Oriental Brothers International
From Wikipedia, the free encyclopedia
Oriental Brothers International Band (also known as Oriental Brothers, Oriental Brothers International, and, at different periods, by variants of the name used by successor factions) is a Nigerian Igbo highlife music group formed in the aftermath of the Nigerian Civil War. The group emerged from the musical activity of Ferdinand "Dan Satch" Chukwuemeka Opara and a circle of musicians from the former Eastern Region of Nigeria, and became one of the most influential ensembles in the development of modern Igbo highlife.[1][2]
Oriental Brothers International
Oriental Brothers International Band | |
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| Background information | |
| Also known as | Oriental Brothers Oriental Brothers International |
| Origin | Eastern Nigeria, Nigeria |
| Genres | Igbo highlife, highlife |
| Years active | 1971–present[a] |
| Labels | Afrodisia, Decca West Africa, Super International and others |
| Members |
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| Past members |
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The history of the name is unusually complex. Over the decades, the Oriental Brothers identity was used by the original ensemble and by several splinter groups led by former members, including the band associated with Dan Satch Opara, Dr. Sir Warrior and his Original Oriental Brothers, Godwin "Kabaka" Opara's Kabaka International Guitar Band, Prince Ichita's Great Oriental Brothers International Band, and later reunion projects. Other groups with historical connections to former Oriental Brothers musicians included Aloy Anyanwu's State Brothers International Band and Chuks Nnadiekwe's Orlu Brothers International Band.[3][4]
The group's music combined interlocking, Congo-influenced guitar patterns with Igbo vocal forms, traditional rhythms and dance music. Its rise coincided with the difficult post-war reconstruction period in eastern Nigeria, and the band became closely associated with the cultural revival and emotional life of Igbo audiences after the war.[5] Throwback Times Nigeria, drawing on its research and interviews with surviving participants and people connected with the band's history, has documented a more detailed internal account of the formation, personnel changes, disputes and later careers of the musicians.[6]
History
Origins, formation and the post-war period
The origins of the Oriental Brothers are generally placed in the years immediately following the Nigerian Civil War. Standard published accounts describe the group as having emerged in the early 1970s and becoming one of the major highlife bands of the period.[7] The Nigerian Civil War ended in January 1970, and the destruction and displacement associated with the conflict profoundly affected eastern Nigeria. Music subsequently became an important means through which musicians expressed cultural identity, social memory and optimism during the post-war period.[8][9]
Throwback Times Nigeria's reconstruction of the band's early history places Ferdinand Dan Satch Opara at the centre of the process and describes him as the initiator who assembled musicians following the collapse and personnel changes of earlier groups in which he had performed.[10]
Before concentrating fully on music, Dan Satch worked as an automobile mechanic. According to the oral history recorded by Throwback Times Nigeria, he had been involved with the Eastern Mysteries Band, associated with musicians identified in the account as Obiako and John Ikediala. When the earlier arrangement broke down, Dan Satch began assembling another group. The process was unstable: musicians joined and departed, and the proposed band went through periods of inactivity and financial difficulty before acquiring a permanent identity.[11]
TheNiche published an account based on an interview with Dan Satch Opara in which he recalled that he had originally been an automobile mechanic and became involved in music partly through his association with his brother John Ikediala. After leaving his mechanical work, Dan Satch helped develop a new band. The early group passed through several changes in personnel before acquiring the musicians who became associated with the Oriental Brothers.[12]
Throwback Times Nigeria gives a similar but more detailed account. It states that Dan Satch operated an automobile-repair workshop at Alex Driving and Mechanic School on Mbaise Road in Owerri and that his professional involvement in music developed after his contact with John Ikediala of the Eastern Mysteries Band. Following several unsuccessful attempts to establish a stable musical group, musicians including Kabaka, Warrior, Aquila, Tony Awoma and Ichita became associated with the developing ensemble.[13]
The musicians associated with the formative lineup included Ferdinand "Dan Satch" Opara, Godwin "Kabaka" Opara, Christogonus Ezebuiro Obinna, later known as Dr. Sir Warrior, Livinus "Aquila" Alaribe and Fred "Prince Ichita" Ahumaraeze. Earlier accounts of the group's formation also mention Nathaniel Ejiogu, known as "Mangala", who died before the group reached its wider popularity.[14][15]
Dan Satch's account published by TheNiche states that the group travelled to Enugu, where Kabaka joined them after one of their guitarists, Tony Awoma, left. Warrior subsequently joined the group in Owerri, while Ichita and Aquila also became part of the developing lineup. The musicians later travelled to Kano after being encouraged to seek assistance from Japhet Ikediala, the brother of John Ikediala. According to Dan Satch, the trip was unsuccessful and the musicians experienced severe financial hardship before returning to the east.[16]
African Music Library's account similarly traces the group's development to Dan Satch's efforts to assemble musicians in 1971 and 1972. It identifies the early lineup with Dan Satch, Kabaka, Warrior, Aquila and Ichita and states that the name Oriental Brothers was adopted during the group's efforts to obtain a recording opportunity.[17]
According to the African Music Library's account, the musicians struggled to secure a recording contract and moved between locations in search of work and opportunities. After a difficult period, the group came into contact with the recording industry and began recording for Decca West Africa and Afrodisia.[18]
The adoption of the name and the Afrodisia period
There are differing accounts concerning the exact date at which the group formally adopted the name Oriental Brothers International Band. Throwback Times Nigeria places the formal naming in 1972 and attributes an important role in the group's recording breakthrough to Victor Nwogwugwu of Afrodisia/Decca, who reportedly asked the musicians to settle on a permanent name before recording.[19] Other published summaries likewise place the formation of the group in 1972 or the early 1970s.[20]
The word "Oriental" referred to the eastern identity of the musicians and their audience in the Nigerian context. The name subsequently became so commercially important that almost every major split involving the band produced another ensemble using some variation of "Oriental Brothers".
