William Onyeabor - 1977 - Crashes in Love

William Onyeabor

1977 

Crashes in Love

01. Something You'll Never Forget 10:06

02. Ride On Baby 6:30

03. Crashes In Love 6:33

04. Heaven & Hell 4:06

05. Jungle Gods 4:06

Recorded At – Godiac Studio, Enugu

.

Backing Vocals – Nelly, Tessy

Bass Guitar – Willie*

Music track from film "Crashes in Love"

"A Tragedy Of How An African Princess Rejects The Love That Money Buys" by William Onyeabor

May we seize this opportunity to thank those who rendered relentless efforts to make this album a success. Special thanks to Nelly, Tessy, Joe, Joy, Miriam, Mike, Willie, Feddy, Eddy, Emma, Justlin, Tony, Goddy - recording engineer, and many others.

This is the original 1st mix. Stereo, with normal 'electric and acoustic' instrumentation and vocals. The album was later reissued with severe remixing and additional electronic instrumentation. Also, the track 'Jungle Gods' was omitted from the second version. This issue is in stereo, the second version is mono. This first version has a lighter blue color on the cover, and the lower half of the circle on the cover has three lines of text.

William Ezechukwu Onyeabor (March 26, 1946 – January 16, 2017) was a Nigerian musician and businessman, widely regarded as a pioneer of electro Afro-funk. Born into a poor family in Enugu, Nigeria, Onyeabor achieved financial success, enabling him to travel to Europe to study record manufacturing. Some sources suggest he studied cinematography in Russia, though this remains unconfirmed. Returning to Nigeria in the 1970s, he established Wilfilms Limited, a record label, recording studio, and vinyl pressing plant in Enugu.

Between 1977 and 1985, Onyeabor self-released nine albums, including Crashes in Love (1977), Atomic Bomb (1978), Body & Soul (1980), and Anything You Sow (1985). His music blended funk, Afrobeat, and electronic elements, utilizing synthesizers and drum machines—rare in Nigeria at the time—to create a distinctive, futuristic sound. His biggest hit, "Better Change Your Mind," gained popularity in Nigeria and later appeared on compilations like World Psychedelic Classics 3 and Nigeria 70. His lyrics often addressed themes like war and social change, delivered with his vocals and female backing singers.

In the mid-1980s, Onyeabor became a born-again Christian, abruptly abandoning his musical career and refusing to discuss it thereafter. He focused on business ventures, including a semolina flour mill and government contracts, earning the title of West African Industrialist of the Year in 1987. He was also crowned a High Chief in Enugu, where he lived in a lavish mansion, maintaining a reclusive and enigmatic persona.

Onyeabor’s music saw a revival in the 2010s, spurred by Luaka Bop’s 2013 compilation Who Is William Onyeabor?, which introduced his work to a global audience. Despite efforts by Luaka Bop and journalists like Uchenna Ikonne to uncover his story, Onyeabor remained elusive, granting only a rare 2014 BBC 6 Music interview where he stated he created music “to help the world.” A supergroup, the Atomic Bomb! Band, featuring David Byrne and others, toured performing his music, as Onyeabor never performed live himself.

Onyeabor died on January 16, 2017, at his home in Enugu at age 70, following a brief illness. He was survived by his wife, four children (one of whom, Charles Onyeabor, is a musician), and four grandchildren. His legacy endures through his innovative sound, though much of his life remains shrouded in mystery due to his reclusiveness and sparse personal accounts.

William Onyeabor’s Crashes in Love, released in 1977, is a fascinating artifact from Nigeria’s vibrant 1970s music scene, blending Afro-funk, soul, and early electronic experimentation. Subtitled “A Tragedy of How an African Princess Rejects the Love That Money Buys,” this debut album is presented as the soundtrack to a film produced by Onyeabor’s Wilfilms Limited, though no definitive evidence of the film’s existence has surfaced. Onyeabor, a mysterious figure who trained in filmmaking abroad (possibly in France, the U.S., or Russia), crafted a record that stands out for its raw energy, unique instrumentation, and thematic depth. This review dives into the album’s context, musical composition, lyrical themes, production, and lasting impact, drawing on available sources and critical listening.

In the mid-1970s, Nigeria was a hotbed for musical innovation, with artists like Fela Kuti, BLO, and The Funkees shaping the Afrobeat and Afro-funk scenes. Onyeabor, born outside Enugu, Nigeria, emerged during this era with a distinct vision, blending traditional African rhythms with Western influences like funk, soul, and early synthesizers. His debut, Crashes in Love, reflects the era’s optimism and experimentation, as Nigeria’s post-independence cultural boom collided with global sounds. Unlike his later, more electronic-heavy works, this album—often called the “acoustic” version—relies on live instrumentation, showcasing a full band with horns, guitars, and percussion.

