Top Greatest Guitar Solos of all Time in Nigeria
Top Greatest Guitar Solos of all Time in Nigeria – The electric guitar has long been an integral part of Nigerian music, from the early highlife and afrobeat genres to contemporary afropop, hip hop and rock. Over the decades, many phenomenal guitarists have emerged from Nigeria, crafting some of the most iconic riffs, licks and solos ever heard on the continent. In this article, we highlight ten of the greatest guitar solos and instrumental passages from Nigerian records. From Fela Kuti to Femi Kuti, Terri and Wizkid, these are the solos that have defined eras and inspired generations of young six-stringers.Top Greatest Guitar Solos of all Time in Nigeria
The Top Greatest Guitar Solos of all Time in Nigeria Are:
1. Mike Akhigbeh on Fela Kuti’s “Sorrow, Tears and Blood”
In 1977, famed Afrobeat pioneer Fela Kuti released one of his most politically charged albums, Sorrow Tears and Blood. The title track features an extended fuzzed-out guitar solo by Mike Akhigbeh, who perfectly captures the raw anger and defiance in Fela’s lyrics protesting the harassment of the Kalakuta Republic commune. Akhigbeh’s solo comes halfway through the song, an angular and crying passage with a bluesy tone to reflect the pain of the victims of state brutality. It showed that the electric guitar was not just for American and European rockers but could give voice to the struggles of post-colonial Africa.
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2. Majek Fashek on “Send Down the Rain”
Reggae-influenced Majek Fashek had one of the earliest Nigerian albums to gain international acclaim with Prisoner of Conscience in 1988. The spiritual track “Send Down the Rain” features one of Fashek’s most melodic and emotive solos, full of crisp bends and smooth vibrato. The solo comes after the chorus as interlude of hope, Fashek’s long notes soaring heavenwards to evoke rainfall after drought. It demonstrates Fashek’s mastery of building dynamics and tension in his solos.
3. Bola Abimbola on Fela Kuti’s “Teacher Don’t Teach Me Nonsense”
Bola Abimbola emerged in the 1980s as Fela Kuti’s most famous guitarist after Akhigbeh. His highlight is the solo on Fela’s 1984 anti-corruption screed “Teacher Don’t Teach Me Nonsense,” a funky call-and-response with the punchy saxophone riffs. Abimbola’s solo mirrors the righteous indignation in Fela’s voice with furious runs up and down the neck during a frenetic musical breakdown. Abimbola shows he can go toe-to-toe with Fela’s powerful horn section.
4. Sonny Okosuns on “Fire in Soweto”
Sonny Okosuns pioneered Ozziddi music in the 1970s, combining reggae and highlife with a political consciousness. His 1976 song “Fire in Soweto” was dedicated to the Soweto Uprising and remains his most famous recording. The track features a searing guitar solo in its outro, with Okosuns’ guitarist wailing mournfully over a dubby reggae groove. The crying guitar evokes the anguish of the Soweto protesters as it builds to an emotional crescendo. It’s an often-overlooked but brilliant slice of reggae guitar work.JAMB portal
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5. Derek Mba on The Mandators “Sunrise”
Funk-rock band The Mandators were at the forefront of the burgeoning Nigerian rock scene in the 1970s. On their 1978 psychedelic jam “Sunrise,” guitarist Derek Mba takes an extended solo displaying slick chops and deft use of wah-wah. Mba seamlessly transitions from smooth melodic phrases to fierce shredding, showing the breadth of his skill. It’s an early showcase of Nigerian guitar virtuosity in a rock context.
6. Laolu Akins on Mike Okri’s “Time Na Money”
One of the funkiest Nigerian guitar parts ever recorded comes courtesy of Laolu Akins on the 1981 Afropop anthem “Time Na Money” by singer Mike Okri. Akins kicks the track off with a catchy riff before leading into an extended solo during a synth interlude. He lays down fiery funk licks drenched in wah-wah, backed up by tight slap bass. It’s an unforgettable showcase of Akins’ stinging tone and syncopated style.
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Live, Study and Work in Canada. No Payment is Required! Hurry Now click here to Apply >> Immigrate to Canada7. Femi Kuti on “Truth Don Die”
As the eldest son of Afrobeat originator Fela Kuti, Femi had huge shoes to fill on guitar. But he came into his own on tracks like 1998’s “Truth Don Die.” The anti-corruption song features one of Femi’s most blistering solos over a driving afrobeat groove led by the horn section. Femi’s energetic solo combines jazz-influenced voicings and fleet-fingered fretboard work, while paying homage to Fela’s raw sound. It demonstrated Femi establishing himself as more than just Fela’s son.Information guide Nigeria
8. Eric Akaeze on Flavour’s “Nwa Baby”
Contemporary highlife star Flavour keeps the vintage guitar tradition alive on tracks like “Nwa Baby” from his 2005 debut album. The introspective ballad features a mournful solo by Eric Akaeze, who makes his guitar gently weep and cry over a lush backing. Akaeze’s emotive playing on the contemplative tune shows the more delicate side of Nigerian guitar.Good morning My Love Message
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9. Mekoyo on Patoranking’s “No Kissing”
While afropop and alte artists dominate Nigeria’s current sound, some are keeping the guitar flame alive like Mekoyo. On Patoranking’s 2018 reggae tune “No Kissing,” Mekoyo delivers a brief but sweet slicing solo. His agile, crisp part proves that guitar solos can still thrive amidst modern, synthetic afrobeats. It’s a masterclass in less-is-more soloing.
10. Tomi Thomas on Adekunle Gold’s “High”
From his early days with alternative band Project Fame to his solo career, Adekunle Gold has shown a penchant for throwback highlife and soul. On his 2019 afropop love song “High,” he enlisted guitarist Tomi Thomas for a quick but tasty bluesy solo. Drawing inspiration from Carlos Santana, Thomas adds some sinewy flavor to the laidback jam. It shows the guitar doesn’t always have to be flashy to be impactful.Romantic love message
11. Terri on Wizkid’s “Soco”
Afropop sensation Wizkid knows how to craft mainstream hits but rarely spotlight’s shredding. That changed on his 2018 collab “Soco” featuring Ceeza Milli, Spotless and Terri. The radio-friendly jam features a 30-second but standout solo by the up-and-coming Terri. His slick six-string work proves that the electric guitar still has mainstream appeal in Nigerian pop.NYSC Portal
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Conclusion
From highlife legends like Fela Kuti to contemporary reggae and Afropop stars, Nigeria boasts a deep catalog of guitar talents. The solos highlighted above represent moments when the six-string took center stage, unleashing some of the most inspired fretwork Nigeria has produced. These guitarists prove that dynamic African guitar did not die out with the traditional genres, but continues to evolve across the musical spectrum. The legacy clearly lives on today in Nigeria’s new generation like Terri, and will undoubtedly be carried forward by young guitarists following in these giants’ footsteps. Nigerian guitar solos not only give voice to the nation’s soul but also offer lessons to guitarists worldwide on melding global rock techniques with African rhythms and musicality.
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