The sound of legacy: Cardinal Rex Lawson’s enduring impact

In a split second, tragedy struck. As the driver’s wheels devoured the road, passengers slumped into a heavy slime, lulled by the day’s indulgences – smoke, food, and drink. Cardinal Rex Lawson, the highlife maestro, was among them, resting, oblivious to the fate that loomed. Then, like a crack of thunder, danger snapped him awake. He saw it – the sharp bend, the driver’s faltering hands, the inevitable crash. The vehicle bucked, somersaulted, and plunged into a tree. The silence afterwards was suffocating.

It was on the 16th of January, 1971 that this harrowing scene snatched Lawson from the world, cutting short a life that had already etched itself into the music landscape. At Just 33, he left behind a legacy that still resonates – the rhythms he crafted, the voices he inspired, a testament to a brilliance that burned bright, though all too brief.

A Maestro’s Mosaic: Lawson’s Music Spanned Cultures and Borders

Lawson’s life was a dazzling tapestry of music, woven across West Africa’s vibrant landscape. As a beacon of joy, his melodies united people across borders and languages. A true visionary, Lawson’s genius lay in his boundless creativity and linguistic dexterity. He sang in Kalabari, Igbo, Efik, English, and even languages of Ghana and Cameroon – a testament to his insatiable curiosity and gift for connection. His music transcended boundaries, making him a beloved icon across Nigeria and West Africa. Lawson’s artistry was a masterclass in diversity, his voice weaving together the threads of a rich cultural tapestry.

Against the Odds: The Unlikely Birth of a Legend

Lawson’s arrival on March 4, 1938, was a whispered promise of resilience. Born to a Kalabari father and Igbo mother, his birth was steeped in a poignant paradox. His father, grappling with the weight of a pattern of deaths that had claimed his first three children, bestowed upon him the name Erekeosima – “not worthy of a name” – as if hedging against fate’s cruel whims. Young Rex fought for his life against a brutal smallpox infection, but his mother’s determination proved unstoppable. She sought out traditional healers from beyond the Kalabari community, refusing to give up. Her relentless efforts paid off, and Rex emerged victorious, beating the odds to live a life that forged a name that would echo through the corridors of music history. This underdog narrative only adds to the legend of a man who would go on to become a highlife icon.

From Errand Boy to Orchestra: Lawson’s Harmonious Leap of Faith

In the heart of his Kalabari hometown, Rex Lawson was an unassuming errand boy with an undeniable passion for music – a ‘trumpet playing errand boy’ with big dreams. From Buguma Rex moved to Port Harcourt where a chance suggestion led him to seek out Lord Eddyson, the maestro of Port Harcourt’s Starlight Melody Orchestra. With a mix of hope and determination, Lawson took a leap of faith and approached the legendary musician. The encounter earned him a space in Lord Eddyson’s band and sparked a journey that would yield Victories, an iconic album on Phillips Records, marketed by Polygram Records.

Tragedy Fuels a Rising Star: Lawson’s Breakthrough and Beyond

In 1952, tragedy struck with the passing of Lawson’s father. In a poignant tribute, the young musician brought his band from Port Harcourt to perform at the burial ceremony, a testament to his dedication to family and music. It was in this moment of grief that Rex Lawson’s talent shone through, catching the attention of all who witnessed it. Just 14 years old, he was beginning to make a name for himself as a musician of immense promise – a spark that would soon ignite into a blazing career. Rex Lawson’s journey took a pivotal turn when he was placed under the wing of Sammy Obot, future leader of Ghana’s Professional Uhuru Dance Band. This mentorship sparked a flurry of musical engagements for the young hopeful, and he quickly got swept into the vibrant music scene

Lagos Calling: Lawson’s Finest Hour Begins

Like many aspiring musicians of his time, Lawson knew where the pulse was beating strongest: Lagos. He made the move, immersing himself in Lagos’ thriving highlife scene, learning directly from the masters – Bobby Benson, Roy Chicago, Victor Olaiya, Tunde Amowo, Chris Ajilo, and the incomparable ‘Baby Face’ Paul, Nigeria’s top tenor saxophonist. This whirlwind of experiences honed his craft, before he formed his band known as the Rivers Men. The band had Sunny Brown credited as a great trumpeter and Tony Odilli on conga, amongst others. The Rivers Men became an instant success and were in high demand, receiving invitations to perform across the country, even extending to neighboring countries including Cameroon, where he’d refine a style that would echo through the decades.

