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FUNCTIONS OF THE MUSIC RECORDING INDUSTRY IN NIGERIA 

 

Loko, Olugbenga Olanrewaju 

Deparment of Theatre Arts & Music 

Lagos State University 

Ojo - Lagos 

 

ABSTRACT 

The paper discusses functions of the music recording industry in Nigeria and ways in which 

the industry contributes to the socio-political and economic growth of Nigerians. The paper is 

based on ethnographic research conducted in several cities in Nigeria on the challenges of 

music recording industry in Nigeria from 1940 to 2000. The first section is introduction. The 

second section listed and discussed four important functions of the industry during the period 

and also examined some issues pertinent to the identified functions and third section is the 

conclusion.  

 INTRODUCTION 

Popular music in Nigeria and its attendant socio-political and economic implications has 

attracted scholarly discourses. Music scholars, critics, journalists and non music scholars 

alike engage themselves more on socio-political and economic issues when popular music is 

discussed in Nigeria. Not much critical and scholarly study on the functions of music 

recording industry in Nigeria exists. It is against this backdrop of critical discourses on 

popular music that this paper examines the music recording industry in Nigeria with 

particular reference to the functions of the industry in Nigeria between 1940 and 2000. 

According to Baskervile (1970), Collins (1988), Euba (1988), Graham (1989), and Omibiyi 

(1989), the recording industry is a part of the music industry solely responsible for the 

production and manufacturing of mass cultural musical products for the market via industrial 

processing of records, CDS, and cassettes. Implicitly the recording industry is central to the 

activities of the music industry such that it dominates the whole music industry. Arguably the 

industry is relevant as a key factor in the realization of the composite sense of the music 

industry realism globally and as well in Nigeria‟s music business and practice. This therefore 

underscores the need for further analytical studies on the music recording industry in Nigeria. 

Although the paper examines the functions of music recording industry in Nigeria from 1940 

to 2000, it is equally important to pay attention on the new trends in the industry today.  

The paper is guided by the theoretical perspective of functional theory and combining 

content analysis of representative examples of recorded music, the paper identifies four 

functions of the music recording industry in Nigeria namely: Economic, Social, 

Awka Journal of Research in Music and the Arts (AJRMA) Vol. 9 2013 



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Entertainment and Information functions and ways in which they contribute to the socio -

political and economic stability in Nigeria. 

It has been several decades of successful recording activities in Nigeria and all through the 

industry‟s history in Nigeria, musicians and artists in the industry have been able to achieve 

artistic and social breakthrough. Undaunted by various challenges encountered in their 

communities and recording studios, they turned their minds and energy towards composing, 

producing and recording songs to inform, educate, eulogize and address other socio-political 

and economic problems. Through their untiring efforts they contributed to the creation of a 

distinct Nigerian music. Though fame has remained a long enduring bottom-line, the 

emergence and flowering of new styles of music has remained a long enduring legacy 

bequeathed to the Nigerian populace and the mainstream of global music. Apart from these, 

Nigerian artists have also achieved some level of successes in the area of self owned labels. 

Findings showed that renowned musicians and artists who felt cheated by other recording 

companies in the payment of royalties for their works as at when due, breach of contract, 

poor recording studio facilities and other disagreements established their own record labels 

and studios primarily for artistic excellence and development. The significance of this is in 

their contribution to the establishment of more labels and recording studios. Taking into 

cognizance all the foregoing, artists and musicians have contributed positively to the growth 

of the industry. It offers a unique opportunity to examine the functions of the music recording 

industry in Nigeria  

 

In this paper, four important functions of the industry within the Nigerian society are 

identified and examined. These are economic, social, entertainment and information 

functions.  

Functions 
Simon (1989) listed four functions inherent in mass cultural activities: they are economic, 

social, entertainment and information. Congruently, the approach used in this paper identifies 

these functions within the mainstream of the recording industry and its concomitant socio-

economic implications.  

 

Economic Function:  

Like elsewhere in the world, the economic activities generated in the music recording 

industry are of immense value. From its inception the Nigerian Recording industry has 

shown the primacy of the economic aspect of its activities. A lot of human and financial 

capitals were injected and expended on the industry which encouraged artistic expression and 

new stylistic patterns. Because of the financial gains involved, the companies adopted 

experimental attitude of signing on artists and musicians who were mostly naïve and prone to 

being used and exploited.  

 

The industry became capital intensive at this point because of the introduction of new 

recording equipment and techniques. The 4-track equipment introduced by Phillips (W.A) 

Ltd was replaced by the 8-track one by EMI; ARC introduced the 16-track and Phonodisk, 

Recordisc, and Tabansi introduced the 24-track; introduced recently are the digital „State of 



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the Arts‟ recording equipment. This modernization of equipment greatly impacted the 

industry and facilitated growth and development. The industry became recording destination 

for artists and musicians from the neighbouring West African countries. Prior to this, 

Nigerian musicians and artists travelled to Ghana and overseas for their recordings. But, with 

this development, there was no need for Nigerian artists and musicians to travel abroad for 

the recording of their music as the facilities needed for recording were available locally.   

