CONCERT
musicians seldom compromise their music for other idioms – perhaps as a
mark of professional pride. But on the Nigerian scene, some
adventurously versatile classicists such as Prof. Akin Euba, Funmi Adams
and Martha Ulaeto have been known to make successful incursions into
the popular music realm with remarkable recorded works. Of this trio,
Ulaeto recorded three albums in a progressively logical order, a fact
that speaks volumes for her deep sense of commitment, and yet she is the
least recognised.
As a testimony to her varied talent, she
recorded her debut album in 1981. Titled Love me now, the bulk of the
work was done in London – with Ghana’s George Lee making tremendous
input in terms of production and instrumentalisation. George it was who
helped to situate Ulaeto on the scene in terms of eliminating her vocal
nuances and idosycracies, which were deeply soaked in the concert style.
The
album had a few up tempos which tended to take her away from the
romantic flourish of concert music, a technique which propelled her to
swing the music. But George’s saxophone was there throughout the singing
to boost her voice and lace it with the straight, pop sound of the
saxophone, especially as George has a wonderful tone.
He was the
leader of the Ghana Messengers, one of the early highlife bands to
exhibit signs of progressiveness. Doubling on tenor and alto saxophones,
George was one of the early soloists to introduce the jazz progression
to highlife. And he had made some remarkable impact both on the Ghanaian
and Nigerian scenes way back in 1959 before he travelled to England
where, over the years, he was involved in numerous productions and
mind-blowing saxophone sessions. George later moved to South Africa
where he died a couple of years ago.
Inspired by the instant
success of Love me now Martha came up with Everlasting in 1982 followed
by Christmas Africana in 1985. Apart from Christmas Africana, which had a
definite message of Christmas, Martha’s lyrical theme was essentially
inspired by love – as evidenced by Love me now, the very first album and
Everlasting.
The second album did not come on strong
rhythmically like the first; it therefore lost something in terms of
commercial appeal. But this, and the third, experienced progressive
improvement in the area of singing. The concert element was gradually
disappearing and gave place to the straight, conventional popular
musical approach.
However, the albums all have their different
qualities. While Love me now has better commercial appeal, with
Christmas Africana crafted in the spirit of Christmas, Everlasting is a
rich variety of music from various tribes of Nigeria including folklores
from Akwa Ibom, a love theme in English. The album is entirely loaded
with powerful lyrics.
“My everlasting love, that’s what you are
that’s what you are,” says the opening lines of this title song, which
portrays the writer and performer as a woman deeply in love at the time.
Progressing further, the lyrical lines say, “the very first time I saw
your face, I knew you were the one for me.”
The second tune,
which is written in Igbo, is titled Ije Lovu, a song about a woman’s
love for her man. She gives him so much but he takes it all for granted.
Obuzikwo Lovu – can this be love? She asks.
The third item,
another love song, begins like this. “Sometimes I reminisce and wonder
why it’s so easy to forget to love.” Titled Love is best, the song
appeals to people who do everything but love, to take a little time off
those mighty schemes and projects, to give and share a little love.
Forcados
you yemo is in Ijaw and it means, ‘Forcados I’m crying’. In this song, a
young girl is in tears as she calls on the people of her native
Forcados to come to her aid. She has been forced to abandon her young
lover to marry an older, wealthy man, a sugar daddy, with whom she can
find no happiness.
Side two opens with another of Martha Ulaeto
composition also anchored on love. The song begins by saying, “Take my
hand and let me be the one to show you just how great love can be.”
Adura mi meaning ‘my prayer’ was written jointly by Martha and Taiwo Ogunade, a renowned musician.
Ndito
Isong emana nyi which means ‘children of our land’ is a folklore in
Efik. Exhorting the children, the song says that they can “excel and
shine like the sun to all parts of the world.” It goes further to appeal
to all to love and live in peace so that we can build our homes for the
children of our land.”
‘Abasi ulok ulok’, a folk song concludes
the session with lyrics and music by singer, composer, song-writer
Martha Ulaeto. According to her, the song is sung in her native dialect
of Ibeno and the people fondly refer to it as Ibeno Anthem. Says she:
“There is hardly a happy (or sad) gathering of Ibeno people without the
rendering of this song. In it, they call on the god of their forefathers
(Abes Ulok) to be with them, give them happiness and see to their every
need.”
