From Lagos schoolboy prodigies to Port Harcourt army bands, Nigerian rock from the 1970s underground burned bright with fuzz, funk, and fearless energy. Combining rock music with the energy of post-war Nigeria, these 9 albums are some of our favorites from the period:
Ofege – Try And Love (1973)
Recorded in 1973 by a group of Lagos secondary school students aged just 15–17, Ofege’s debut Try and Love stands as a remarkable document of youthful genius and Nigeria’s vibrant 1970s rock scene. Formed at St. Gregory’s College and mentored by EMI producer Odion Iruoje, the band blended fuzz-drenched psychedelic rock, Afro-funk, and heartfelt balladry into a sound as sophisticated as it was raw.
BLO – Chapter One (1973)
BLO’s debut Chapter One (1973) stands as a cornerstone of African psychedelic rock, created by the powerhouse trio of Berkely “Ike” Jones (guitar), Laolu “Akins” Akintobi (drums), and Mike “Gbenga” Odumosu (bass) — all veterans of Ginger Baker’s Salt. Uniting Afrobeat roots with fuzz-drenched psychedelia, funk, and late-’60s rock, the album’s eight tracks radiate raw energy and cosmic groove, from the eternal dirge “Chant to Mother Earth” to the Arabic-tinged instrumental “Miss Sagitt.”
The Funkees – Now I’m A Man (1976)
Formed in Eastern Nigeria after the Biafran War, The Funkees became Lagos dancefloor kings before relocating to London in 1973, where they lit up stages at Ronnie Scott’s and recorded two BBC Peel Sessions. Their second album, Now I’m A Man (1976), captures the band at their creative peak, blending Santana-inspired jams (“I’m A Man,” “303”) with Afro-funk burners (“Mimbo”), jungle-inflected chants (“Salam”), and irresistible floor-fillers (“Dance With Me”).
Grotto – At Last (1977)
Born out of St. Gregory’s College in Lagos alongside peers like Ofege, Grotto were teenagers who channeled their love for Hendrix, Santana, and funk-rock into one of Nigeria’s most electrifying school bands. Unlike many student projects of the era, Grotto was a serious live act, sharing stages with Fela Kuti, Tee Mac, Sonny Okosun, and Segun Bucknor while juggling schoolwork and gigs. Their debut, At Last (1977), produced by EMI’s Odion Iruoje, is a bold mix of psychedelic jams, heavy funk grooves, and rock-driven energy, showcasing a youthful fire that belied their age and cemented them as a vital voice in Nigeria’s 1970s rock underground.
Founders 15 – Fire Woman (1977)
Formed in the aftermath of the Nigerian Civil War as part of the army’s 15th Brigade, Port Harcourt’s Founders 15 rose to become one of Nigeria’s tightest and most eclectic bands of the 1970s, standing alongside BLO, The Funkees, and Monomono in the country’s afro-rock pantheon. Known for their jittery funk-rock and genre-bending sound, they released four albums before disbanding, with Fire Woman (1977) often hailed as their finest.
Tirogo – Float (1977)
Tirogo’s Float (1977) stands as a lost gem of Nigeria’s psychedelic rock era, blending fuzzed-out guitars, swirling organs, and heavy funk rhythms with African percussion and raw vocal energy. Formed in Lagos in the mid-1970s, the six-man band—including Wilfred Ekanem, Elvy Akhionbare, Wilfred Iwang, Fumi Onabolu, and Godwin Debogie—crafted a sound that echoed contemporaries like BLO and Ofege while pushing into wilder, more experimental territory. Though short-lived, Tirogo’s only album remains a cult favorite among collectors.
The Apostles – The Apostles (1976):
The Apostles’ self-titled 1976 debut captures the raw power of East Nigeria’s post-war music scene, blending psychedelic rock, soul, and funk into a heavy, electrifying sound. Led by guitarist Walton Arungwa and recorded in Lagos under EMI with Emmanuel Odenusi, the album is driven by scorching guitar work (including Felix “Feladay” Odey’s legendary solo on Never Too Late), Benji Davidson’s swirling organ lines, and the gritty, battle-worn vocals of Chyke Fussion.
Questionmark – Be Nice To The People (1977)
Be Nice to the People (1977) by Question Mark stands as the last great rock LP of Nigeria’s post–civil war underground, produced by Fela’s trusted collaborator Odion Iruoje in the wake of Ofege’s breakout success. Formed by college friends Franklin and Amechi Izuora, Victor Egbe, Chike Okafor, and Uzo Agulefo, the band crafted a bright, clean-cut rock sound steeped in British and American influences, more garage exuberance than Afro-fusion. Tracks like Be Nice to the People, Love, and Scram Out pulse with youthful optimism, emphasising freedom and joy over rebellion.
Jay-U Experience – Enough Is Enough (1977):
Enough Is Enough (1977) by Jay-U Experience — the pseudonym of Nigerian musician Justus Nkwane — is a rare gem of Nigeria’s golden rock-funk era, released on EMI and engineered by disco-boogie talent Goddy Oku. The record opens with the breezy uplift of Reggae Deluxe before diving into a whirlwind of jazz-funk grooves, searing saxophone solos, and finally trippy psych-prog passages reminiscent of early ’70s British rock. Boldly eclectic, the album captures both the restless experimentation of its time and Justus’s own genre-defying spirit.
Nigerian Rock Music Today
In 2025, Nigerian Rock music is in a markedly different era than the 70s, in our recent interview with Afro-Rock artist Clayrocksu we explored some of the events and collaborations keeping the scene alive. Head over to our Instagram to learn more