 

By 1960s much capital was invested in building studios and pressing plants such that by 

1974, there were 3 major record companies, 12 recording studios, 2 major indigenous labels 

and over 50 small local labels which produced a variety of Nigerian music. This 

transformation made Nigeria the largest music market in black Africa supporting a record 

market of several millions during the 1970s and the 1980s. Today, there are numerous 

recording studios both digital and analogue in all the major cities and several modern 

pressing plants are located in Lagos, Onitsha, Port-Harcourt and other cities. 

 

Nigerian artists and musicians made the most immediate impact in the recording industry. 

First, millions of Nigerian records of varied stylistic patterns; juju, highlife, ikwokilikwo, 

asiko, among others were produced and sold (Omibiyi, 1981). By 1974, 10 million albums by 

various Nigerian artists and musicians were produced and sold. 12 million albums by 1979 

and 20 million albums by the 1980s were also produced and sold. This produced several local 

and national stars who became celebrities. Certain expectations are raised which were 

heightened by the form of financial package and promotion that were attached to such 

celebrities. Several concerts, shows, media advertisements and performer-audience chain 

(Wallis and Malm, 1984) were produced by various Nigerian artists and musicians for the 

purpose of attracting fee paying audience for shows and entertainment. Several Nigerian 

musicians and artists enjoyed this pedigree, among such were Fela Anikulapo Kuti, Dizzy K. 

Falola, Nico Mbarga, Johnny Haastrup, Sunny Ade, Ebenezer Obey, Sonny Okosun, The 

Ofeges, Mandators and Kris Okotie among others. 

 

In the economic sense, the global emergence of the recording industry no doubt has had 

tremendous impact on the activities within the music industry. Its growth has been dependent 

purely on its economic gains, and the maximization of profit becomes its prime motivation. 

For obvious economic reasons, the industry promotes and supports only artists and 

musicians, works or materials that have proved successful or important stabilizing factor in 

its mode of operation within the society. 

  

Social Function: 

Socially, the industry offers opportunity to a large number of people at various levels within 

the Nigerian state, irrespective of age, gender, and educational background. The economic 

activities generated by the recording industry created new occupational opportunities; record 

distributors, craftsmen, music retailers, music entrepreneurs, promoters, directors and 

managers were needed to work within the system. Opportunity for wage labour of less 

physical exertion existed especially for creative people such as artists, musicians, producers 

and sound engineers.  As the activities in the recording industry became more intense and 

lucrative many of the stakeholders were needed in large numbers to meet the ever increasing 



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demand of records for home and foreign entertainment. All these gave greater incentive to 

Nigerian musicians and artists. New stylistic patterns including Reggae, Juju, Makossa, 

Sookus, Highlife, Ikwokilikwo, Afrobeat, and Sakara among others were introduced with 

success. Fuji, Folkloric songs, Apala and particularly Juju music and Afrobeat became 

popular for the international market. 

 

All these attest to the fact that the industry contributed to the socio-economic growth of 

Nigerians and the society. However, the involvement of „all and sundry‟ (Dennis 2003) 

within the system, perhaps in line with Simon‟s (1989) description of African mass cultural 

festivals, is apparently due to two fundamental reasons. It is a non restrictive activity that is 

open to virtually all Nigerians and foreigners. It attracts each year, many people, both young 

and old, from „all walks of life‟ - students, housewives, pastors, and touts among others. 

There were no severe demands on the participants with regard to background knowledge or 

learning.  

 

Entertainment Function: 

In its role as entertainment industry, the music recording industry, as indicated earlier, 

mediated changes in stylistic patterns and in tastes. Music performances began to be 

organized as paid shows and gigs. In the course of performances (shows, gigs) a performer-

audience chain is developed and sustained through the encouragement of various forms of 

audience participation and responses solely to encourage, entrench and establish a 

level/pedigree of identification between the performer „star‟ and the audience. It is true that 

while making musical/cultural heroes out of performers the industry was also exploiting both 

the performers and the public economically. In the same vein, the industry vis-à-vis the 

above-mentioned process also has in some instances unintentionally created non-

conventional, deviant social types, which make them an acceptable and marketable 

commodity within the society. Their records were required in greater quantity to meet the 

increasing demand of Nigerians. In my opinion Fela Anikulapo Kuti, Johnny Haastrup, and 

Majek Fasek were deviant types. While Johnny Haastrup‟s shaven head and mode of 

dressing was bizarre. Fela and Majek took to hard drugs; samples of deviant behaviours.    

 

The newly evolved genres as mentioned earlier began to exert overwhelming influence on 

Nigerians and competed with the indigenous genres. In fact, the new genres became 

increasingly popular among Nigerians. A number of newly recorded music genres that 

emerged as a result of other imported records such as highlife, ikwokilikwo, Afrobeat, 

makossa among others emerged and subsequently grew in popularity (Omibiyi, 1981). There 

developed a tendency among Nigerians to reject the communal entertainment making, it 

became anachronistic. Music making became a highly commercialized creative work, which 

became more profitable and more dignified. All these gave greater incentive to the artists, 

musicians and their producers as well.  