Throwback Times Nigeria states that Kabaka suggested the name "Oriental Brothers International Band" in 1972 and that the musicians agreed to appoint him leader. This differs in emphasis from accounts that simply identify the Opara brothers collectively as the founders. Dan Satch maintained that he remained the founder even though Kabaka's name was used as the band's leader in some recording arrangements.[21]
The group established a base in Lagos, particularly around Ikeja, where members were sometimes referred to as "Umu Ikeja", meaning "Ikeja boys", according to Dan Satch's recollection published by TheNiche. Their music initially attracted attention partly because it differed from the popular sounds then dominating Nigerian music. Dan Satch recalled that some listeners mistakenly assumed the musicians were Biafrans who had fled to Cameroon because of the distinctive character of their music.[22]
The group eventually obtained a recording opportunity with Afrodisia, a Nigerian record company associated with Decca West Africa. Its earliest recordings are generally placed in the early 1970s. The group's first widely recognised albums included Oriental's Special and Nwa Ada Di Nma, both of which became part of the foundation of its reputation.[23]
Rise to prominence and musical style
The group established itself through recordings on Afrodisia and through live performances. By the end of the 1970s, published accounts describe the Oriental Brothers as one of Nigeria's most successful highlife ensembles, with a large recorded catalogue and an audience extending beyond Igbo-speaking communities.[24]
The Oriental Brothers developed a guitar-centred form of Igbo highlife characterised by interlocking guitar lines, percussion, Igbo-language vocals and extended dance arrangements. Their sound drew on traditional Igbo rhythms while incorporating Congolese guitar techniques and other African popular-music influences.[25]
Their sound was built around prominent electric guitars, percussion, layered vocals and melodies drawn from Igbo musical traditions. Commentators have particularly noted the fusion of Congolese-style guitar work with traditional Igbo rhythms. The result was a fast-moving dance style that remained recognisably rooted in eastern Nigerian musical culture while participating in the broader African highlife tradition.[26]
Their music was not confined to entertainment. Songs often conveyed moral instruction and observations about social behaviour. Titles such as "Onye Egbula Onye Agbata Obi Ya" and "Onye Egbula Nwanne Ya" reflected themes of interpersonal responsibility and communal relations. The group's music consequently became associated with the cultural recovery of eastern Nigeria following the civil war.[27]
AllMusic describes the Oriental Brothers' enduring musical contribution as a fusion of Congolese-style guitar picking and traditional Igbo rhythms. Their influence extended beyond the Igbo-speaking southeast, and the group's recordings became popular with Nigerian listeners from different ethnic backgrounds.[28]
Pan African Music, in its account of the group's 50th anniversary, described the Oriental Brothers as an Igbo highlife orchestra whose sound was closely associated with the post-war period. The article noted the use of five guitars, including bass, and emphasised the group's retention of the characteristic sound developed during the 1970s and 1980s.[29]
The Guardian, writing about Kabaka in 2023, described the group's music as a distinctive combination of highlife with elements of jazz, funk, reggae and rock, while noting its use of Igbo-language social and political commentary.[30]
The band's popularity also carried a social significance. In the aftermath of the Biafran War, music became an important means through which communities dealt with loss, displacement and reconstruction. Accounts of the Oriental Brothers have described the group as a source of pride and emotional reassurance for many Igbo listeners during that period.[31]
Formation and personnel changes
The first split and Kabaka's leadership and departure
Godwin "Kabaka" Opara played rhythm guitar and became publicly associated with one of the early versions of the group as band leader. He was one of the musicians whose name appeared prominently on recordings during the 1970s.[32]
The historical record surrounding the leadership credits of this period is complicated. Throwback Times Nigeria's account maintains that Dan Satch was the principal founder and that Kabaka's name was used prominently in the band's leadership structure for reasons connected with the group's dealings with the recording company. Kabaka later left to establish his own Kabaka International Guitar Band.[33] Other published accounts similarly identify 1977 as the year in which Kabaka established his own band.[34]
