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51 

FOSTERING UNITY-IN-DIVERSITY: AN APPRAISAL OF E. C. 

ARINZE’S MENTORSHIP STYLE AND SELECTED 

COMPOSITIONS 
 

Mr. David Chinedum ARINZE 

Department of Music, 

Nnamdi Azikiwe University, Awka 

dcarinze@gmail.com 

Abstract 

The need for national cohesion in Nigeria despite the ethnic diversities cannot be over-

emphasized. Though ethnic divisions and sentiments still exist, continual efforts are still 

made in different spheres of influence to achieve unity in Nigeria. Mentorship has 

provided enabling environments to foster this (in different fields and professions), and 

music has been one of the viable channels used in preaching national integration. Many 

Nigerian popular musicians have been involved in this effort via music 

composition/production and mentorship. This paper appraised music mentorship and 

composition as a platform and catalyst in fostering unity-in-diversity in Nigeria. It takes 

a historical and exploratory look at E. C. Arinze - a highlife music legend and nationalist 

in Nigeria who practiced this ideology of unity-in-diversity throughout his music career 

– in his mentorship style and in the lyrics of his (selected) original music compositions. 

Keywords: E. C. Arinze , Highlife, Foster, Unity-in-diversity, Nigeria. 

 

Introduction 

Man has always been relating with his environment and beyond that, seeks to also relate 

with his fellow human being. Unity has been a need not just in every individual but also in 

every sphere of the society. History has it that unity-in-diversity is a recurring theme 

in academic environments, religious institutions, national and international leadership 

summits, newspaper or magazine publications, etc. Columbus (2014) opined that: 

Time and again, people of diverse cultures are brought together as a nation 

by some accidents of history; at other times, some in search of economic, 

social and/or political security immigrate to other nations with completely 

different cultural beliefs and lifestyles (p.53). 

 

Sequel to this, leaders are faced with the increasing task of integrating divergent 

beliefs, attitudes and practices of peoples into a whole in order to enable their societies, 

as united entities, withstand the challenges of modern times. Little wonder, uniting 

people from many different cultures has been a founding principle of many countries. In 

agreement with this, Anderson’s study (as cited in Bazzi, Gaduh, Rothenberg & Wong, 

2018) pointed out that throughout history, leaders have introduced policies to foster 

national identity in which citizens will remain connected by shared history and values, 

despite never meeting one another. 

 

Nigeria consists of diverse ethnic groups with diverse cultural backgrounds and value 

systems. Considering this, national integration requires conscious, coordinated and 



 

 
  

Awka Journal of Research in Music and the Arts (AJRMA) Vol. 16, September 2023 

52 

concerted efforts towards having a unified value system that can promote oneness even 

though Nigeria as a heterogeneous society with more than 250 ethnic groups is 

confronted with historical problems that have impeded national integration and unity 

(Falade & Falade, 2013 as cited in Ogunrinade, 2015). This pursuit for national integration 

aims at making a whole out of the different ethnic nationalities (which have human 

resources, natural resources: whether petroleum or solid mineral resources, agricultural 

resources etc.) that make up a nation state (Egbule et al, 2018). Thus, unity-in-diversity 

is beneficial and very possible in any nation, community or organization as long as the 

citizens or individuals come together and work towards it continually through workable 

means or strategies in order to build a united and strong nation. Among all the sectors 

of the Nigerian society, the entertainment sector (including the music and movie 

industry) is actively contributing to the promotion of national integration till date. 

 

Music Composition/Production – A Propelling Tool towards Unity-In-Diversity 

Music is a general phenomenon that cuts across racial, cultural, social, educational and 

economic barriers, which enhances cultural appreciation and awareness. In agreement 

with this, Ojukwu (2017) opined that “in all cultures of the world, experiences have shown 

that music serves as a unifying force bringing together people from different 

communities, races and cultures to agree” (p.102), while Okafor (as cited in Ojukwu, 

2017) was of the view that “Music is…an instrument of change because people digest it 

and consume it as entertainment while it leaves a mark on the psyche that re-directs the 

person towards a new personality, towards a new activity” (p.102). Over the years, Nigeria 

showcased great musical icons that composed and performed musical themes in line with 

continuous national unity, strength and greatness of Nigeria. Examples include Ngozi 

Okonkwo, who sang an unscripted arrangement (Ojukwu, 2017) titled “Nigerian Unity” 

and Nelly Uchendu who sang “Be a true Nigerian”. Such songs were appealing for a positive 

change in order to instill patriotic and nationalistic instinct in the Nigerian society. Other 

popular musicians/music artistes who contributed to the same feat (Channels Television, 

2018) include the following as shown below:  

 

Table 1: List of Artiste, their songs, and contents of unity communiqué 

Artiste Song Content 

Sunny Okosun 
"Which Way 

Nigeria" 

This is a love song about Nigeria our Fatherland. 