Everlasting is essentially predicated on love, a virtue,
which the world needs today to live at peace with one another. And
because all the songs stand out as distinct melodies; it is also a
demonstration of Martha’s inventiveness in terms of structuring
melodies. And of course the entire session has marked her out as a
prolific lyricist.
Everlasting was recorded in London at Pye and
Gerrard studios and mastered at Gerrard studios – in 1982. It was
produced jointly by Mike Abiola Philips and Martha Ulaeto herself – with
several musicians of note as session men.
Martha’s musical
inclination was stimulated by her step-mother who was an organist and
pianist in those early days. And as a school girl, she was cast in
leading solo parts at the Cornelia Connelly College, Uyo. She joined the
Nigerian Broadcasting Corporation as an announcer in the early 70s, but
her passion for the music profession did not allow her to pursue a
career in broadcasting. Consequently, she found time to do solo parts in
Dr. Sam Akpabio’s Operatta Cynthia’s Lament in 1971 and Adam
Fiberessima’s Magnum Opus, Opu Jaja in 1973.
Working with these
two famous Nigerian composers could not but attract public attention to
her talents and so she proceeded to the National Conservatory in Athens
under a Greek Government Scholarship for advanced musical studies. After
her graduation there in 1977, she studied in London under two
distinguished teachers, Constance Shacklock and Victoria Ellior. She has
performed in many international concerts, prominent among them, the
1985 Africa Rise.
Martha has since stopped recording after her
third album, Christmas Africana in 1985. But the three albums she has to
her credit constitute enough legacy, especially in terms of
contemporary African music. Essentially a concern-oriented musician with
a smooth voice, her three albums in the other musical idioms constitute
an eloquent testimony to her varied talent.
This adventurous
spirit earned her a Solidra Award in Lagos in 1985. Her example should
serve to inspire some of the musicologists in our universities who are
burying their talents in the debris of seeming academic pursuits. Until
they come out like Martha and group, entertainment watchers would
continue to see them as being limited in the musical horizon and
lethargic in activity.
Their venturing out can only help to revive Nigeria’s sinking music industry.
- See more at: http://zumalist.com/everlasting-sound-of-martha-ulaeto_n6122.html#sthash.lFiIJZuY.dpuf
CONCERT
musicians seldom compromise their music for other idioms – perhaps as a
mark of professional pride. But on the Nigerian scene, some
adventurously versatile classicists such as Prof. Akin Euba, Funmi Adams
and Martha Ulaeto have been known to make successful incursions into
the popular music realm with remarkable recorded works. Of this trio,
Ulaeto recorded three albums in a progressively logical order, a fact
that speaks volumes for her deep sense of commitment, and yet she is the
least recognised.
As a testimony to her varied talent, she
recorded her debut album in 1981. Titled Love me now, the bulk of the
work was done in London – with Ghana’s George Lee making tremendous
input in terms of production and instrumentalisation. George it was who
helped to situate Ulaeto on the scene in terms of eliminating her vocal
nuances and idosycracies, which were deeply soaked in the concert style.
The
album had a few up tempos which tended to take her away from the
romantic flourish of concert music, a technique which propelled her to
swing the music. But George’s saxophone was there throughout the singing
to boost her voice and lace it with the straight, pop sound of the
saxophone, especially as George has a wonderful tone.
He was the
leader of the Ghana Messengers, one of the early highlife bands to
exhibit signs of progressiveness. Doubling on tenor and alto saxophones,
George was one of the early soloists to introduce the jazz progression
to highlife. And he had made some remarkable impact both on the Ghanaian
and Nigerian scenes way back in 1959 before he travelled to England
where, over the years, he was involved in numerous productions and
mind-blowing saxophone sessions. George later moved to South Africa
where he died a couple of years ago.
Inspired by the instant
success of Love me now Martha came up with Everlasting in 1982 followed
by Christmas Africana in 1985. Apart from Christmas Africana, which had a
definite message of Christmas, Martha’s lyrical theme was essentially
inspired by love – as evidenced by Love me now, the very first album and
Everlasting.
The second album did not come on strong
rhythmically like the first; it therefore lost something in terms of
commercial appeal. But this, and the third, experienced progressive
improvement in the area of singing. The concert element was gradually
disappearing and gave place to the straight, conventional popular
musical approach.
However, the albums all have their different
qualities. While Love me now has better commercial appeal, with
Christmas Africana crafted in the spirit of Christmas, Everlasting is a
rich variety of music from various tribes of Nigeria including folklores
from Akwa Ibom, a love theme in English. The album is entirely loaded
with powerful lyrics.