A Solo Struggle, A Musical Revelation: Lawson’s Cameroon Chapter

Though documentation of his time in Cameroon is scarce, historical accounts reveal a pivotal chapter in Lawson’s life: he contracted Tuberculosis, forcing his band to return to Nigeria while he remained, solo and struggling. It was during this isolating period that he became deeply immersed in Cameroon’s rich folk music traditions. One song, ‘Oko’, popularized by Manu Dibango in the 1980s, caught his ear and left an indelible mark- in fact, he went on to record his own version of ‘Oko’, a standout that showcased his mastery of rhythmic sing-alongs, with guitar and muted trumpet weaving a captivating spell. This exposure would later seep into his unique sound, as he wobbled his way back to Nigeria, armed with fresh inspiration and a style that was distinctly his own.

Rising to Fame: Lawson’s Explosive Highlife Era

By 1960, highlife had earned its rightful place as a beloved African music genre, and Rex Lawson, a mere 23 years old, was already commanding his own band – The Niger phone Studio Orchestra. The next chapter unfolded in Onitsha, where his band evolved into the illustrious Mayor’s Dance Band of Nigeria. During this period, Rex Lawson’s genius burst forth, yielding an astonishing string of hits: ‘Angelina Pay My Money’, ‘Baby Play Me Wayo’, ‘Ata Bla Woman’, and ‘So Ala Temen’, to name a few. His unique sound was unmistakable, as he belted out ‘Bere Bote’, ‘Ibinabo’, and ‘Jolly Papa’. He even lent his voice to ‘Yellow Sisi’, a track later reimagined by Orlando Owoh in the 1980s. Lawson’s innovation was seismic: he shattered the highlife mold, which had been dominated by Igbo, English, and Yoruba. He also unlocked the Niger Delta sound, giving voice to a region previously unheard on the national stage.

Beyond Highlife: Lawson’s Spiritual and Social Tapestry

‘Tamuno Bo Iboro Ma’, his Kalabari anthem, sent shockwaves across Nigeria, its raw energy and authenticity electrifying audiences. Rex Lawson’s music was infused with a deep sense of spirituality, often weaving religious themes into his lyrics. This is evident in tracks like ‘Jen Bari mie Ma’, a poignant prayer for peace recorded 18 months before Nigeria’s civil war erupted, and ‘Tom Kiri Site’, a heartfelt plea for divine intervention. Lawson’s songs also carried a strong moral undertone, often lamenting the state of the world. ‘Akwa Abasi’, an Efik adaptation of the Lord’s Prayer, exemplified this trait. Yet, he wasn’t afraid to explore more earthly themes, recording songs that spoke candidly of his adventures with women.

Roots and Rhythms: Lawson’s Kalabari Heartbeat

What shines through his diverse repertoire is Lawson’s unwavering pride in his Kalabari heritage. He sang of their history, folklore, and experiences, celebrating his roots without diminishing others. His music was a love letter to his people, a testament to his identity, and a reflection of his worldview. While contemporaries polished their sound, Lawson opted for grit, fusing Bobby Benson’s sophistication with the unbridled power of his Kalabari heritage. The result was a visceral, ethnic sound that spoke volumes of his roots. The Dolphin Cafe Hotel in Onitsha, owned by a certain Udeaja, to whom he dedicated a diss song, was his home turf, where he built a devoted following and a cult of admirers.

Tuning In: How Radio Amplified Lawson’s Reach

In the bustling music hubs of Nigeria’s major towns and cities, radio was the ultimate game-changer. Stations like the Western Nigeria Broadcasting Service (WNBS) and the Nigerian Broadcasting Corporation were the key to stardom, playing highlife and juju music to a captivated nation. WNBS spun highlife and juju tunes, while the NBC dedicated two 30-minute slots weekly to ‘Time for Highlife’, introducing the country to the latest hits. It was through these programmes that Lawson burst onto the scene, quickly capturing most of the radio airwaves. His records dropped in rapid succession, dominating playlists and becoming party anthems that echoed through Nigerian cities.

Yet, it wasn’t just the volume of his output that propelled him to stardom – it was the distinctive quality of his music. At this time, some of his exceptional hits that dominated the airwaves were Angelina Pay My Money, Baby Play Me Wayo, So Ala Teme, Sawale, Bere Bote, Ibinabo, Abari Bi Ya, Udeaja, Love Adure, and Jolly Papa.

Before the Nigerian civil war, Lawson had recorded well over 100 songs that were regularly played on radio and nightclubs across the country and beyond.

