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The World Ends: Afro Rock & Psychedelia in 1970's Nigeria

4.7 out of 5 stars 3 customer reviews

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Audio CD, 12 Jul 2010
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Product details

  • Audio CD (12 July 2010)
  • Number of Discs: 2
  • Label: Soundway
  • ASIN: B003PCL0TK
  • Other Editions: Audio CD |  Vinyl
  • Average Customer Review: 4.7 out of 5 stars 3 customer reviews
  • Amazon Bestsellers Rank: 180,709 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
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Track Listings

Disc: 1

  1. The Ify Jerry Krusade - Nwantinti
  2. Die Die/ The Hygrades - The Hygrades
  3. The Hykkers - Deiyo Deiyo
  4. Wrinkars Experience - Soundway
  5. The Funkees - Breakthrough
  6. The Mebusas - Mr. Bull Dog (Original 45 Version)
  7. The Founders 15 - Don't Take Me For a Ride
  8. The Ceejebs - Eti Ufok
  9. Tony Grey Super 7 - Yem Efe
  10. The Identicals - Akwa Kayi Ji Bia Nuwa
  11. P.R.O. (People Rock Outfit) - Blacky Joe
  12. Cicada - Oli Nkwu
  13. The Lijadu Sisters - Life's Gone Down Low
  14. Eppio Fanio - Ikoko
  15. Bongos Ikwue - All Night Long

Disc: 2

  1. The Thermometers - Babalawo
  2. Colomach - Ottoto Shamoleda
  3. The Black Mirrors - The World Ends
  4. The Semi Colon - Isi Agboncha
  5. The Lawrence Amavi Group - Money That's What I Want
  6. The Hygrades - Somebody's Gotta Lose or Win
  7. Ofege - In Concert
  8. The Elcados - Chokoi & Oreje
  9. Sonny Okosuns & Paperback Limted - Ohomi
  10. Chuck Barrister and The Voices of Darkness - Be Kind, Be Foolish, Be Happy
  11. Tony Grey & The Magnificent Zeinians - Ugbo Ndoma
  12. Reme Izabo's Music Research - The Same Man
  13. The Action 13 - Active Action
  14. The Actions - Kpokposikposi
  15. The Strangers - Onye Ije
  16. The Comrades - Bullwalk
  17. Ofo the Black Company - Egwu Aja

Product description

Product Description

The World Ends showcases a wave of guitar driven and psychedelic groups that sprung up in Nigeria during the early 1970s. Featuring 32 electrifying and funk-laden grooves, this is the sound of a generation attempting to pick up the pieces after the devastation of the Nigerian civil war.

Spread over 2 CDs and 2 triple gatefold LPs, this bumper collection is brimming with youthful exuberance, fuzzed out guitar and cosmic organ vibes and owes much to the psychedelic sounds of Jim Morrison, Santana, Hendrix, Jefferson Airplane and James Brown.

As the summer of love was blossoming in London and San Francisco, Nigeria was imploding into civil war. Also known as the Biafra war of 1967, it was a grisly conflict taking over three million lives yet at the same time the country was being pulled apart there was a new world beginning.

The tracks featured represent a forgotten chapter in Nigeria’s musical history when the youth threw their varied morsels into the pot from hard rock to psychedelic soul when guitars were cherished instruments, symbolic of a new movement, when highlife and Afrobeat played second fiddle to ‘the beat’.


BBC Review

While it's pretty indisputable that Britain and the USA were, during the 1960s, the global leaders of rock music, there were countless nations across the world reacting to these innovations and mutations, often with terrific results. Nigeria, ravaged by civil war in the late 60s, was nevertheless a particularly glowing example of this as the next decade unfurled. While highlife–the jittery, up-tempo West African genre–had long been the dominant Nigerian music style, the influx of rock and funk from the West took root, and resulted in the hybrid fashioned on this two-CD compilation's 32 songs.

Although it might at least in part be attributable to rough, sometimes imprecise recording techniques, there's a genuinely thrilling rawness to numbers like Deiyo Deiyo by The Hykkers, who appear to be channelling the earthiest psychedelia on offer at the time. Other examples of this compilation's more psychedelic leanings are less abrasive–The Black Mirrors' The World Ends, from which the album takes its title, is perhaps helped (to Western ears) by an English-language (and English-sounding) vocal as well as some catchy, Doors-y organ. More prominent still is the influence of James Brown and his primary characteristics–the urgent, repeated commands and catchphrases on the mic; the elasticated groove heaven laid down by the musicians. Not that the Nigerian pioneers were slavish imitators–something like The Mebusas' Mr Bull Dog bears the hallmarks of the Godfather of Soul, but filtered through a grounding in highlife.

Recent years have seen a marked upswing in the unearthing and repackaging of old African records. It's something to be grateful for–while some of these cuts were smash hits back at home, most of us are unlikely to stumble upon copies today. There is, one supposes, a danger of overly fetishising the 'otherness' of African rock and funk combos, who after all just wanted to make a thrilling racket like any other aspiring band (and, in some cases here, entertain the Nigerian army, who sponsored their activity). The thrillingness of their racket transcends borders and continents, however, and provides a choice introduction to a world of rock and funk hidden to many.

--Noel Gardner

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on 20 August 2010
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