13-Year legal battle and meager royalties: The plight of legendary musician, Mike Ejeagha

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In a shocking revelation, it has come to light that the legendary Nigerian folklorist, songwriter, and guitarist, Michael Nwachukwu Ejeagharibe, popularly known as Gentleman Mike Ejeagha, has been receiving less than N10,000 per month in royalties from his music management company, Premier Records Limited, despite a court order mandating a review of his royalty rates.

According to Charles Ogbu, an advocate for Ejeagha, the musician entered into a perpetuity contract with the company in the 1960s when it was managed by foreign executives. During that period, Ejeagha received his royalties as and when due, which significantly contributed to his ability to build houses, purchase vehicles, upgrade his musical equipment, and educate his children.

However, the situation deteriorated in the 1980s when indigenous Nigerians took over the management of the company. Royalties almost ceased, and when they did come, the process lacked transparency. In 2006, Premier Records took Ejeagha to court, accusing him of attempting to make a video version of one of the songs signed to them. The case lasted over 13 years, causing immense distress to the elderly musician.

On April 11th, a Federal High Court in Enugu presided over by Honorable Justice I.N Buba entered a consent judgment mandating Premier Records to review Ejeagha’s royalty rate every three years, increase his royalties from 8% to 10% of total earnings, and provide quarterly statements of account. The judgment also stipulated that Ejeagha should receive 20% of earnings from digital downloads, music streaming, and Ring Back Tune platforms, and 50% on synchronization rights.

Despite the court order, Premier Records has failed to comply with the judgment. The company has not reviewed Ejeagha’s royalties, provided account statements, or paid him more than N30,000 per quarter, which amounts to less than N10,000 per month. This is particularly disheartening given the recent surge in popularity of Ejeagha’s music, with his songs trending on various platforms and generating significant traffic.

The revelations have sparked outrage among Ejeagha’s fans and the wider music community, who are calling for justice and fair treatment of the legendary musician. The case highlights the need for greater transparency and accountability in the music industry, especially concerning the management of artists’ royalties.

Also, in a recent Facebook post addressed to Michael Odiong, the Managing Director of Premier Records Ltd, Ogbu reiterated his intention to clarify the financial implications of Ejeagha’s yearly social media trend, which increases traffic on his songs across online platforms. He emphasized the public’s right to know whether the money generated from streaming platforms, including direct payments from Tiktok and others, reaches the original owner of the sound recordings.

Ogbu posed several questions to Odiong, asking whether Premier Records had complied with the 2019 consent judgment (Suit No. FHC/EN/CS/96/2006) that mandated the company to review Ejeagha’s royalty every three years and furnish him with account statements showing the earnings from his songs. He also questioned whether the company had ever paid Ejeagha any sum above 30,000 Naira as quarterly royalties since the judgment.

Furthermore, Ogbu highlighted that prior to the consent judgment, Premier Records was paying Ejeagha a mere 8% royalty from an undisclosed total sum, which he deemed unacceptable in the current music industry. He alleged that the company’s refusal to either review the royalty upwards or pay the 8% on time forced Ejeagha to attempt making a video version of his songs to generate income, leading to a 13-year-long legal battle that has severely traumatized the nonagenarian musician.

All efforts to speak with Premier Records Limited were unsuccessful at the time of filing this news.

Nigerian folklore music legend, Gentleman Mike Ejeagha, has taken social media by storm as his timeless highlife song, “Gwo Gwo Gwo Ngwo”, has sparked a viral dance challenge among content creators and celebrities worldwide.

The dance moves appear to have become a challenge, with many people creating versions of it after popular comedian and content creator, Brain Jotter, pioneered the challenge.

The decades-old song has experienced a remarkable resurgence on TikTok and other social media platforms.

The song’s deep meaning and rich representation of Igbo culture have resonated with today’s generation, propelling it to viral status.

A global competition has emerged, with users showcasing their creativity and talent using the song.

Social media users including celebrities have continued to jump on the dance move, “Gwo Gwo Gwo Ngwo”.