Sunny Okosun in this song calls for the way out 

of corruption, inefficiency confronting the 

nation deeply showing concern and calling for a 

way to save the country. 

Onyeka Onwenu Peace Song 

Onyeka Onwenu is a music legend who is 

passionate about the unity of Nigeria. She has in 

her record many Nigerian themed songs 

including “One Love Keep Us Together”, “Unity 

Song”, among others. These songs emphasize the 

theme of love and unity in a world of struggle 

and dreams of staying alive. 



 

 
  

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King Sunny Ade 
"The Way 

Forward" 

In 1993, King Sunny Ade brought together many 

Nigerian artistes to sing "The Way Forward" 

(Part 1 and 2). The track was sung in Yoruba, 

English, Igbo, Hausa, Pidgin, English, among 

others. The song was sung after the annulment 

of the June 12 elections but re-composed in 

2003 as a reminder of what the country passed 

through as the aftermath of the annulment. The 

song calls for unity from all tribes, and 

collaborative efforts of every Nigerian to make 

the nation great. 

Funmi Adams 
"Nigeria My 

Beloved Country" 

This song by Funmi Adams was a household 

anthem in the 80s. Adams who appeared to have 

disappeared from Nigerian music scene was 

popular in the 80’s and 90’s. Her songs were 

aimed at teaching culture and values in young 

children. Another of her songs about Nigeria is 

‘All we need is love,” 

Kush 
"Let’s Live 

Together" 

Kush, a Gospel and R&B music group released 

“Let’s Live Together” as a household anthem in 

the early 2000s song, is a heartfelt appeal to 

Nigerians to live together in peace and unity, and 

a reminder that there is strength in our 

diversity. 

T. Y. Bello “Greenland” 

T.Y. Bello in 2008 released her debut studio 

album ‘Greenland’. The song with the theme of 

love, family and nation expresses optimism in the 

future of Nigeria. It inspires Nigerians to 

liberate themselves from a place of despair to a 

place of hope. 



 

 
  

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54 

Timi Dakolo "Great Nation" 

This soulful song by Timi Dakolo was released in 

November 2012 and has since remained a 

household anthem. The song expresses 

confidence in the greatness of this nation and 

how we can defend the greatness through peace, 

justice and national unity. 

 

Music Mentorship – A Propelling Media for Unity-In-Diversity 

Good mentorship in all endeavor helps in nurturing dreams till actualization. In line with 

this, a Nigerian music entrepreneur, Chukwuebuka Ilochonwu, (This Day Live, 2022) 

opined that many can daily build castles in their dreams easily, but being able to build 

them in the real sense is where the issue lies. He further stated that every dream is 

achievable if a dreamer is well guided by those who are familiar with his terrain. 

Succession (in whatever sector of life) is not in view if proper mentorship is not in place. 

A good mentor will provide an experienced perspective that can aid the mentee see things 

from different angles and identify areas where he or she may be lacking. Mentors also 

help in networking and making connections in the music industry by providing 

introductions that can help bring the mentee to lime light. 