Dan Satch's account differs in emphasis from some secondary descriptions. He said that Kabaka became uncomfortable with being designated the band's leader when Dan Satch regarded himself as the founder. According to Dan Satch, Kabaka eventually decided to establish his own band. Throwback Times Nigeria likewise records Kabaka's departure in 1977 and the formation of the Kabaka International Guitar Band.[35][36]
Vanguard has published a different recollection attributed to Kabaka, who maintained that he was the person who founded the group, invited Sir Warrior, and later played alongside Dan Satch, Aquila and Ichita. The same account states that the musicians moved through Owerri, Kano and Lagos before securing recording deals with Afrodisia and Decca.[37]
Following Kabaka's departure, the Oriental Brothers continued with Dan Satch and Warrior. The album Ugwu Manu Na Nwanne Ya, issued in 1977, is identified in discographical sources as the first LP following Kabaka's departure. Other recordings from this period included Origbu Onye Ozo, Ibezim Ako, Nwanne Awu Enyi and Onye Egbula Onye Agbata Obi Ya.[38]
The departure of Kabaka did not end the band's influence. Instead, it began a period in which several groups used the Oriental Brothers name, sometimes with overlapping personnel and repertoires. AllMusic describes the resulting formations as distinct bands that nevertheless shared the musical vocabulary of the original ensemble.[39]
The Dan Satch–Warrior era
Following Kabaka's departure, the Oriental Brothers continued with Dan Satch and Sir Warrior as the most prominent surviving leaders. The period produced such albums as Ugwu Manu Na Nwanne Ya, Origbu Onye Ozo, Ibezim Ako, Nwanne Awu Enyi, Onye Egbula Onye Agbata Obi Ya and Obi Nwanne.
The partnership between Dan Satch and Warrior became one of the defining combinations in Igbo highlife. Dan Satch's guitar arrangements and Warrior's powerful voice gave the recordings of the period a distinctive identity. The partnership, however, was eventually followed by another major division.
The Dan Satch-Warrior incarnation continued recording into 1980. Among its releases were Obi Nwanne, Onye Ma Uche Chukwu? and Rarama Ndu. The 1980 release Obi Nwanne is identified in the available discography as the last recording of the Dan Satch-Warrior incarnation.[40]
Tony Awoma and Aloy Anyanwu
Throwback Times Nigeria's interviews and historical investigations distinguish between two controversies that have sometimes been merged in later retellings: the cases involving Tony Awoma and Aloy Anyanwu.
According to the account, Tony Awoma was not a beginner trained from scratch by the Oriental Brothers. He had already been an experienced musician and had been associated with Dan Satch during the band's formative period. After Kabaka's departure, Awoma returned to the Oriental Brothers.
Throwback Times Nigeria attributes one of the most discussed passages in the song Ozo Wu Iwem to Warrior's dispute with Awoma. The account holds that Warrior believed Awoma had reproduced the rhythmic or structural foundation of Origbu Onye Ozo, a composition associated with Warrior, in Awoma's solo recording Nwa Na Etoghi Eto. In this interpretation, the phrase "Na so we go dey train musicians nau" referred principally to Warrior's sense of betrayal over the alleged use of the group's musical ideas rather than to literal musical instruction.
Aloy Anyanwu's case was described as different. Anyanwu, a guitarist from Mbaise and a former member of the Ikenga Super Stars, joined the Oriental Brothers after the personnel changes of the late 1970s. Throwback Times Nigeria credits his bass playing as an important element of the sound heard on Nwanne Awu Enyi. According to the account, Anyanwu later left the group without giving advance notice, despite an arrangement under which he had reportedly received a vehicle as part of an incentive to remain with the band.
Another historical account, reproduced in published discographical material, states that Anyanwu was accused of taking an Oriental Brothers recording with the intention of releasing it under his own name, leading to legal action and an injunction against the use of the material. That dispute has also been linked to the inspiration for Ozo Wu Iwem, whose title is commonly rendered in English as "This Is My Annoyance".[41]
The oral history documented by Throwback Times Nigeria states that the legal disputes involving Awoma and Anyanwu were treated separately, with allegations concerning copyright and contractual obligations respectively. The magistrates Ejimofor and Nsofor were subsequently mentioned in Ozo Wu Iwem, according to that account.