Super Falcons’ star and FC Bay footballer, Asisat Oshoala, and some teammates, in an Instagram post, were seen making the dance moves after they touched down in Bordeaux before the opening ceremony of the 2024 Olympics.

Former Big Brother Naija housemate and actor, Tobi Bakre, also took to the dance challenge with his wife.

Other celebrities, Nollywood actors, dancers, comedians, entertainers, content creators have also jumped on the latest dance trend.

The skit has become Brain Jotter’s most viewed video on Instagram, amassing an impressive four million likes and 500,000 comments.

This phenomenon has not only introduced Gentleman Mike Ejeagha’s music to a new audience but also cemented his legacy as a pioneer of Nigerian folklore music.

Meanwhile, the skit maker, Chukwuebuka Emmanuel Amuzie, popularly known as Brain Jotter has visited the home of highlife legend Mike ‘Gentleman’ Ejeagha, following the massive popularity of a viral video with Ejeagha’s 1983 hit song, “Ka Esi Le Onye Isi Oche.”

His visit came in response to the widespread acclaim of Brain Jotter’s viral dance video set to Ejeagha’s song

Brain Jotter took to Instagram on Tuesday to express his joy, sharing a photo from the visit with the caption;

“So happy I did this. Story coming soon.”

In a video with the comedian, the highlife legend Ejeagha was filled with tears and couldn’t hide his excitement at the renewed fame the skit has brought his way.

Speaking on behalf of his father, Ejeagha’s son expressed gratitude to Brain Jotter for reviving his father’s song, making it trend more than it had in the last 30 years.

”Over thirty-something years that music was recorded but as God might have it, that you brain jotter will be the one to make this song go viral and it will continue to go viral, God bless you.

The song, from Ejeagha’s “Akuko Na Egwu” album Vol. 1, tells the tale of a crafty tortoise deceiving an elephant to win a princess’s hand in marriage.

Despite being released 41 years ago, the track has found new life thanks to Brain Jotter’s skit, in which he humorously mimics the elephant’s pursuit of the tortoise, reflecting the song’s storyline.

In the skit, Brain Jotter and a friend face each other, engaging in a playful leg dance before one chases the other, mirroring the elephant’s chase described in the song.

The rhythmic “Gwo gwo gwo ngwo” sound, representing the elephant’s thumping steps, adds a comedic touch to the performance.

Addressing concerns about profiting from the song, Brain Jotter clarified, “For those who think we exploited him for money, I understand your concerns, and they are valid.”

”I appreciate that you want him to receive value for his hard work, which is very important. However, no money was made off this song for myself.”

”The truth is that all revenue generated from his music goes back to him, his record label, and his production company.”

Additionally, Brain Jotter and his team donated 2 million naira to Ejeagha and his family to help care for the musician and support his family.

“My team and I would like to give you 2 million naira to take care of him and cater for the family,” he stated.

Mike Ejeagha, now 94 years old, is widely celebrated for his unique style of turning folklore and proverbs into captivating music. His tracks are known for their thought-provoking lyrics that teach valuable life lessons, earning him immense respect for his dedication to preserving culture through music.

Ejeagha’s musical journey began in the 1950s when he formed the Merry Makers band. His talent was recognized, and he became a presenter at the Nigeria Broadcasting Service. In 1960, he released his first track, “Ofu Nwaa Anaa” (the only child is gone), marking the beginning of an illustrious career.

Ejeagha is different. Each of his tracks comes with lyrics that teach about life. He does not just sit down to toss his guitar around without passing a message. Music is the food of love; you will love folklore, folktales, and freedom of choice through what comes out as ‘akuko n’egwu’ (story through music).

He said this in an interview with Vanguardngr newspaper last year when he marked his 93-year birthday: “At the end of the Civil War, those of us from the Eastern part of the country needed to get back to life. Without money and infrastructure, the easiest way to keep hope alive was through sports and music. Football blended with Highlife and Pop.

Enugu Rangers emerged from the ashes of defeat to assume leadership in soccer. They won the Amachree Cup in 1971 and went international the same year. The Flying Antelopes became the country’s first double champions in 1974 and by 1976 became the first to win the Challenge Cup three times consecutively. That record still stands.