 

A music mentor's role varies depending on the need of the individual; but it can include: 

critiquing performances, providing feedback on compositions, offering advice on career, 

etc. Upcoming musicians (in today’s Nigerian music industry) are benefiting from this 

directly or indirectly. Over the years, some musicians have been involved in mentoring 

young talents of diverse ethnicities by giving them platforms to thrive in their chosen 

careers. In pre-independent Nigeria, Bobby Benson (who is regarded as the father of 

highlife music) mentored many musicians who also grew to the point of having their own 

independent bands. Some of the musicians who were influenced by Bobby Benson include 

Victor Olaiya, Zeal Onyia, Billy Friday, etc. In Nigerian contemporary popular music for 

example, Michael Ajere, also known as Don Jazzy, the Chief Executive Officer of Mavin 

Records (who was also the boss of Mo’Hits Records, which was founded in 2004 and was 

dissolved in 2012) made impacts on some young talented musicians. Some of the artists 

whose careers have been influenced by Don Jazzy’s mentorship include D’banj, D’prince, 

Wande Coal, Dr Sid, Ikechukwu, Tiwa Savage, Korede Bello, Reekado Banks, Rema, 

Ladipoe, Ayra Starr, Crayon, Johnny Drille, etc (Enenaite, 2023). Another example is 

singer and actor, Olubankole Wellington, also known as Banky-W, the boss at Empire 

Mates Entertainment, a company he co-founded with Tunde Demuren in 2002; some of 

the artists whose careers have been influenced by Banky-W include Wizkid, Skales, 

Niyola, Shaydee and DJ Xclusive, who was its official disc jockey.  

 

E. C. Arinze happens to be one of the exemplary Nigerian music legends who practiced 

the ideology of unity-in-diversity in mentorship and in some of his compositions. One of 



 

 
  

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his greatest attributes was his liberality in accommodating various musicians and their 

compositions—irrespective of their tribes or their stylistic tilts (Onwuegbuna, 2012).  

 

The Man E. C. Arinze 

E. C. Arinze (Ogbueshi Eleazar Chukwuwetalu Arinze) was one of the founding fathers of 

what became known as West African brand of highlife music (Homeland news, 2019). His 

contemporaries at that time include E. T. Mensah (of Ghana), Bobby Benson, Victor 

Olaiya, Chris Ajilo and Tunde Amuwo. He was born on the 4th of June, 1930 in Ugamuma 

village, Obosi town, Idemili North LG.A of Anambra state. He was the first of five 

children born to Mr. Nathaniel and Mrs. Esther Arinzechukwu.  

 

His primary education started in St. Mary’s Primary School (i.e. Obosi Central School) in 

his home town and was later transferred to his maternal uncle’s missionary station - St. 

Peter’s School, Ogbete in Enugu. While in the latter school, he became a chorister in the 

school choir and also joined the school marching band where he learned how to play the 

fluegal horn (Onwuegbuna, 2012). After his maternal uncle’s demise, Eleazar was brought 

back to his home town, Obosi. There, he joined the Obosi Central School band where he 

learnt the trumpet. He later proceeded to Teachers Training College where he excelled 

and took up teaching appointment in Obosi Central (Primary) School where he became the 

school’s first bandleader. He was later posted to Central School Onitsha and then Agbor, 

Delta state as teacher and band master too. He also had a music course by 

correspondence from Royal Music Academy in Britain, and was able to score any sound he 

heard. 

 

His Musical Life 

E. C. Arinze’s musical-career-dream materialized in 1952, when he got a six-year contract 

with Empire Hotel, Idioro, Lagos This development led to his immediate resignation from 

his teaching career and his moving down to Lagos with his group of band boys he 

associated with in the East as bandmaster. As he progressed in his career in Empire 

hotel, he later split his band into three more sets/ensembles and fixed Eric Onugha, 

Stephen Amaechi and Agu Norris to coordinate each set because of the growing demands 

for their musical services in various events. It was in this band that musicians including 

late Chief Osita Osadebe (one of his percussionists), played under E. C. Arinze in the 

1950's. E. C. Arinze marketed his music at various locations including University College, 

Ibadan, where he earned a contract with Sigma Club (the biggest club in Ibadan then). 