“My everlasting love, that’s what you are
that’s what you are,” says the opening lines of this title song, which
portrays the writer and performer as a woman deeply in love at the time.
Progressing further, the lyrical lines say, “the very first time I saw
your face, I knew you were the one for me.”
The second tune,
which is written in Igbo, is titled Ije Lovu, a song about a woman’s
love for her man. She gives him so much but he takes it all for granted.
Obuzikwo Lovu – can this be love? She asks.
The third item,
another love song, begins like this. “Sometimes I reminisce and wonder
why it’s so easy to forget to love.” Titled Love is best, the song
appeals to people who do everything but love, to take a little time off
those mighty schemes and projects, to give and share a little love.
Forcados
you yemo is in Ijaw and it means, ‘Forcados I’m crying’. In this song, a
young girl is in tears as she calls on the people of her native
Forcados to come to her aid. She has been forced to abandon her young
lover to marry an older, wealthy man, a sugar daddy, with whom she can
find no happiness.
Side two opens with another of Martha Ulaeto
composition also anchored on love. The song begins by saying, “Take my
hand and let me be the one to show you just how great love can be.”
Adura mi meaning ‘my prayer’ was written jointly by Martha and Taiwo Ogunade, a renowned musician.
Ndito
Isong emana nyi which means ‘children of our land’ is a folklore in
Efik. Exhorting the children, the song says that they can “excel and
shine like the sun to all parts of the world.” It goes further to appeal
to all to love and live in peace so that we can build our homes for the
children of our land.”
‘Abasi ulok ulok’, a folk song concludes
the session with lyrics and music by singer, composer, song-writer
Martha Ulaeto. According to her, the song is sung in her native dialect
of Ibeno and the people fondly refer to it as Ibeno Anthem. Says she:
“There is hardly a happy (or sad) gathering of Ibeno people without the
rendering of this song. In it, they call on the god of their forefathers
(Abes Ulok) to be with them, give them happiness and see to their every
need.”
Everlasting is essentially predicated on love, a virtue,
which the world needs today to live at peace with one another. And
because all the songs stand out as distinct melodies; it is also a
demonstration of Martha’s inventiveness in terms of structuring
melodies. And of course the entire session has marked her out as a
prolific lyricist.
Everlasting was recorded in London at Pye and
Gerrard studios and mastered at Gerrard studios – in 1982. It was
produced jointly by Mike Abiola Philips and Martha Ulaeto herself – with
several musicians of note as session men.
Martha’s musical
inclination was stimulated by her step-mother who was an organist and
pianist in those early days. And as a school girl, she was cast in
leading solo parts at the Cornelia Connelly College, Uyo. She joined the
Nigerian Broadcasting Corporation as an announcer in the early 70s, but
her passion for the music profession did not allow her to pursue a
career in broadcasting. Consequently, she found time to do solo parts in
Dr. Sam Akpabio’s Operatta Cynthia’s Lament in 1971 and Adam
Fiberessima’s Magnum Opus, Opu Jaja in 1973.
Working with these
two famous Nigerian composers could not but attract public attention to
her talents and so she proceeded to the National Conservatory in Athens
under a Greek Government Scholarship for advanced musical studies. After
her graduation there in 1977, she studied in London under two
distinguished teachers, Constance Shacklock and Victoria Ellior. She has
performed in many international concerts, prominent among them, the
1985 Africa Rise.
Martha has since stopped recording after her
third album, Christmas Africana in 1985. But the three albums she has to
her credit constitute enough legacy, especially in terms of
contemporary African music. Essentially a concern-oriented musician with
a smooth voice, her three albums in the other musical idioms constitute
an eloquent testimony to her varied talent.
This adventurous
spirit earned her a Solidra Award in Lagos in 1985. Her example should
serve to inspire some of the musicologists in our universities who are
burying their talents in the debris of seeming academic pursuits. Until
they come out like Martha and group, entertainment watchers would
continue to see them as being limited in the musical horizon and
lethargic in activity.
Their venturing out can only help to revive Nigeria’s sinking music industry.