East Central State Academicals were Manuwa/Adebajo Cup champions in 1971. East Central State Spartans went away with the soccer gold medal of the First National Sports Festival in 1973. They retained it two years later at Lagos ’75.

In music, Stephen Osita Osadebe, Celestine Ukwu, Peacocks, and the Oriental Brothers were part of the healing process. Pop groups emerged from all corners. Bob Miga and his Strangers, Jake Solo, Harry Mosco chose Funkees, Apostles, Founders 15, Aktions, and Lasbrey Ojukwu’s Semicolon, all flourished.

I had special interest in what I would tag Grassroots Highlife. This genre went deeper to appeal to the soul. From Enugwu Ukwu, there was Christopher Okonkwo Asah, better known as Seven Seven. In Oburugo Mgbuisii near Ohaji, Uzoma Odimara led the way. He chose to dress like a woman and adopted ‘Area Scatter’ as his stage name.

Celestine Obiakor and Douglas Chukwueke, also known as Ederi and his Olariche International band, sang in Owere dialect. They were not as deep, but the storytelling angle was not lost.

The greatest of them all, Mike Ejeagha, from Imezi Owa, Ezeagu, used the guitar so effectively to deliver his messages. As you were enjoying the strings, the lyrics sank in so easily. He took Igbo folklore to a higher altitude.

What came out of his music helped to shape society. Ejeagha was not singing about back and front; his sound was not vulgar. Father, mother, and the children could gather in one corner of the house to enjoy music. There was no need for parental control.

Ejeagha was a good teacher. There was so much to learn from his performance, which he called akuko n’egwu. Take the track ‘Omekagu,’ for instance. A king loved his second son more than the heir and did everything possible to show it. The elders spoke against that.

On a certain day, the king sent his beloved son about town on a special horse as a sign that he was King-in-Waiting. The first son, a good flutist, was saddened by the show. He went into lamentations using his flute. The horseman fell off and lay unconscious.

When news got to the king that his anointed was on the way to the Land of No Return, he was shaken. The elders advised him to go apologize to his son. With that done, the flute was sounded again and the half-dead rose. The king was the wiser.

Tracks like ‘Onye Ori Utaba’ (the snuff thief) and ‘Uwa Mgbede Ka Nma’ are as popular. Ejeagha would always back his admonitions with ‘Nnamu gwaram’ (my father told me). In other words, he was reminding society of the role of the father in a child’s upbringing.

When Ejeagha celebrated 91 on April 4, 2021, a special mass was held in his Abakpa Nike, Enugu home. Social Communications Director of the Enugu Catholic Diocese, Father Benjamin Achi, was humbled when the Gentleman stood up to welcome him.

Father Achi said: “Gentleman Mike Ejeagha, I love to address you this way, and I said I would ask you, why in all the titles that many Igbo men love to take, you chose Gentleman. Many men of your caliber would prefer Chief, Sir, Doctor, etc.”

The priest threw a verbal bomb. “There are people who go by the name Your Excellency, and I, sometimes, do not like to address them by Excellency because some of them are not even good, not to talk of being Excellent.”

Ejeagha’s mother was a good dancer, but his love for music germinated at Coal Camp, Enugu. He lived in the same compound with one Moses ‘Moscow’ Aduba, a guitarist who always entertained people with a friend, Cyprian Uzochiawa.

By 1950, Ejeagha had formed the Merry Makers band. That effort led to recognition when he was made a presenter at Nigeria Broadcasting Service. In 1960, his first track, ‘Ofu Nwaa Anaa’ (the only child is gone), was released.

With about 350 recordings at the National Archives, Ejeagha has 33 albums to his name. He was certified by the University of Nigeria Nsukka and reawakened by the duo of Amarachi Atammah and Charles Ogbu. There is a documentary, “Gentleman,” by Michael Ike. Mike Ejeagha lost his first wife in 1963, remarried in 1966, and has nine surviving children.

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