Vanguard's historical account likewise describes a 1978 mistrust and copyright dispute involving Dan Satch and Warrior on one side and Aloysius Anyanwu on the other, saying that the disagreement contributed to Anyanwu's departure and his subsequent career with Aloy Anyanwu and His State Brothers Band.[42]
Warrior's departure
The partnership eventually ended with Warrior's departure. AllMusic dates Warrior's departure to 1980 and states that he subsequently established Dr. Sir Warrior and the Original Oriental Brothers.[43]
By 1980, Warrior had separated from Dan Satch and established his own band, variously known as Warrior and his Oriental Brothers International, Dr. Sir Warrior and his Original Oriental Brothers International Band, and related variants. Published accounts identify this as the major division that permanently transformed the Oriental Brothers name into a family of competing or parallel musical organisations.[44]
Throwback Times Nigeria's version of events is more contentious. It alleges that Warrior departed with musical instruments supplied to the original Oriental Brothers by Afrodisia/Decca and that the record company subsequently issued instruments to both sides while seeking a reconciliation. The account further alleges that a promised settlement or package connected with a reunion was never fulfilled. These claims are presented by Throwback Times Nigeria as part of its interview-based reconstruction of the dispute and require independent documentary confirmation.
Throwback Times Nigeria gives a more contentious account of the separation, describing a dispute involving musical instruments supplied by Afrodisia/Decca. According to the account attributed to Dan Satch, the record company subsequently supplied replacement instruments and attempted to encourage reconciliation between the musicians. Because these details are based on the account of one side of the dispute, they are best treated as an attributed account rather than an uncontested description of events.[45]
Throwback Times also reports that disputes over recordings and the relationship between the band and Afrodisia eventually resulted in legal proceedings. The account states that Dan Satch's group became independent and that the recording dispute was subsequently resolved in court.[46]
Warrior's faction nevertheless became the most commercially prominent of the Oriental offshoots. His voice, dance style and command of the Owerri highlife tradition established him as one of the major figures in Nigerian highlife.[47]
Kabaka International Guitar Band
After leaving the Oriental Brothers, Kabaka established the Kabaka International Guitar Band. The group retained many characteristics of the original Oriental Brothers sound and became one of the principal offshoots of the original ensemble.[48]
The Kabaka International Guitar Band recorded extensively during the late 1970s and 1980s. Its albums included Izu Kamma Na Nneji, Ijeuzoije Amunkpa, Ewu Nla Ala Oduya Di Na Miri, Onye Mere Ihe Akeya, Obiara Nga Onye Egbulaya, Ewu Nga Onye Eze Na Okuko Nwaogbenye, Late Florence Mbakwe, Onye Ma Ka Nma, Ego Di Nkpa, Nwanne Di Namba Social Club of Nigeria and Ezi Nwanne.[49]
A historical account of the group notes that Kabaka's music was sometimes described using terms including highlife, native blues, merengue and Nkotonko. The band's sound remained particularly close to the guitar-based style of the early Oriental Brothers.[50]
Kabaka's later career remained connected to the Oriental Brothers name. A 1995 CD, Do Better if You Can/Onye Ikekwere Mekeya, was marketed under the name Kabaka Opara's Oriental Brothers International, although available discographical information identifies the recordings as older material from the Kabaka International Guitar Band.[51]
In September 2023, Kabaka returned to active musical activity after a prolonged period away from the recording industry. The Guardian reported on his return and described his career as one of the major legacies of Nigerian highlife.[52]
Kabaka was from Umuawara, Umuoye, Imerienwe, in Ngor Okpala, Imo State. Throwback Times Nigeria reported that he returned to public musical activity in 2023 after a lengthy period of reduced activity, revisiting older studio work and participating in public engagements. He died on 21 March 2024.[53]
Kabaka died on 21 March 2024. Throwback Times Nigeria reported that he was born in 1946 and was from Umuawara, Umuoye, Imerienwe, in Ngor Okpala, Imo State. The publication reported that the cause of death was not publicly established at the time of its report.[54]
Dr. Sir Warrior and the Original Oriental Brothers
Christogonus Ezebuiro Obinna, known professionally as Dr. Sir Warrior, became the most commercially prominent of the musicians associated with the Oriental Brothers name. After the 1980 split he led his own version of the group, usually styled Dr. Sir Warrior and His Oriental Brothers International Band or Dr. Sir Warrior and His Original Oriental Brothers.[55]
