistes have turned to gospel music because it is now the fad.
"When it was reggae's turn, they went into it. Recording companies determine what the musicians produce and this is according to what is reigning. Now, the fad is gospel. These gospel musicians are not preaching. They are only making the music that will fetch them money," Banjoko said.
Rev. Sola Rotimi, president of Gospel Musicians Association of Nigeria (GOMAN) would, however, not support Bamijoko. The musician sees the recent development as a boost for the music industry. "We can see that many secular musicians are changing over to gospel music. It is a good thing because it encourages people to move closer to God. All of us need to embrace gospel music so as to bring succour into our lives." Rev. Rotimi stated.
© Tosin Ajirire. Additional reports by Bola Adewara.
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