Release of My Album

Towards the end of 1979 I entered the studio to record my album for Anodisc Records. It was a light reggae album with one calypso song. The calypso was the first track titled "Everybody Must Farm". It took over the airwaves for quite a while. The rest of the songs are simple reggae. There was no rub-a-dub involved. No 'ska'. They were the relaxation type of reggae music: Jah Men, Golden Rule, Let's Come Together, Simplicity (which was my guy name from Class Three through Class Five), and Accept My Sympathy, which was my message to me after losing my uncle who was a final year student at the University of Ife. My album was released by Anodisc Records. I was backed up by my band, the Friimen Rock Group. The line up for the production was Charlie Eze on the drums and Ken Okogbue on the guitar. Dan Igbaji on the bass (he played bass on 'millions' of albums of other artists). Dan lands his bass notes, and you cannot wonder whether or not there are bass notes in the album. The keyboard session alone had four players: Eliss Kofie, Beni Tudumey, Arthur Freds, Alex Tony-O on the clavinet for the "Sweet Home" track. (Tony Okoroji; you will remember him from his 'Big Big Sugar Daddy' album). My album was released in 1980 when I was a student at the College of Technology, Nekede, Owerri. Other session personnel were Simeon Anaba on the congas, Sam "Buccana" on the congas and Arthur Freds also on the congas. The Magic Handclaps were provided by Chalie Eze, "Doctor" (the handsome Afro-hair black guy who was often in the background, but was a good musician), Grace Ayozie and Arthur Freds. Background Vocals featured Sam "Buccana" and Grace Ayozie (I suppose Grace Ayozie should still remember the joke "Alora..., Crocodio - though I did not spell it well). All the songs were written by me. 'Maoby Freds helped to arrange the songs. Producers were Arthur Freds and Charlie Eze. Publisher was Anodisc Records. Recording Engineers were John Malife and Martins Ikebuaku. Substantial inspiration came from Don Taylor of Island Records with whom I was in constant touch. Albert Griffiths of the Gladiators in Jamaica also was writing me, supporting and inspiring my work. My management outfit at that time was Fonorg International which laterbecame a small label. I provided the sleeve concept. The Executive Producer was Simeon Anochie (blessed memory) who believed so much in me from the day he visited me on Danfodio Road with his wife. He came that evening to watch me play the organ. After that evening, he invited me to his office to begin a business relationship that saw me circulating in the music industry as an icon. I play keyboards in over 350 albums of other artists. My name and roles are on the sleeves of those albums as testimonials.

My album also reigned at the campus because the student DJ. Bright Chimezie of Imo Broadcasting Service, who was also a fellow student, played the calypso tune "Everybody Must Farm" and the hall was rocking. Students found me, picked me up, and carried me around the auditorium shoudinig "Oh Seke, Oh Seke, Oh Seke, Oh Seke" because the main notes and drum beat of the song went in that direction. This also led me to competing at the College of Technology Owerri DJ competition. I am sure that I did well. I did not win because Bright Chimezie was a State-wide DJ with the radio station. He won that competition, but something happened to me that night. I am not able to understand that thing till today: While I was rapping over my song that was being played, several people were doling out currency notes and pasting on my forehead. My performance duration was long because the audience appreciated me, being a known musician. Money flowed ceaselessly while I stood on the podium rapping. At the end of my session, I stepped down and could not find who picked all the money given to me by admirers. Till today, nobody came clean, and I know that an insincere person is on the loose out there. My album added to my existing fame. I was already appearing three times per week on television, having worked with the NTA. I was appearing on stage with all kinds of music groups. My album became another source of identifying me.