The album’s narrative, tied to a supposed film, explores love, faith, and hope, themes Onyeabor frames as universal and enduring. The liner notes poetically describe love as “the key to faith and hope” and warn that without it, “we are but like hollow drums.” This philosophical bent, combined with the album’s subtitle, suggests a story of rejecting materialism for genuine connection—an ambitious concept for a debut.

Crashes in Love (1977) is a stereo recording with a raw, live-band feel, contrasting with the mono, electronic-heavy 1979 remix. The album was recorded with a full band, including drums, hand percussion, horns, guitars, bass, and female backing vocalists, with Onyeabor contributing saxophone and likely organ. The production, credited to Wilfilms Limited, is impressive for its DIY ethos, though the sound quality reflects the limitations of 1970s Nigerian recording technology. The mix is clear but occasionally uneven, with vocals sometimes overshadowed by the instrumentation.

Onyeabor’s use of early synthesizers is minimal compared to his later albums, but the organ’s warm, analog tone foreshadows his electronic evolution. The album’s “acoustic” label (as dubbed by Luaka Bop) is slightly misleading, as electric guitars and organs dominate, but it lacks the drum machines and synth beats of the 1979 version. The stereo mix enhances the album’s dynamism, making it a favorite among vinyl collectors and beatmakers.

The album’s subtitle and liner notes frame Crashes in Love as a conceptual work, tied to a film about an African princess rejecting materialistic love. While the film’s existence is unverified, the music carries a narrative arc, blending themes of love, mortality, and resilience. Tracks like “Something You’ll Never Forget” and “Crashes in Love” grapple with life’s impermanence and the pursuit of authentic connection, while “Jungle Gods” adds a mystical layer. Onyeabor’s lyrics, though sometimes abstract, are delivered with sincerity, and the female backing vocals add emotional weight.

The album’s philosophical tone, as articulated in the liner notes, elevates it beyond typical Afro-funk fare. Onyeabor’s background as a filmmaker (trained abroad, possibly in Russia) likely influenced the album’s cinematic quality, with each track feeling like a scene in an unseen drama.

Crashes in Love was initially a niche release in Nigeria, pressed by Onyeabor’s Wilfilms Records. Its obscurity persisted until Luaka Bop’s 2013 compilation Who Is William Onyeabor? introduced his work to a global audience, followed by reissues of his full discography. The 1977 version, with its live instrumentation and stereo mix, is often preferred by purists over the 1979 remix, which added electronic beats and dropped “Jungle Gods.”

Critics and fans praise the album for its raw energy and infectious grooves, with tracks like “Heaven & Hell” and “Crashes in Love” earning acclaim for their breakbeats and hooks. Onyeabor’s cult status has grown, with admirers like Damon Albarn, Hot Chip, and Madlib likening him to a “Kraftwerk of West Africa.” The album’s rediscovery has cemented its place in the canon of African funk, influencing modern artists and DJs. Its rarity as an original pressing (only a few test pressings exist) adds to its mystique.

The 1979 version of Crashes in Love, reissued by Luaka Bop, is a mono recording with electronic beats, additional vocals, and guitars, but lacks “Jungle Gods.” Some consider the remix “infinitely better” for its forward-thinking electronic elements, while others prefer the 1977 version’s organic warmth. The story goes that Onyeabor lost the original masters, forcing a re-recording, though this remains unverified. The 1977 version feels closer to the era’s Nigerian funk scene, while the 1979 version hints at Onyeabor’s later synth-driven sound.

William Onyeabor’s Crashes in Love (1977) is a captivating debut that blends Afro-funk’s raw energy with philosophical musings on love and mortality. Its live instrumentation, infectious grooves, and cinematic ambition make it a standout in Nigeria’s 1970s music scene, even if its production is rough around the edges. Tracks like “Something You’ll Never Forget” and “Heaven & Hell” showcase Onyeabor’s knack for catchy, thought-provoking funk, while “Jungle Gods” hints at his experimental streak. Rediscovered by Luaka Bop, the album has earned its place as a cult classic, influencing modern artists and crate-diggers alike. For fans of Afrobeat, funk, or outsider music, Crashes in Love is a must-listen, a snapshot of a mysterious artist’s early genius.