He also did same in Abeokuta, Ajengunle, Apapa club, Ijebuode and Ijebuigbo. After the 

expiration of his contract with Empire hotel, he got a contract with White horse hotel 

(Abalabi, Lagos), Lido Bar, Ikeja Country Club (formerly European club, Ikeja) and with 

Ikeja Arms Hotel (now Ikeja Airport Hotel). Later, E. C. Arinze was contracted to 

perform at Kakadu Hotel/Night Club (popularly called KKD or “The Magic Spot”) located 

at 258 Herbert Macaulay street, Alagomeji bust stop, Yaba, Lagos. This club was his last 

club of residency in Lagos, where he led one of the most formidable music outfits and 

attracted many foreign dignitaries, judges, magistrates and other national diplomats to 

his entertainment. Some of the professional musicians who played under E. C. Arinze in 

Kakadu Night Club include: his alto saxophonist and deputy - Etim Udoh; his guitarists - 



 

 
  

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Peter King, Victor Uwaifo, and Fred Coker (now Lloyd Baker); his bassists - Tunde 

Oshomide and Charles Ononogbo; and his sidemen/vocalists – Exy Ohunta (who sang, 

composed and recorded some highlife Yoruba songs under the sponsorship and support 

of E. C. Arinze).  

 

E. C. Arinze was also a pioneer member and lead trumpeter (in the trumpet section) of 

the Nigerian Broadcasting Corporation Dance Orchestra in the1950s led by Steve Rhodes 

and later Fela Sowande; his band was also commissioned to perform for some other 

divisions of government agencies up to Federal level. After an outstanding performance 

at Federal Palace hotel (in 1960), where Nigeria was hosting President Hamani Diori of 

Niger republic and his wife, he was officially contracted to perform in all Federal 

Government events and entertain all their august visitors, from that year till the Nigerian 

civil war. He was also one of the legendary musicians who performed on the Nigerian’s 

Independence Day celebration; he also performed alongside E. T. Mensah on the day when 

James Robertson (the outgoing Governor-general) handed over to Dr. Nnamdi Azikiwe. 

As the Nigerian civil war broke out in 1967, E. C. Arinze left Lagos with his family and 

settled in the East till the war ended. He was later summoned to the state house in Enugu 

in 1975 by the East Central State Administrator, who contracted E. C. Arinze to become 

the resident band at the government-owned Premier Garden - Hotel Presidential, Enugu 

(Onwuegbuna, 2012). After experiencing progress for over a decade, Hotel-Presidential 

experienced some administrative challenges which led to operational decline, 

retrenchment of staff, much salary debts, etc. E. C. Arinze’s band was also affected 

since the hotel management could no longer sustain the contract. This led to the 

contract’s termination and his retirement from full-time musicianship in 1989. He handed 

the band’s leadership over to Emma Ikediashi and encouraged them to continue on their 

own. The band started their new musical adventure as “The Black Tops Highlife Band”. 

Afterwards, he performed in the following event centers (still in Enugu) only on special 

occasions: Enugu Sports Club (where he was a registered member), ANAMCO Club, 

O’Neal plaza, Hobbies plaza, Zodiak hotels, Nike Lake Resort Hotel, Golf Club, 82 Division 

Officers Mess (where he performed with the Nigerian Army Band at their “Happy Hour” 

and Tombola Nites). 

 

Later on, Benson Idonije (a Nigeria's known music critic, analyst, broadcaster and former 

manager to Fela Anikulapo-Kuti, who has written several articles about him) engaged E. 

C. Arinze to perform in Goethe institute’s Highlife which took place on 11th December 

1999 and 1st April 2000 in Lagos, where he featured alongside other Nigerian music 

legends including, Chris Ajilo, Tunde Osofisan, Raphael Amarabem, Fatai Rolling Dollar, 

David Bull, Nelly Uchendu, Yisa Akinibosun, Professional Seaguls dance band etc. He was 

also a star guest in Fete de la Musicque - French cultural center music festival, Lagos 

(same year - June 24th) where he performed alongside other music artistes. 

 

E. C. Arinze waxed on vinyl a total of 20 music albums under the sleeve label of DECCA 

Record Company Limited, London in the 1950s and 1960s. However, not all his musical 

works were marketed. His musical works include: Nike Nike, Time for Highlife, Ozo 



 

 
  

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Emena, Ogbuefi Nnamdi Azikiwe, Ife Nkili, Sisi Bisi, Adiakalu Ubosi, Mo Re London, 

Lumumba Calypso, and so on. 

 

E. C. Arinze breathed his last on March 26th, 2015 at his native home, in Ugamuma village, 

Obosi, and was survived of his wife - Adamma (whom he married eight years after the 

demise of his first wife – Edith), four sons (from his first wife), a son (the researcher 

of this study) and daughter from his second wife, and eighteen grandchildren. 

