SJOB - 1976 - A Move In The Right Direction

SJOB 

1976

A Move In The Right Direction

01. Country Love

02. No One Cares

03. You Only Live Once

04. Omo Oloro Ito Nje Eyin Awoi

05. Stone Funk

Bass, Agogô, Shekere [Sekere] – Hima Blackie Ottay

Lead Guitar, Rhythm Guitar, Congas – Spark Abiloye

Lead Vocals, Drums, Bongos – Prince Bola

Organ, Piano, Synthesizer [Moog] – Jonnie Woode Olimmah

Vocals [Chorus] – Roy Spiff, SJOB Movement

Recorded and remixed at the EMI Studio Apapa

The SJOB Movement: A Biography (1975–1978)

The SJOB Movement (often stylized as SJOB Movement or simply SJOB) was a groundbreaking Nigerian afro-funk and afrobeat ensemble active primarily in the mid-to-late 1970s. Emerging from the vibrant Lagos music scene during Nigeria's post-civil war cultural renaissance, the band represented a bold experiment in musical democracy and innovation. At a time when Nigerian music was dominated by charismatic frontmen who often exploited backing musicians (referred to derisively as "band boys"), SJOB stood out as a collective of equals, sharing credits, composition, and performance duties. The band's name was an acronym derived from the first names of its core members: Sam (Spark Abiloye), Johnnie (Jonnie Woode Olimmah), Ottah (Hima Blackie Ottay), and Bola (Prince Bola Agbana).

Origins and Formation (Mid-1970s)

The roots of SJOB trace back to the backing musicians for Sonny Okosun's band Ozzidi (or Ozziddi), a popular afro-rock/highlife group in early 1970s Nigeria. Many of the SJOB members — including Prince Bola (drums, vocals), Jonnie Woode Olimmah (keyboards, vocals), Hima Blackie Ottay (bass, percussion), and Spark Abiloye (guitar, congas) — had honed their skills as session players and live performers in this setup. Frustrated by the hierarchical structure common in Nigerian bands, where lead singers like Okosun reaped most rewards while sidemen received little recognition or pay, these musicians sought a more egalitarian model.

Prince Bola Agbana, the band's de facto leader and founder, was a veteran drummer and session musician who had played in various Lagos groups since the early 1970s. Describing his approach, Bola later explained that SJOB was "more like a workshop where people could come in and out without any real commitment," allowing members to maintain side gigs while collaborating as friends. This fluid, collaborative ethos was revolutionary in a scene influenced by figures like Fela Kuti, whose Egypt 80 band exemplified strict leadership.

By around 1975–1976, the core quartet solidified, blending deep afrobeat grooves with funky rhythms, psychedelic elements, spaced-out synthesizer sounds (courtesy of Olimmah's Moog and organ work), and socially conscious lyrics. Their sound evolved from highlife and afro-rock roots into a sophisticated afro-funk style, incorporating congas, bongos, shakers, and electric guitars for a danceable yet experimental vibe.

Breakthrough and Peak Years (1976–1977)

SJOB's debut album, A Move in the Right Direction, was released in 1976 on EMI Nigeria (catalog NEMI 0160). Produced by Odion Iruoje, it became a minor sensation in Nigeria, praised for tracks like "Country Love," "You Only Live Once," "No One Cares," "Omo Oloro," and the instrumental "Stone Funk." The album showcased the band's tight ensemble playing, with shared vocals and compositions credited collectively to "SJOB Movement." It featured heavy afro-funk rhythms, philosophical lyrics about life and society, and innovative production that pushed beyond traditional highlife.

Building on this momentum, the band quickly followed up with Friendship Train in 1977 (EMI NEMI 0273). Often considered their masterpiece, this album elevated their sound with even more fluid grooves, cosmic Moog synthesizers, and infectious hooks. It solidified SJOB's reputation as innovators in "the next step in the evolution of afro rhythms," influencing the underground Lagos dancefloor scene. Tracks from this era highlighted their paradigm-shifting band economy: no single "star," just four equals driving the music forward.