- See more at: http://zumalist.com/everlasting-sound-of-martha-ulaeto_n6122.html#sthash.lFiIJZuY.dpuf
CONCERT
musicians seldom compromise their music for other idioms – perhaps as a
mark of professional pride. But on the Nigerian scene, some
adventurously versatile classicists such as Prof. Akin Euba, Funmi Adams
and Martha Ulaeto have been known to make successful incursions into
the popular music realm with remarkable recorded works. Of this trio,
Ulaeto recorded three albums in a progressively logical order, a fact
that speaks volumes for her deep sense of commitment, and yet she is the
least recognised.
As a testimony to her varied talent, she
recorded her debut album in 1981. Titled Love me now, the bulk of the
work was done in London – with Ghana’s George Lee making tremendous
input in terms of production and instrumentalisation. George it was who
helped to situate Ulaeto on the scene in terms of eliminating her vocal
nuances and idosycracies, which were deeply soaked in the concert style.
The
album had a few up tempos which tended to take her away from the
romantic flourish of concert music, a technique which propelled her to
swing the music. But George’s saxophone was there throughout the singing
to boost her voice and lace it with the straight, pop sound of the
saxophone, especially as George has a wonderful tone.
He was the
leader of the Ghana Messengers, one of the early highlife bands to
exhibit signs of progressiveness. Doubling on tenor and alto saxophones,
George was one of the early soloists to introduce the jazz progression
to highlife. And he had made some remarkable impact both on the Ghanaian
and Nigerian scenes way back in 1959 before he travelled to England
where, over the years, he was involved in numerous productions and
mind-blowing saxophone sessions. George later moved to South Africa
where he died a couple of years ago.
Inspired by the instant
success of Love me now Martha came up with Everlasting in 1982 followed
by Christmas Africana in 1985. Apart from Christmas Africana, which had a
definite message of Christmas, Martha’s lyrical theme was essentially
inspired by love – as evidenced by Love me now, the very first album and
Everlasting.
The second album did not come on strong
rhythmically like the first; it therefore lost something in terms of
commercial appeal. But this, and the third, experienced progressive
improvement in the area of singing. The concert element was gradually
disappearing and gave place to the straight, conventional popular
musical approach.
However, the albums all have their different
qualities. While Love me now has better commercial appeal, with
Christmas Africana crafted in the spirit of Christmas, Everlasting is a
rich variety of music from various tribes of Nigeria including folklores
from Akwa Ibom, a love theme in English. The album is entirely loaded
with powerful lyrics.
“My everlasting love, that’s what you are
that’s what you are,” says the opening lines of this title song, which
portrays the writer and performer as a woman deeply in love at the time.
Progressing further, the lyrical lines say, “the very first time I saw
your face, I knew you were the one for me.”
The second tune,
which is written in Igbo, is titled Ije Lovu, a song about a woman’s
love for her man. She gives him so much but he takes it all for granted.
Obuzikwo Lovu – can this be love? She asks.
The third item,
another love song, begins like this. “Sometimes I reminisce and wonder
why it’s so easy to forget to love.” Titled Love is best, the song
appeals to people who do everything but love, to take a little time off
those mighty schemes and projects, to give and share a little love.
Forcados
you yemo is in Ijaw and it means, ‘Forcados I’m crying’. In this song, a
young girl is in tears as she calls on the people of her native
Forcados to come to her aid. She has been forced to abandon her young
lover to marry an older, wealthy man, a sugar daddy, with whom she can
find no happiness.
Side two opens with another of Martha Ulaeto
composition also anchored on love. The song begins by saying, “Take my
hand and let me be the one to show you just how great love can be.”
Adura mi meaning ‘my prayer’ was written jointly by Martha and Taiwo Ogunade, a renowned musician.
Ndito
Isong emana nyi which means ‘children of our land’ is a folklore in
Efik. Exhorting the children, the song says that they can “excel and
shine like the sun to all parts of the world.” It goes further to appeal
to all to love and live in peace so that we can build our homes for the
children of our land.”
‘Abasi ulok ulok’, a folk song concludes
the session with lyrics and music by singer, composer, song-writer
Martha Ulaeto. According to her, the song is sung in her native dialect
of Ibeno and the people fondly refer to it as Ibeno Anthem. Says she:
“There is hardly a happy (or sad) gathering of Ibeno people without the
rendering of this song. In it, they call on the god of their forefathers
(Abes Ulok) to be with them, give them happiness and see to their every
need.”
Everlasting is essentially predicated on love, a virtue,
which the world needs today to live at peace with one another. And
because all the songs stand out as distinct melodies; it is also a
demonstration of Martha’s inventiveness in terms of structuring
melodies. And of course the entire session has marked her out as a
prolific lyricist.