Warrior's voice became one of the defining sounds of Igbo highlife. His recordings frequently combined dance-oriented guitar arrangements with Igbo lyrics and themes drawn from everyday life. He was also known for his performance of traditional Owerri men's dance.[56]
His recordings included Onye Oma Nmanu (1980), Hapum Meberi (1980), Onye Obula Zoba Isi Onweya (1981), Jide Nkeji (1981), Chi Awu Otu (1982), Onye Ije (1983), Agwo Loro Ibeya (1983), Ugo Chinyere (1983), Ndi Ji Ego (1984), Warrior in London (1985), Ndi Adudu (1986), Udo Ndi Oma (1988) and Na Kwa Echeki (1988).[57]
During the 1990s Warrior continued releasing music under increasingly varied versions of the Oriental Brothers name. These included Nke Onye Diri Ya (1993), Ofe Owerri (1994), Nigeria Anyi-Ga-Ebi (1995) and Who Goes There (1996).[58]
Death of Warrior
Warrior died in June 1999. Contemporary reporting cited in historical accounts identified him as the leader of the best-known and most popular of the Oriental Brothers formations. Tributes came from fellow highlife musicians including Osita Osadebe and Oliver De Coque, while Dan Satch described him as a close friend, former colleague and former bandmate.[59]
Vanguard's account records that Sir Warrior died on 2 June 1999 after a protracted illness and describes him as the leader of the old Oriental Brothers International Band.[60]
Two of Warrior's sons, Uchenna "Uche Warrior" Obinna and Ajuzieogu Warrior, subsequently performed under the Oriental Brothers name. Their first major appearance with the band was associated with Warrior's wake in June 1999. Their 2000 recording Tribute to Dr. Sir Warrior was among the earliest releases intended to continue the family's musical legacy.[61]
Reunions
The fragmented history of the Oriental Brothers did not prevent periodic reunions. A reunion involving Dan Satch, Warrior and Kabaka was associated with the 1987 album Anyi Abiala Ozo, whose title means "We Have Come Again".[62]
The former members reunited again for Oriental Ge Ebi in 1996. Published accounts describe the album as another attempt to revive the collective identity of the original group despite the existence of the separate bands.[63]
Sir Warrior's death and succession
Christogonus Ezebuiro Obinna, known professionally as Dr. Sir Warrior, died in 1999. His death brought an end to the career of the leader of the most commercially successful Oriental Brothers offshoot.[64]
Contemporary tributes described him as a major loss to Nigerian highlife. Throwback Times Nigeria records that his children included five sons and one daughter, correcting accounts that had given a smaller number of male children. It also distinguishes between Sir Warrior's personal vehicles and a bus later associated with his sons Uche and Ajuzieogu Warrior.
Two of Warrior's sons, Uchenna "Uche Warrior" Obinna and Ajuzieogu Warrior, subsequently performed under the Oriental Brothers name. Their first major appearance with the band was associated with Warrior's wake in June 1999. Their 2000 recording Tribute to Dr. Sir Warrior was among the earliest releases intended to continue the family's musical legacy.
Dan Satch and Aquila
After the deaths of Sir Warrior and Kabaka, Dan Satch Opara and Livinus "Aquila" Alaribe remained the surviving figures most closely identified with the original formation. Throwback Times Nigeria has continued to document their appearances, interviews and recognition, including an award presentation to Dan Satch by Imo State Governor Hope Uzodinma.[65]
According to Throwback Times Nigeria, Aquila remained associated with Dan Satch and the continuing Oriental Brothers tradition into 2026.
Musical style and legacy
The Oriental Brothers' principal contribution to Nigerian music was the development of a guitar-centred form of Igbo highlife that combined imported and local musical languages. Congolese guitar techniques were adapted to Igbo rhythmic structures, while lyrics drew heavily on proverbs, morality, family relationships, social conflict, religion, wealth, death and the uncertainty of human life.[66]
The group's importance cannot be measured solely through the recordings issued under one name. The Oriental Brothers became the parent tradition from which numerous related bands emerged. Kabaka, Warrior, Ichita, Aloy Anyanwu and Chuks Nnadiekwe all carried elements of the original musical language into new ensembles.
The continuing use of the name has caused substantial confusion in discographies and biographies. Albums credited simply to "Oriental Brothers" may belong to different lineups, periods or reunion projects. For this reason, the history of the group is best understood as a network of related ensembles rather than a single uninterrupted band with a fixed membership.