During this period, SJOB toured locally, performed in Lagos clubs, and gained a cult following among fans of afro-funk. Their egalitarian structure allowed flexibility — members continued session work with other artists — but also fostered creativity, resulting in music that felt fresh and unforced.

Name Variations and the 1978 Release

SJOB was sometimes referred to simply as SJOB or SJOB Movement interchangeably on releases and promotions. The "Movement" suffix emphasized their collective, almost ideological approach to music-making.

In 1978, a third album titled Freedom Anthem appeared on Shanu Olu Records, credited to S. Job Organization (or S. JOB Organization). This variation likely stemmed from logistical or contractual issues, as core members Johnnie Woode Olimmah and Prince Bola Agbana were absent from the sessions. Remaining members (possibly Spark Abiloye and Hima Blackie Ottay, augmented by session players) pushed forward to maintain momentum. Tracks included "Oya," "My Friend," "Ayamato," "Kukelu," "Efin Ogiso," "Freedom Anthem," and "Wombiliki," blending afrobeat with reggae influences.

However, Prince Bola has consistently described this release as "apocryphal" — not a true SJOB album, since it lacked the full core lineup. It is often discussed separately in discographies but sometimes grouped under the SJOB umbrella due to stylistic similarities and overlapping personnel.

Decline and Dissolution (Late 1978)

By late 1978, the band's experimental structure proved unsustainable. Without a dominant leader to "galvanize" the group, direction waned. Members pursued individual opportunities: Jonnie Woode rejoined Ozzidi, Prince Bola joined King Sunny Ade's band, and others took session work. The great social experiment in band equality ended, but not acrimoniously — as Bola noted, "even if you didn’t see us playing together under the name SJOB, we were still friends, and still playing together."

SJOB's brief but impactful run left a legacy in Nigerian afro-funk, influencing later reissue culture and global appreciation for 1970s African grooves.

Though active for only a few years, SJOB Movement's albums have been rediscovered and reissued in the 21st century (e.g., by Cultures of Soul, Academy LPs, and PMG/Austrian labels), introducing their music to international audiences via compilations like Nigeria Disco Funk Special. Their emphasis on collective creativity prefigured modern indie band models, and their funky, psychedelic afrobeat remains a hidden gem of 1970s Nigerian music. Prince Bola Agbana continued as a respected session drummer, embodying the enduring friendships that defined SJOB.

SJOB Movement – A Move in the Right Direction (1976)

First off, let's clear the air: the user said "1975 album," but this gem actually dropped in 1976 on EMI Nigeria (catalog NEMI 0160). Close enough—maybe the band was just fashionably late, like that friend who shows up to the party after the cake's been cut but brings the best vibes anyway. Produced by the legendary Odion Iruoje (the man behind many a Nigerian classic), A Move in the Right Direction was the debut from the egalitarian quartet known as SJOB Movement: Samuel "Spark" Abiloye Esse (guitars, congas), Jonnie Woode Olimmah (keys, Moog, vocals), Ottay "Blackie" Hima Ehima Ottah (bass, percussion), and Bolla Prince Bola Agbana (drums, lead vocals, bongos). These guys were ex-backers for Sonny Okosun's Ozzidi, tired of being "band boys" in a scene where leaders hogged the spotlight (and the cash). So they formed a collective where everyone shared credits, compositions, and the groove. Revolutionary? Absolutely. Sustainable? Well... that's another story.

This album is pure mid-1970s Lagos magic: deep afro-funk grooves laced with psychedelic Moog wizardry, fuzzy guitars, and percussion that hits like a polite but insistent knock on your hips demanding you dance. It's not as politically fiery as Fela's output—more philosophical and life-affirming—but it swings harder than a pendulum in a funk factory. Clocking in at around 40 minutes across five tracks (three on side A, two epic ones on B), it's a masterclass in letting songs breathe, jam, and evolve without overstaying their welcome... mostly.