Everlasting was recorded in London at Pye and
Gerrard studios and mastered at Gerrard studios – in 1982. It was
produced jointly by Mike Abiola Philips and Martha Ulaeto herself – with
several musicians of note as session men.
Martha’s musical
inclination was stimulated by her step-mother who was an organist and
pianist in those early days. And as a school girl, she was cast in
leading solo parts at the Cornelia Connelly College, Uyo. She joined the
Nigerian Broadcasting Corporation as an announcer in the early 70s, but
her passion for the music profession did not allow her to pursue a
career in broadcasting. Consequently, she found time to do solo parts in
Dr. Sam Akpabio’s Operatta Cynthia’s Lament in 1971 and Adam
Fiberessima’s Magnum Opus, Opu Jaja in 1973.
Working with these
two famous Nigerian composers could not but attract public attention to
her talents and so she proceeded to the National Conservatory in Athens
under a Greek Government Scholarship for advanced musical studies. After
her graduation there in 1977, she studied in London under two
distinguished teachers, Constance Shacklock and Victoria Ellior. She has
performed in many international concerts, prominent among them, the
1985 Africa Rise.
Martha has since stopped recording after her
third album, Christmas Africana in 1985. But the three albums she has to
her credit constitute enough legacy, especially in terms of
contemporary African music. Essentially a concern-oriented musician with
a smooth voice, her three albums in the other musical idioms constitute
an eloquent testimony to her varied talent.
This adventurous
spirit earned her a Solidra Award in Lagos in 1985. Her example should
serve to inspire some of the musicologists in our universities who are
burying their talents in the debris of seeming academic pursuits. Until
they come out like Martha and group, entertainment watchers would
continue to see them as being limited in the musical horizon and
lethargic in activity.
Their venturing out can only help to revive Nigeria’s sinking music industry.
- See more at: http://zumalist.com/everlasting-sound-of-martha-ulaeto_n6122.html#sthash.lFiIJZuY.dpuf
CONCERT musicians seldom
compromise their music for other idioms – perhaps as a mark of professional
pride. But on the Nigerian scene, some adventurously versatile classicists such
as Prof. Akin Euba, Funmi Adams and Martha Ulaeto have been known to make successful
incursions into the popular music realm with remarkable recorded works. Of this
trio, Ulaeto recorded three albums in a progressively logical order, a fact
that speaks volumes for her deep sense of commitment, and yet she is the least
recognised.
As a testimony to her
varied talent, she recorded her debut album in 1981. Titled Love me now,
the bulk of the work was done in London – with Ghana’s George Lee making
tremendous input in terms of production and instrumentalisation. George it was
who helped to situate Ulaeto on the scene in terms of eliminating her vocal
nuances and idosycracies, which were deeply soaked in the concert style.
The album had a few up tempos which tended to take her away from the
romantic flourish of concert music, a technique which propelled her to swing
the music. But George’s saxophone was there throughout the singing to boost her
voice and lace it with the straight, pop sound of the saxophone, especially as
George has a wonderful tone.
He was the leader of the Ghana Messengers, one of the early highlife bands
to exhibit signs of progressiveness. Doubling on tenor and alto saxophones,
George was one of the early soloists to introduce the jazz progression to
highlife. And he had made some remarkable impact both on the Ghanaian and
Nigerian scenes way back in 1959 before he travelled to England where, over the
years, he was involved in numerous productions and mind-blowing saxophone
sessions. George later moved to South Africa where he died a couple of years
ago.
Inspired by the instant success of Love me now Martha came up with
Everlasting in 1982 followed by Christmas Africana in 1985. Apart from
Christmas Africana, which had a definite message of Christmas, Martha’s lyrical
theme was essentially inspired by love – as evidenced by Love me now, the very
first album and Everlasting.
The second album did not come on strong rhythmically like the first; it
therefore lost something in terms of commercial appeal. But this, and the
third, experienced progressive improvement in the area of singing. The concert
element was gradually disappearing and gave place to the straight, conventional
popular musical approach.
However, the albums all have their different qualities. While Love me now
has better commercial appeal, with Christmas Africana crafted in the spirit of
Christmas, Everlasting is a rich variety of music from various tribes of
Nigeria including folklores from Akwa Ibom, a love theme in English. The album
is entirely loaded with powerful lyrics.
