Chief Stephen Osita Osadebe and his Nigerian Sound Makers International People’s Club of Nigeria Special

This is some classic shit from a classic personage of Nigerian highlife excellence. Take two of these and call me in the morning.

Also, feel free to download and vibe to this track from the upcoming ATFA release by Dur-Dur Band (coming March 19 in all formats on all continents).


Chief Stephen Osita Osadebe and his Nigerian Sound Makers International People’s Club of Nigeria Special

Side One

People’s Club of Nigeria Part One

Side Two

People’s Club of Nigeria Part Two


Join the discussion and tell us your opinion.

January 15, 2013 at 7:50 am

asum tape

sounds like angola’s pop of 60’s

what’s year?

Brian Shimkovitzreply
January 16, 2013 at 6:45 am

1982 i think?

January 23, 2013 at 5:01 pm

I am conflicted by the concept of your blog. On the one hand, yes, if it were not for you posting these tapes on the internet, we in the West would not likely ever hear them. On the other hand, the artists of these tapes, their distributors, recording engineers and producers will never get a dime from you doing the distribution for them. In a sense, you are exploiting Africa in a new neocolonial way, aided by the internet.

Brian Shimkovitzreply
January 24, 2013 at 2:45 am

Thanks for the note. The thing is no recording engineer or producer typically receives royalties one someone licenses a recording, unless they have songwriter credits. The artists themselves don’t have an outlet for ther music to be sold abroad. This is no more sketchy than millions of pirated recordings of mainstream western artists’ music being sold for profit across the world every day. In this case I am not selling ads or the music itself so I don’t see what is neocolonial apart from me happening to be white. If you google well you will find much of these artists’ music available for streaming or download alongside adverts on websites based in their counties or run by fellow countrymen. None of this is black and white but I wanted to point out these inconsistencies in what you’re saying so that we can have a more nuanced view of what’s out there and how music distribution works in the digital age.

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