Ambrose Adekoya Campbell, born Oladipupo Ambrose Adekoya Campbell on 19 August 1919 in Lagos, remains one of the most influential figures in the story of African music in the twentieth century. His career bridged Lagos, wartime Britain and the American music circuit, and his work introduced West African sounds to audiences who had never encountered them before. Through determination, cultural pride, and fearless experimentation, Campbell helped lay the foundations for the global acceptance of African popular music.
Early Life in Lagos
Campbell grew up in a Christian household where music played a central role. His father was a minister and Campbell joined the church choir at a young age. Lagos in the 1920s and 1930s was a vibrant crossroads of sound. Sailors, traders and returning migrants mixed Yoruba chants with imported guitars, palm wine styles and evolving forms of highlife. These influences formed the backbone of Campbell’s musical identity. His style was rooted in Yoruba rhythmic instinct yet flexible enough to absorb new ideas arriving from the Atlantic world.
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Journey to Britain During the Second World War
Like many young Nigerians of his generation, Campbell joined the merchant navy. He sailed with the Elder Dempster Line during the Second World War, a route that brought thousands of West Africans into contact with Europe. By 1945, Campbell was in Britain. On Victory in Europe Day he performed with fellow African musicians in the streets of London. Their spontaneous performance drew a wide crowd and marked Campbell’s first unforgettable impression on British soil.
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The West African Rhythm Brothers
A Landmark in Black British Music
In 1946, Campbell and guitarist Brewster Hughes co founded the West African Rhythm Brothers, one of the earliest African led bands to gain major visibility in Britain. Their music blended palm wine, juju and early highlife with the jazz experiments unfolding in post war London. Caribbean musicians, British jazz players and West African immigrants gathered at their performances, forming one of the first multicultural music communities in modern Britain.
The band became a resident act at the Abalabi Club in Soho, later known as Club Afrique. These venues were lively, influential spaces where Campbell’s vocals and rhythmic sensibility attracted musicians such as Ronnie Scott, Kenny Graham and Phil Seamen. The band also provided musical accompaniment for Les Ballets Negres, recognised as Britain’s first Black dance company. Their work took them on tour across the country and widened the national audience for African music. They even made television appearances at a time when few African artists were invited onto British screens.
Recording Years and Musical Growth
Melodisc and the Sound of a Community
During the 1950s, Campbell recorded extensively for Melodisc Records, a label known for capturing the sounds of London’s growing African and Caribbean communities. Many of Campbell’s early recordings, originally issued on seventy eight rpm discs, were later collected in London Is The Place For Me, Volume Three released by Honest Jon’s Records. This collection preserves essential tracks such as Lagos Mambo, Iku Koni Payin, Omo L’aso, Aye Wa Adara and Odudua. These songs reflect the textured blend of Yoruba rooted songwriting and cosmopolitan musicianship that defined Campbell’s sound.
Highlife Today
In 1968, Campbell issued Highlife Today through Columbia Records. This album marked a refined phase in his music, with smoother arrangements and a fuller band texture. While still grounded in West African rhythm, the album catered to a broader listening audience and displayed Campbell’s ability to adapt without losing cultural authenticity.
Move to the United States
In 1972, record producer Denny Cordell invited Campbell to the United States. There he began a long working relationship with musician Leon Russell. Campbell contributed percussion for Russell’s performances and recordings and toured with him across different states. His connection to Russell’s collaboration with Willie Nelson, One for the Road, became part of his legacy, and Campbell later displayed a gold disc associated with the project. His years in the United States deepened his catalogue and expanded his influence beyond Britain.
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Final Years and Lasting Legacy
Campbell eventually returned to the United Kingdom in 2004 and settled in Plymouth. He passed away there on 22 June 2006 at the age of eighty six. Today, his recordings remain central to understanding the origins of African popular music in Britain. London Is The Place For Me, Volume Three is widely recommended for listeners who wish to experience the depth of his early sound.
Ambrose Adekoya Campbell carried West African music across continents. His artistry helped establish a space for African musicians in Britain’s evolving cultural scene and paved the way for future generations of Nigerian and diaspora artists. His legacy lives on through recordings, the memories of those he influenced and the continued global appreciation of African rhythm.
Author’s Note
Ambrose Adekoya Campbell’s story shows how one musician helped change the soundscape of three continents. From Lagos to London to the American stage, he introduced audiences to the power of Yoruba rooted rhythm blended with emerging global styles. His work with the West African Rhythm Brothers and his later American collaborations demonstrate the reach of his influence. This article highlights his journey, his groundbreaking contributions to British Black music and the lasting imprint he left on African popular music.
References
The Guardian, Ambrose Campbell Obituary, 2006
The Guardian, Deep Roots Feature on Ambrose Campbell, 2006
Honest Jon’s Records, London Is The Place For Me Volume Three, 2006
Discogs, Highlife Today Columbia SX 6081, 1968