“My everlasting love, that’s what you are that’s what you are,” says the
opening lines of this title song, which portrays the writer and performer as a
woman deeply in love at the time. Progressing further, the lyrical lines say,
“the very first time I saw your face, I knew you were the one for me.”
The second tune, which is written in Igbo, is titled Ije Lovu, a song about
a woman’s love for her man. She gives him so much but he takes it all for
granted. Obuzikwo Lovu – can this be love? She asks.
The third item, another love song, begins like this. “Sometimes I reminisce
and wonder why it’s so easy to forget to love.” Titled Love is best, the song
appeals to people who do everything but love, to take a little time off those
mighty schemes and projects, to give and share a little love.
Forcados you yemo is in Ijaw and it means, ‘Forcados I’m crying’. In this
song, a young girl is in tears as she calls on the people of her native
Forcados to come to her aid. She has been forced to abandon her young lover to
marry an older, wealthy man, a sugar daddy, with whom she can find no
happiness.
Side two opens with another of Martha Ulaeto composition also anchored on
love. The song begins by saying, “Take my hand and let me be the one to show
you just how great love can be.”
Adura mi meaning ‘my prayer’ was written jointly by Martha and Taiwo
Ogunade, a renowned musician.
Ndito Isong emana nyi which means ‘children of our land’ is a folklore in
Efik. Exhorting the children, the song says that they can “excel and shine like
the sun to all parts of the world.” It goes further to appeal to all to love
and live in peace so that we can build our homes for the children of our land.”
‘Abasi ulok ulok’, a folk song concludes the session with lyrics and music
by singer, composer, song-writer Martha Ulaeto. According to her, the song is
sung in her native dialect of Ibeno and the people fondly refer to it as Ibeno
Anthem. Says she: “There is hardly a happy (or sad) gathering of Ibeno people
without the rendering of this song. In it, they call on the god of their
forefathers (Abes Ulok) to be with them, give them happiness and see to their
every need.”
Everlasting is essentially predicated on love, a virtue, which the world
needs today to live at peace with one another. And because all the songs stand
out as distinct melodies; it is also a demonstration of Martha’s inventiveness
in terms of structuring melodies. And of course the entire session has marked
her out as a prolific lyricist.
Everlasting was recorded in London at Pye and Gerrard studios and mastered
at Gerrard studios – in 1982. It was produced jointly by Mike Abiola Philips
and Martha Ulaeto herself – with several musicians of note as session men.
Martha’s musical inclination was stimulated by her step-mother who was an
organist and pianist in those early days. And as a school girl, she was cast in
leading solo parts at the Cornelia Connelly College, Uyo. She joined the
Nigerian Broadcasting Corporation as an announcer in the early 70s, but her
passion for the music profession did not allow her to pursue a career in
broadcasting. Consequently, she found time to do solo parts in Dr. Sam
Akpabio’s Operatta Cynthia’s Lament in 1971 and Adam Fiberessima’s Magnum Opus,
Opu Jaja in 1973.
Working with these two famous Nigerian composers could not but attract public
attention to her talents and so she proceeded to the National Conservatory in
Athens under a Greek Government Scholarship for advanced musical studies. After
her graduation there in 1977, she studied in London under two distinguished
teachers, Constance Shacklock and Victoria Ellior. She has performed in many
international concerts, prominent among them, the 1985 Africa Rise.
Martha has since stopped recording after her third album, Christmas Africana
in 1985. But the three albums she has to her credit constitute enough legacy,
especially in terms of contemporary African music. Essentially a
concern-oriented musician with a smooth voice, her three albums in the other
musical idioms constitute an eloquent testimony to her varied talent.
This adventurous spirit earned her a Solidra Award in Lagos in 1985. Her
example should serve to inspire some of the musicologists in our universities
who are burying their talents in the debris of seeming academic pursuits. Until
they come out like Martha and group, entertainment watchers would continue to
see them as being limited in the musical horizon and lethargic in activity.
Their venturing out can only help to revive Nigeria’s sinking music
industry.
Tracklist
| A1 |
Africa Rise
|
|
| A2 |
I Pledge To Nigeria
|
|
| A3 |
Prayer Of Abuja
|
|
| A4 |
War Against Starvation
|
|
| B1 |
Absalom
|
|
| B2 |
(Naomi) Time Will Conquer
|
|
| B3 |
I Pledge To Nigeria (Instrumental)
|
|
| B4 |
Africa Rise (Instrumental) |
| |