Band Members
The original and current band members of the Oriental Brothers International Band:
Original/ Past Band Members
- Ferdinand Chukwuemeka "Dan-Satch" Opara - Lead and Bass Guitarist
- Godwin Opara - Band Leader and Rhythm Guitarist
- Christogonus "Dr. Sir Warrior" Ezewuiro Obinna - Lead Vocalist
- Livinus "Aquila" Alaribe - Conga Player
- Fred "Ichita" Ahumaraeze - Drummer
Current Band Members
Instrumentalists
- Livinus Aquila Alaribe - Conga player
- John Okere - Bass Guitar
- Okechukwu Uzodinma - Rhythm Guitar
- Afrizia Obinna - Composer
- Kenneth Emenogu - Lead Guitar
- John Paul Opara - Maracas
- Ebere Nwebe - Drums
Vocalists
- Dan Satch
- Kampala Yokolo[67]
Discography
| Album / Location | Tracks | Label | Year |
|---|---|---|---|
| Uwa Atualamujo b/w Ihe-Chi-Nyerem 7-inch single |
"Uwa Atualamujo" / "Ihe-Chi-Nyerem" | Afrodisia (Lagos), DWA 106 | 1974 |
| Orientals Special LP |
A: "Oriental's Special" / "Osa Enwe Akwu" / "Onyeoma Nmadu 'Eji Egbuya" B: "Ihe Onye Eche" / "Ihe Oma Adighi Onye Oso" / "Otu'Nwa" |
Afrodisia (Lagos), DWAPS 44; Decca (France), 278.164 | 1974 |
| Nwa Ada Di Nma LP/CD |
A: "Nwa Ada Di Nma" / "Onye Si Nani Ya Biri" / "Anam Ele Chi" / "Onwetarani Nye Ibe Efe" B: "Akwa Uwa" / "Onye Oma" / "Nwanyi Di Ya Bu Eze" / "Chi Awu Otu" |
Afrodisia (Lagos), DWAPS 59; Flame Tree (UK), FLTRCD 527 | 1975 |
| Taxi Driver b/w Uwamesi Special 7-inch single |
"Taxi Driver" / "Uwamesi Special" | Afrodisia (Lagos), DWA 144 | 1975 |
| Oriental's Special LP |
A: "Oriental's Special" / "Osa Enwe Akwu" / "Onyeoma Nmadu 'Eji Egbuya" B: "Ihe Onye Eche" / "Ihe Oma Adighi Onye Oso" / "Otu 'Nwa" |
Afrodisia (Lagos), DWAPS 44 | 1977 |
| Murtala Muhammad LP |
A: "Murtala Muhammad" / "Nkwa Pt. 1" B: "Nwoke Ezuike" / "Ndidi" / "Halleluyah (Nkwa Part 2)" |
Afrodisia (Lagos), DWAPS 71 | 1977 |
| Nnedinobi LP |
A: "Aluta Agbogho" / "Aku Udo" B: "Nnedinobi" / "Oke Na Olulu" |
Afrodisia (Lagos), DWAPS 2020 | 1977 |
| Ugwu Manu Na Nwanne Ya LP |
A: "Ugwu Manu Na Nwanne Ya" B: "Kele Chi" |
Afrodisia (Lagos), DWAPS 2024 | 1977 |
| Origbu Onye Ozo LP |
A: "Origbu Onye Ozo" B: "Ihe Eme Uwa Adimma" |
Afrodisia (Lagos), DWAPS 2034 | 1977 |
| Ibezim Ako LP |
A: "Ibezim Ako" B: "Elu Rie Ala Rie" |
Afrodisia (Lagos), DWAPS 2057 | 1978 |
| Nwanne Awu Enyi LP |
A: "Nwanne Awu Enyi" B: "Ama Onye Wu Onye" |
Afrodisia (Lagos), DWAPS 2065 | 1978 |
| Onye Egbula Onye Agbata Obi Ya LP |
A: "Onye Egbuna Onye Agbata Obi Ya" B: "Ozo Wu Iwem" |
Afrodisia (Lagos), DWAPS 2071 | 1979 |
| Obi Nwanne LP |
A: "Obi Nwanne" B: "Ebele Onye Uwa" |
Afrodisia (Lagos), DWAPS 2090 | 1980 |
| Onye Ma Uche Chukwu? LP |
A: "Akwamibo" B: "Onye Ma Uche Chukwu?" |
Afrodisia (Lagos), DWAPS 2103 | 1980 |
| Rarama Ndu LP |
A: "Uba Di Iche-Iche" B: "Rarama Ndu" |
Afrodisia (Lagos), DWAPS 2137 | 1980 |
| The Best of Oriental Brothers International LP |
A: "Ihe Chi Nyerem" / "Uwamesi Special" / "Ihe Onye Eche" / "Akwa Uwa" B: "Uwa-Atualamujo" / "Uwa Ewe Nmeta" / "Onwetaran Nye Ibe Ya" / "Onyeoma Nmadu Eji Egbuya" |
Afrodisia (Lagos), DWAPS 2146 | 1981 |
| Udo Ka Nma LP |