War and Melody: Lawson’s Strategic Tunes

During the war, Lawson’s music took a strategic turn. He recorded hits that, let’s say, curried favor with the military elite. ‘Hail Biafra’ was one such track, a tribute to Lt. Colonel Odimegwu Ojukwu. But Lawson’s artistry wasn’t one-dimensional. When Rivers State was liberated from Biafran forces in 1968, he composed the haunting ‘Major Boro’, a tribute to Ijaw nationalist Major Jasper Adaka Boro, who’d led the charge for liberation but met a sudden, tragic end. Lawson also sang ‘Gowon Special’, praising General Yakubu Gowon, the federal military head of state, as Rivers fell under federal control, with Brigadier Benjamin Adekunle – ‘the Scorpion’ – at the helm. His music navigated the complex landscape of war with finesse. And he is also credited for being the first to play the Biafran national anthem at the proclamation of Biafra’s secession on May 30, 1967 – a moment that still echoes in history

From Pastor to Cardinal: The Making of a Musical Saint

As his fame grew, Lawson’s teeming fans showered him with befitting titles. He was initially nicknamed Pastor Jim Rex Lawson, then Bishop, before finally settling on ‘Cardinal’ – a title that stuck. In his own words, “My real name (Rex Lawson) except for Cardinal… given to me by my fans because of my manner of composing music… and everything else.” In a 1965 VOA interview, Lawson explained that his fans gave him these titles due to his spiritual performances, and how his impact, musical philosophy, and religious inclination led to the progression from Pastor to Bishop, Archbishop, and ultimately, Cardinal. This fan-given badge of honor acknowledged his musical prowess and spiritual depth, cementing his legacy as Cardinal Rex Lawson.

Breaking the Mold: Lawson’s Unorthodox Sound Revolution

In many ways, Lawson’s sound defied categorization, blending orchestration with exceptional individual talent. He gave rhythm guitar a starring role, elevating it beyond mere background accompaniment. The saxophone took center stage in Lawson’s band – a bold move in an era where the trumpet reigned supreme. While most highlife bands featured the trumpet as the star instrument, often with the band leader wielding it, Lawson broke the mold. He played trumpet, but knew when to share the spotlight: he discovered an extraordinary alto saxophonist and handed him the mic… or rather, the mouthpiece.

The Maestro’s Magic: Lawson’s Winning Formula

This savvy moves showcased Lawson’s genius – he knew his strengths, and he knew how to amplify them. The result? A distinctive sound that left an indelible mark on highlife music. By conceding the solo to his talented saxophonist, Lawson proved that his ego was secondary to the music – a true mark of a legend. This unique approach, combined with his band’s cohesion, set him apart from the highlife pack. Lawson also knew the secret to highlife success: mastery of both vocals and trumpet. The instrument was more than just a tool – it was the heartbeat of the genre, a symbol of masculine authority. And Lawson wielded it with ease, crafting timeless classics. Rex Lawson’s stage presence was a force to be reckoned with – emotional, infectious, and utterly captivating. He was a true original, celebrated for his contagious sociability, musical vision, and raw individuality.

The Final Chapter: Lawson’s London Legacy

As the Biafra war drew to a close, Rex embarked on a pivotal journey to the UK, where he poured his heart into his final album, “Rex Lawson in London”. But behind the scenes, turmoil brewed: several band members had defected, leaving Rex to pick up the pieces and rebuild from scratch. Undundated, he pressed on, channeling his grit and passion into music.

That’s when legends are forged – in the fire of adversity. His spirit unbroken, Rex continued to create, leaving an indelaceable mark on Nigerian music

The Final Curtain Call: Rex’s Fateful Ride

Rex’s final journey began with a last-minute gig in Warri. He’d signed a contract to perform at Runny Bay on Saturday, January 16, 1971 – the very next day. With his bandmates already en route, Rex stayed back to finalize a loan deal with the Rivers State government, which included a promised bus. Government officials assured him the vehicle would be delivered that Friday, but as the day drew to a close, it never arrived. Undeterred, Rex waited till Saturday, hoping for a breakthrough.

When nothing materialized, he headed to the state house to investigate. Convinced the bus wouldn’t materialize, he scrambled for an alternative ride to Warri, aiming to make it to the performance. It was already 6pm. Despite his sidekick Sunny Brown’s warnings that it was too late, Rex was resolute. He chartered a vehicle for the treacherous trip, embarking on a journey that would become his last.

A meteor that flashed bright, then fell silent. Cardinal Rex Lawson’s vibrant life, just starting to reverberate, was extinguished in a blink. His music, a testament to his spirit, lives on.

Continue to Rest in peace, Rex

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