 

His Detribalized Mentorship Style 

E. C. Arinze always had passionate and professional musicians who apprenticed under him 

because of his musicianship and inspiring attributes. He was greatly admired by young 

musicians in those days because of his liberal and detribalized disposition to the 

profession; he made all his personnel have a sense of belonging such that none felt 

inferior. Onwuegbuna (2012) in agreement opined that his most admirable attribute was 

his liberality in accommodating various musicians—irrespective of their language, tribes 

and culture. As a band leader, he gave his sidemen opportunities to develop themselves 

individually and even write their own songs and perform them on his band stand. Idonije’s 

(as cited in Onwuegbuna, 2012) in agreement to the above, opined thus: 

Arinze was highly respected for his musicianship and good qualities as a 

bandleader. He had a genial and fatherly disposition, which attracted 

young, talented musicians to his band. Like the Bobby Benson Orchestra, 

Arinze’s band was a training ground for musicians. The difference was that 

Arinze helped his own musicians to grow and go their separate ways in 

order to establish themselves when they so desired (p. 160). 

Victor Uwaifo (one of his successful mentees - as earlier mentioned) acquired the 

disciplines of a professional guitarist under the supervision of E. C. Arinze until 1964 

when he teamed up with some other mentees of Arinze - Fred Coker (now Lloyd Baker) 

and Osita Osadebe to form a band recognized as “The Central Modernairs” in Lagos. 

Victor Uwaifo also worked with what is now Nigerian Television Authority before forming 

his own band, the Melody Maestros in 1965. He also runs the Victor Uwaifo music 

Academy. He has over 500 songs and 100 records to his credit, with 6 Gold and 4 Silver 

awards (Uwaifo, n.d.). Another guitarist of E. C. Arinze, Lloyd Baker (formally known as 

Fred Coker or “Lord Cokerson” - the guitarist who replaced Victor Uwaifo in Arinze's 

band at the Kakadu night club), was one of the great guitarists in West Africa, who can 

be mentioned along with Victor Uwaifo, Alaba Pedro and Ghana's Kwesi and Ebo Taylor in 

terms of competence and technical dexterity (Idonije, 2012). Lloyd testified thus [in 

Idonije’s (2015) article on E. C. Arinze’s exit]: 

I was the guitarist who replaced Victor Uwaifo in Arinze's band at the 

Kakadu night club. Although I did not stay in the band for too long, Arinze 

was a musician and band leader that I loved, admired and respected very 

much. The band at that time, I also enjoyed playing alongside wonderful 

musicians like the late Etim Udoh on the alto saxophone, and Charles 

Ononogbo - a fantastic bass player who later teamed up with me to form 

the world renowned Asagai Afro Rock Band, together with musical giants 

like Dudu Pukwana, alto sax, and Mongezi Feza on the trumpet (p. 3). 



 

 
  

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In addition, late Charles Ononogbo (also known as Chas Daniel or Charles Onos) - one of 

E. C. Arinze’s bassists and friend to Fred Coker, further commented thus [in Idonije’s 

(2015) article on E. C. Arinze’s exit]: 

…my name was Charles Ononogbo as mentioned above by my good friend 

Lloyd Baker (formally known as Fred Coker). We both met and worked with 

great E. C. Arinze during that era at Kakadu. Lloyd was on guitar and I was 

on the bass. [E. C. Arinze was the] most respected band leader who treated 

his musicians with utmost kindness and respect too. The last time I met up 

with E. C. Arinze was in 1979, fourteen years after I left Nigeria for 

Europe. I met up with my best friend Mr. Kwesi Quenoo (a saxophone 

player) and E. C. Arinze at the Presidential Hotel Enugu; a very memorable 

meeting indeed. I and most fantastic musicians who were lucky to have 

worked with Mr. E. C. Arinze will never forget the great master himself" 

(p. 3). 