A: "Oriental Original" B: "Udo Ka Nma" |
Afrodisia (Lagos), DWAPS 2158 | 1981 |
| Chukwu Nwe Anyi LP |
A: "Chukwu Nwe Anyi" B: "Onye Chi Nyere Eze" |
Afrodisia (Lagos), DWAPS 2176 | 1981 |
| Onye Nwe Ala LP |
A: "Onye Nwe Ala (Who Owns The Land?)" B: "Messama Ahu (Come Closer)" |
Afrodisia (Lagos), DWAPS 2193 | 1983 |
| Ihe Eji Aku Eme LP |
A: "Ihe Eji Aku Eme" / "Dan Satch Emeka Opara" B: "Ego Ka Nma Na Okorobia" |
Afrodisia (Lagos), DWAPS 2204 | 1984 |
| Anyi Abiala Ozo LP/CD |
A: "Onye Egbula Nwanne Ya" B: "Anyi Abiala Ozo" |
Afrodisia (Lagos), DWAPS 2274; Super International (Lagos), SI 098 | 1987 |
| Heavy on the Highlife! CD |
"Uwamwesi Special" / "Ihe Chinyere" / "Uwa Atu Alamujo" / "Ihe Eji Aku Eme" / "Anyi Abiala Ozo" / "Na Kwa Echeki" | Original Music (US), OMCD012 | 1990 |
| Oriental Ge Ebi LP/CD |
A: "Oriental Geebi" / "Obi Ejile Ekwelam" B: "Imo/Abia Special" / "Nnoram Neluwa" |
Super International Records (Lagos), SI 071; Sontec Digital, SON 38CD | 1996 |
| Onye Egbula Nwanne Ya Series Cassette |
Unknown | Super International (Lagos), SI 098 | 2000? |
| Vintage Hits Vol. 1 CD |
"Nwanne Awu Enyi" / "Amaghim Onye Bu Onye" / "Oriental's Special" / "Osa Enwe Akwu" / "Onyeoma Nmadu Eji Egbuya" / "Ihe Onye Eche" / "Ihe Oma Adighi Onye Oso" / "Bonus Track" | Afrodisia (Lagos), DWACD 001 | 2001 |
| Vintage Hits Vol. 2 CD |
"Onye Egbula Onye Agbata Obiya" / "Ozo Wu Iwem" / "Murtala Mohammad" / "Nkwa (Part 1)" / "Nwoke Ezu Ike" / "Ndidi" | Afrodisia (Lagos), DWACD 002 | 2001 |
Kabaka International Guitar Band
| Album / Location | Tracks | Label | Year |
|---|---|---|---|
| Izu Kamma Na Nneji LP |
A: "Izu Kamma Na Nneji" / "Chukwu Kere Mmadu" / "Chineke Wetuo Ekwensu" B: "Mangala Special" / "Ichere Chi Amaghi Onye Iwu" / "Ajam Ashi-Mi" |
Afrodisia (Lagos), DLPS 004; Decca (France), 278.165 | 1977 |
| Ijeuzoije Amunkpa LP |
A: "Ijeuzoije Awunkpa" / "Onuru Olu Nwa Bia Za" B: "Nmawu Ego Special" / "Onye Ikekwere Mekeya" |
Afrodisia (Lagos), DLPS 010 | 1977 |
| Ewu Nla Ala Oduya Di Na Miri LP |
A: "Ewu Nla Ala Oduya Di Na Miri" B: "Ndidi Kanma Nu Uwa" / "Bia Luru Nwa Ada" |
Afrodisia (Lagos), DLPS 012 | 1977 |
| Onye Mere Ihe Akeya LP |
A: "Onye Mere Ihe Akeya" B: "Isuolam" / "Oh! Dear Jesus" |
Afrodisia (Lagos), DLPS 015 | 1978 |
| Obiara Nga Onye Egbulaya LP |
A: "Ijemana Iyomana" B: "Obiara Nga Onye Egbulaya" / "Ebemam" |
Afrodisia/Deram (Lagos), DLPS 016 | 1979 |
| Ewu Nga Onye Eze Na Okuko Nwaogbenye LP |
A: "Ewu Nga Onye Eze Na Okuko Nwaogbenye" B: "Omemara-Chi Ekwe" / "Kema-Ako-Lam" |
Afrodisia/Deram (Lagos), DLPS 017 | 1979 |
| Late Florence Mbakwe LP |
A: "Agaracha Eru Uyo Ije Atoama" B: "Ijuru Chim Ajuju" / "Late Florence Mbakwe" |
Afrodisia/Deram (Lagos), DLPS 018 | 1980 |
| Onye Ma Ka Nma LP |
A: "Egbula Nwa Onye Ozo" B: "Dr. Agwu Nwaukpa-Ohaozara Special" / "Onye Mam Ka Nma" |
Afrodisia (Lagos), DWAPS 2122 | 1981 |
| Ego Di Nkpa LP |
A: "Ego Di Nkpa" B: "Osumunu Gburu Ama-Kaya" |
Afrodisia (Lagos), DWAPS 2141 | 1981 |
| Nwanne Di Namba Social Club of Nigeria LP |
A: "Nwanne Di Namba" B: "Onye Di Ukpa-Odi (Anyi Amarala)" |