Track-by-Track Breakdown 

Side A:

Country Love (~7:30)

Kicks off with a sunny, highlife-tinged riff that feels like waking up in a Nigerian village with James Brown crashing the breakfast party. Prince Bola's vocals are warm and inviting, crooning about rural romance over bouncing bass from Ottay and Spark's tasty guitar licks. Jonnie's organ bubbles underneath like a pot of jollof rice on the simmer. It's infectious—perfect for convincing your city friends that village life has better Wi-Fi (for the soul, anyway). A solid opener that says, "We're here to make you move, not march."

No One Cares (~6:00)

Here, Jonnie takes drum duties (yes, the keyboard wizard moonlights on kit—multitasking goals), and the mood gets introspective. Lyrics lament societal indifference ("No one cares about your troubles"), but the groove is anything but down: tight funk breaks, congas popping like champagne corks, and a chorus that unites the band in harmonious complaint. Humor alert: In 1976 Nigeria, this track probably resonated like a modern tweet about traffic in Lagos—everyone nods, no one fixes it.

You Only Live Once (~5:00)

Jonnie steps up for lead vocals and tambourine, delivering a carpe diem anthem with philosophical flair. The Moog sneaks in cosmic blips, making it feel like afro-funk meets early space disco. Short and punchy compared to the others—almost like the band saying, "YOLO, so let's not drag this out." It's the motivational speaker of the album: upbeat, funky, and reminding you to dance before the power cuts out.

Side B: Where the Magic (and Jams) Really Happen

Omo Oloro (To Nje Eyin Awo) (~9:00)

Yoruba title translating roughly to something about a rich child and secrets—deep lyrics over an extended jam that's pure psychedelic afro-funk bliss. The beat configurations get complex (shoutout to Bola's drums and Ottay's bass locking in like old friends), and Jonnie's Moog goes full sci-fi, swirling and whooshing like a UFO landing in a Lagos nightclub. This is where the album reveals its "off-kilter" genius: groovy yet experimental, danceable yet trippy. If Fela had a chill cousin who smoked less weed and more synth, this would be his jam.

Stone Funk (~11:00)

The closer—an instrumental monster that's all about the title. Heavy, stoned-out (pun intended) funk with layers of percussion, fuzzy guitar riffs from Spark, and Moog effects that sound like they're beaming in from another planet. No vocals, just pure rhythm hypnosis. It's the track that makes crate-diggers weep with joy and DJs spin for 10 minutes straight. Humorously, it's called "Stone Funk," but it'll get you moving more than sitting like a stone—unless your dance moves are that stiff.

Overall Sound and Legacy

Musically, this is afro-funk at its most innovative: blending traditional Nigerian percussion (agogô, sekere, bongos) with Western funk basslines, psychedelic keys, and that rare Moog spice that predates a lot of electronic experimentation in African music. The production is crisp for the era—thanks to engineers Emmanuel Odenusi and Kayode Salami—capturing the band's live energy without polish overload. It's democratic music: no ego solos, just collective brilliance.

With a touch of humor: Imagine four guys saying, "No more being exploited band boys!" and creating an album so groovy it exploits your feet instead—forcing them to dance against their will. In a scene dominated by big personalities, SJOB was the humble co-op that delivered premium funk without the drama.

Legacy-wise, it was a "minor sensation" in Nigeria upon release, paving the way for their even spacier follow-up Friendship Train (1977). Rediscovered in the 2000s–2010s via reissues (Academy LPs, etc.), it's now hailed as a cult classic in global afrobeat/funk circles—perfect for fans of BLO, William Onyeabor, or early Funkadelic with an African twist. Rated highly on sites like Rate Your Music (~3.5/5 from aficionados) and Discogs collectors (originals fetch hundreds—don't ask about my wallet).