 

Another successful mentee of E. C. Arinze is Peter King who was an apprentice 

saxophonist under E. C. Arinze in the late 1950s. Idonije (as cited in Onwuegbuna, 2012) 

revealed Peter King’s admission to the fact that E. C. Arinze was the one who encouraged 

him to travel abroad to study music. While abroad, Peter became the major arranger and 

saxophonist for the international pop group, Bonny M. He returned to the country to 

form his own jazz band in the late 1980s. Currently Peter King, popularly known as P. K., 

has established a school of music in Badagry, Lagos. Another of Arinze’s mentees was 

Late Etim Udoh, a great saxophonist and his deputy in Kakadu Night Club, who later 

became a recording engineer with EMI and Polygram Records. Other mentored musicians 

include Rasaki, Tunde Mabadu and the now successful businessman - Chief Tunde 

Oshurinde - a bass player who also had a stint with Roy Chicago (Idonije, 2012). Bobby 

Benson (a chief pioneer of highlife music in the early 1950s) also admired Arinze’s 

musicianship and mentorship style in Lagos before the civil war and nick-named him – 

“Prince E. C. Arinze – the Gentleman musician”. 

 

E. C. Arinze’s mentorship environment, just like Bobby Benson’s aided musicians to 

develop and form his own musical ensembles. It could be clearly seen that despite his 

being an Igbo, E. C. Arinze’s mentorship benefited non-Igbos more; like Victor Uwaifo, 

Peter King, Victor Olaiya, Etim Udoh, Exy Ohunta, Rasaki, Tunde Mabadu, Tunde 

Oshurinde, Godwin Omobuwa, and many others; thus contributing greatly in fostering 

unity-in-diversity in Nigeria within his musical domain. 

 

His Selected Compositions 

To chronicle the contributions of Nigerian music legends whose compositions have 

fostered unity-in-diversity, one would date back to pre-independence era of Nigeria with 

the likes of E. C. Arinze as one of pioneers of highlife genre. For the purpose of this 

study, three songs composed by E. C. Arinze were selected and textually analyzed - this 

is because they were composed using the three popular Nigerian languages – Igbo, Hausa, 

Yoruba. They are: 

 



 

 
  

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1. N’ike N’ike (Igbo) 

2. Mo Re London (Yoruba) 

3. Yan'uwa Mutaru (Hausa) 

This section deals with presentation and translations of the lyrics of the selected 

compositions of E. C. Arinze. 

N’ike N’ike 

Table 2 - The lyrics and translation of N’ike N’ike 

Lyrics in Igbo Translation of the lyrics into English 

N’ike, n’ike k’anyi ji a-lu olu In strength, strength, is what we are working with 

Na-alu nu n’ike, n’ike Keep working in strength 

N’ike, n’ike k’anyi ji a-lu olu In strength, strength, is what we are working with 

Na-alu nu n’ike, n’ike Keep working in strength 

Luba… luba, luba Keep working… keep working, keep working 

Luba, luba keep working, keep working 

Luba, luba keep working, keep working 

N’ike, n’ike k’anyi ji a-lu olu In strength, strength, is what we are working with 

Na-alu nu n’ike, n’ike Keep working in strength 

Luba… luba, luba Keep working… keep working, keep working 

Luba, luba keep working, keep working 

Luba, luba, luba, ewo keep working, keep working, keep working  

N’ike, n’ike k’anyi ji a-lu olu In strength, strength, is what we are working with 

Na-alu nu n’ike, n’ike Keep working in strength 

 

 Mo Re London 

Table 3 - The lyrics and translation of the refrain of Mo Re London 

Lyrics in Yoruba Translation of the lyrics into English 

E wa, e wa, e wa o (3 times) O come, come, come (3 times) 

E wa gba mi ye Come save me 

Mo wok o mo de London, London ilu oba 

rere 

I travelled to London, the city of the 

just king 

Mo wok o mo d’America, America ilu oba 

to dara 

I travelled to America, the city of the 

good king 

Mo ko letter si won l’Eko, won o da mi 

lohun rara 

I wrote a letter to my people in Lagos 

and they never replied 

Mo ko letter si won ni’le, won fun mi le si 

kan kan 

I wrote a letter to them at home and 

they gave me no response 

E ba mi ki iya mi, e ba mi ki baba mi 

Help me greet my mother, Help me 

greet my father 

E ba mi ki’yawo mi, ke sib a mi se ibere ni 

li se gbogbo e n lo dede 

Help me greet my wife, and ask them 

at home if all is well 

E wa, e wa, e wa o, E wa gba mi ye O come, come, come, come save me 

 

 

 



 

 
  