Afrodisia (Lagos), DWAPS 2142 | 1982 |
| Ezi Nwanne LP |
A: "Ezi Nwanne" B: "Uwa Owu Nkeonye" / "Osinachi" |
Afrodisia (Lagos), DWAPS 2282 | 1989 |
| Do Better if You Can/Onye Ikekwere Mekeya CD |
"Oh Dear Jesus" / "Ebemana" / "Mmawu Egbu Special" / "Onye Ikekwere Mekeya" / "Ijemana Iyomana" | Original Music (US), OMCD 034 | 1995 |
Dr. Sir Warrior & his Oriental Brothers
| Album / Location | Tracks | Label | Year |
|---|---|---|---|
| Onye Oma Nmanu LP |
A: "Aneri Aku" B: "Onye Oma Nmanu" |
Afrodisia (Lagos), DWAPS 2098 | 1980 |
| Hapum Meberi LP |
A: "Hapum Meberi" B: "Gi Nyem Ugwum Mu Enye Gi Nke Gi" |
Afrodisia (Lagos), DWAPS 2117 | 1980 |
| Onye Obula Zoba Isi Onweya LP |
A: "Ndo Ma Ike" B: "Onye Obula Zoba Isi Onweya" |
Afrodisia (Lagos), DWAPS 2130; Oti Records (UK), OTI LP 2130 | 1981 |
| Jide Nkeji LP |
A: "Jide Nke Gi" B: "Ome Nma" |
Afrodisia (Lagos), DWAPS 2157 | 1981 |
| Chi Awu Otu LP |
A: "Ihe Onyeche" B: "Chi Awu Otu" |
Afrodisia (Lagos), DWAPS 2164 | 1982 |
| Onye Ije LP |
A: "Onye Ije" B: "Omumu" |
Afrodisia (Lagos), DWAPS 2175 | 1983 |
| Agwo Loro Ibeya LP |
A: "Agwo Loro Ibeya" B: "Nwa Enwe Nne" |
Afrodisia (Lagos), DWAPS 2188 | 1983 |
| Ugo Chinyere LP |
A: "Ugo Chinyere" B: "Madu Mezie Ndu Ya" |
Afrodisia (Lagos), DWAPS 2197 | 1983 |
| Ndi Ji Ego LP |
A: "Uwa Safe" B: "Ndi Ji Ego" |
Afrodisia (Lagos), DWAPS 2207 | 1984 |
| Warrior in London LP |
A: "Anyiyiriodo" B: "Chinaemenma" |
Afrodisia (Lagos), DWAPS 2227 | 1985 |
| Ndi Adudu LP |
A: "Akaraka" B: "Ndi Adudu" |
Afrodisia (Lagos), DWAPS 2267 | 1986 |
| Udo Ndi Oma LP |
A: "Udo Ndi Oma" B: "Oruole" |
Afrodisia (Lagos), DWAPS 2277 | 1988 |
| Na Kwa Echeki LP |
A: "Na Kwa Echeki" B: "Lekwenum" / "Onye Huru Chim Anya" |
Afrodisia (Lagos), DWAPS 2287 | 1988 |
| Nke Onye Diri Ya LP/Video CD |
A: "Warrior Abiala Ozor" / "Onye Di Nma Na Azu" B: "Nke Onye Diri Ya" |
Super International (Lagos), SI 055; SIV 055 | 1993 |
| Ofe Owerri LP/CD |
A: "Ochichi Nigeria" / "Omebunwa Ogbenye" B: "Ofe Owerri" / "Uwa Chia Chia" |
Super International (Lagos), SI 063; CD World/Sontec, SON 37; Mossiac Music (New York), MMCD 0074 | 1994 |
| Nigeria Anyi-Ga-Ebi LP/CD |
A: "Anyi-Ga-Ebi (We Shall Live)" B: "Kwu-Kwa-Ezi-Okwu (Say The Truth)" |
Super International (Lagos), SI 065 | 1995 |
| Who Goes There LP/CD |
A: "Who Goes There" / "Oko Nke Gi" B: "Uwa Bu Nke Onye" / "Oko Nke Zik" |
Super International (Lagos), SI 070 | 1996 |
| Ndi Ji Ego CD |
"Uwa Self II" / "Chi Na Eme Mma" / "Uwa Di Egwu" / "Ndi Ji Ego" | Mossiac Music (New York City), MMCD 00510 | Late 1990s? |
| Vintage Hits Vol. 1 CD |
"Ihe Onye Eche" / "Chi Awu Otu" / "Onyebula Zoba Isi" / "Ndo Ma Ike" | Afrodisia (Lagos), DWALCD 004 | 2001? |
| Aneri Aku Special CD |
Unknown | Super International (Lagos), SI 103 | 2004? |
| Aku Udo Special CD |
Unknown | Super International (Lagos), SI 104 | 2004? |
| Vintage Hits Vol. 2 CD |
"Uwa Safe" / "Ndi Ji Ego" / "Hapum Mebiri" / "Ginyem Egum Mu Enye Gi Nke Gi" | Afrodisia (Lagos), DWACD 0005 | 2004? |
Notes
- The name has been used by several successor and reunion formations.