 

While it is true that the industry has overt positive functions in the society, the desire by the 

record industry to concentrate on commercial type of music led to the neglect of communal 

entertainment. Also its concept and cultivation of popular music led gradually to the neglect 

of traditional music. The craving for the „new music‟ on lacquer produced by record 



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companies made the recordings to begin to compete with traditional recreational facilities 

and it became more attractive while traditional entertainment facilities received less attention. 

The point being emphasized here is that the western derived new stylistic patterns did not 

totally displace or obliterate the indigenous music in the society, they existed along side each 

other. However, more attention was given to the new styles of music to the detriment of the 

indigenous music. 

 

Information Function: 

The recorded works made it easy for music to be used effectively as a medium of public 

information, vehicle for social mobilization, political campaigns and as sources of 

historical/cultural information. Omibiyi (1985) noted that various themes covering a wide 

range of issues bordering on social, economic and political issues have been chronicled in 

recorded works. The various themes addressed, and served as tools for political, socialisation, 

education and social control she argued. For instance Operation Feed the Nation (O.F.N) in 

1979 came up to emphasize the importance of agriculture.  To emphasize the need for 

citizens to be law abiding, War Against Indiscipline (W.A.I.) emerged. The role of music in 

Literacy Campaigns cannot be overemphasized. Ebenezer Obey (1972) in one of his recoded 

works reminded the audience of the change to right hand driving. On nationalism Sunny Ade 

recorded „Nigeria Yi ti gbogbo wa ni’. Sunny Okosun recorded works for the international 

community on the evils of the apartheid system in South Africa „Fire in Soweto‟ thus 

emphasizing black cultural nationalism and condemning all forms of racial discrimination. 

Fela Anikulapo Kuti also recorded works bordering on social issue and vices, political events 

and human rights abuses. In „ITT‟, for instance he satirically exhorted all the elites, rich, and 

government officials not to steal. 

 

These works also serve as a repository of extant ( a wide range of these exists in archives 

abroad, while some are located in Radio Nigeria Gramophone archives) Nigerian music, 

especially traditional music which is fast loosing its appeal (for example the various drum 

ensemble repertoire, asiko songs and other folkloric songs
 

because of modernity and 

acculturation). Such works are manifestly used to portray some aspects of Nigerian history 

and culture. They are aired in every nook and cranny of Nigeria, both in the rural and urban 

areas satisfying certain psychological needs of some individuals. This encourages artists and 

musicians to record the type of music. 

 

Psychologists explained that emotional tensions and stress are always present in humans 

which if not released, ultimately result in withdrawn, moody, aggressive and irritable 

behaviours. This ultimately leads to depression, nervous breakdown and insanity in extreme 

cases and predisposes humans to harmful actions; affect personality and disrupt cordial social 

relationships. Musical activities such as music  recording session or music production 

session, and live performances/shows/concerts, help participants and audience to release 

bottled up emotions and tensions thus, meeting/satisfying their psychological needs. One way 

in which recorded works provide tension relief mechanism among Nigerians, is in its 

response to social and political issues (Omibiyi, 1985), the implicit criticism directed at those 

who are at the helms of affairs in recorded songs. In so doing the artists/musicians and their 

audience (the public) get some of their accumulated grievances off their chest. A typical 



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theme, which facilitates the relief of tension, is the ridicule of the elites, the politicians, 

military governments, corrupt officials and police and their corrupt practices for instance in 

Fela Anikulapo Kuti‟s “ITT” and Daura and his group in „Bawan, Allah,Yakubu Gowon         

(Omibiyi, 1985). Similar recorded works with themes concerning dishonesty, poverty and 

economic hardship, love, and injustice, help to relieve tension, promote positive interpersonal 

relationship, dissuade negative or dysfunctional attitudes and help to develop better attitudes 

and new ideas among Nigerians. Leaders are advised to observe good governance, while the 

citizenry are enjoined to be good and law abiding. 

 

Conclusion 

It is evident from the foregoing, that the music recording industry has important functions 

within the society. However, there were some other indirect or over sight functions by which 

the recording industry contributed to the growth and progress of the Nigerian society. Other 

means by which the music sub-sector impacted the society are first, the praise and eulogies 

extolling harmonious, responsible life style and peaceful coexistence among Nigerians by 

artists and musicians in their songs reinforce permissible societal values. Second, though the 

recording industry‟s activity is purely an urban oriented enterprise, it however provides 

recorded music that is listened to in every nook and cranny of Nigerian cities, towns and 

villages. Its products in form of media works provide recorded entertainment available to the 

people through retail outlets. This affords the people, most especially the rural dwellers of 

watching and or listening to their musical idols that they cannot meet thus, assuring the 

people, of a place in urban oriented social life style. Implicitly, while providing entertainment 

for rural people it also serves the purpose of dissuading rural-urban migration since the 

recorded works are also welcome as a change in the communities, thus complementing other 

local recreational facilities.  

 

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