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Table 4 - The lyrics and translation of the only verse of Mo Re London 

Lyrics in Yoruba Translation of the lyrics into English 

Ose kan ji ko ja ti mo wo courier l’Apapa 

A week has gone by that I boarded a 

carrier at Apapa 

Osu kan ji ko ja, ti mo gbera l’Apapa 

A month has gone by that I departed 

from Apapa 

Mo fi cardi ran se loju omi igba ta de 

Ghana 

I sent a card while on the sea when we 

got to Ghana 

Mo fi cardi ran se loju omi igba ta de 

Gambia 

I sent a card while on the sea when we 

got to Gambia 

Mo fi motor ranse loju omi igba ta de Las 

Balmas 

I sent an address while on the sea when 

we got to Las Balmas 

Gbogbo to sele loju ona ba ti se n lo ni mo 

ko we ti mo saroye 

I wrote and described everything that 

happened while on the journey  

O do to se gege dede ti mo fe se kan le 

London It has been a while I arrived London  

O do dun keji dede ti mo fe se kan le 

America 

It has been two years that I landed on 

America 

 

Table 5 - The lyrics and translation of the end-refrain of Mo Re London 

 Lyrics in Yoruba Translation of the lyrics into English 

Mo ko letter si won l’Eko, won o da mi 

lohun rara 

I wrote a letter to my people in Lagos 

and they never replied 

Mo ko letter si won ni’le, won fun mi le si 

kan kan 

I wrote a letter to them at home and 

they gave me no response 

E ba mi ki iya mi, e ba mi ki baba mi 

Help me greet my mother, Help me 

greet my father 

E ba mi ki’yawo mi, ke sib a mi se ibere ni 

li se gbogbo e n lo dede 

Help me greet my wife, and ask them at 

home if all is well 

E wa, e wa, e wa o, e wa gba mi ye O come, come save me 

E wa, e wa, e wa o, e wa gba mi ye O come, come save me 

 

Yan'uwa Mutaru 

Table 6 - The lyrics and translation of the refrain of Yan'uwa Mutaru 

Lyrics in Hausa Translation of the lyrics into English 

Yan'uwa  fa sai mutaru Please let us come together my people 

Yan'uwa mutaru My people let us come together 

Muhadakai mubadda jahilshi And get rid of illiteracy/ignorance 

Yan'uwa mutaru My people let us come together 

Muhadakai mubadda jahilshi And get rid of illiteracy/ignorance 

Yan'uwa mutaru My people let us come together 

 

 

 



 

 
  

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Table 7 - The lyrics and translation of the only verse of Yan'uwa Mutaru 

Lyrics in Hausa Translation of the lyrics into English 

Ku dubi yawan Arewa See how big the Northern part is 

Ku dawo Yamba, ku Duba See how the Eastern part is also 

Ku Koma gaba ku Duba Go and see how the Western part is 

Bakamar Arewa There is no place like the Northern part 

 

E. C. Arinze was one those music legends who wanted his music to be enjoyed by all and 

sundry. His composition and performance of songs in different Nigerian languages gave 

honor and a sense of belonging to other tribes and not his ethnicity alone. The Igbo song 

“N’ike N’ike” sends a message of encouragement to individuals to keep working 

courageously (in strength) no matter the circumstance. The Yoruba song “Mo Re London” 

narrates about an individual who travelled outside Nigeria and had many adventures in 

London, America, etc but made so much effort to reach out to his family and inquire of 

their welfare and tell them of his adventures but to no avail. The Hausa song “Yan'uwa 

mutaru” was campaigning for a united or collective effort in dealing with 

ignorance/illiteracy in Nigeria. It also preaches that positive development as a nation lies 

on unity.  

Summary and Conclusion 

Every generation of musicians needs mentorship to succeed in their careers irrespective 

of ethnic affiliations. Thus music mentorship should abhor tribal sentiments by all means. 

Also, music composition can continually serve as a tool in building peaceful political 

socialization and integrate the society (into improving opposition to illiteracy, national 

violence and insecurity). This can be achieved when different musicians and music 

investors in Nigeria begin to emulate the legacies and values of the likes of E. C. Arinze 

– a detribalized approach in music composition and mentorship that would actually 

enhance unity-in-diversity in the Nigerian society.  

 

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