This biography contains the following:
a. Background
b. Career
c. Real Name
d. Town, State & Country 
e. Age
f. Networth
g. Marital Status
h. Associates

In the early days of highlife music production, the studios were small and basic, with limited equipment and technology. Musicians would often record live, with the entire band playing together in one room, and with minimal overdubbing or post-production work. This gave the music a raw, authentic sound, and allowed the musicians to create a feeling of spontaneity and energy. The vocals were often recorded with a single microphone, which added to the unique character of the music. Producers and engineers like John Malife were crucial in shaping the sound of the music and helping to create a distinctive Nigerian sound.

Despite the limitations of the recording process, the Nigerian highlife sound of the 1950s, 60s, 70s and 80s was incredibly vibrant and alive. The guitars, percussion, and horns were often played with great energy and intensity, and the vocals were filled with emotion and passion. Furthermore, the recordings often had a "live" feeling, as if the listener was right there in the studio with the musicians. This helped to create a sense of connection between the music and the audience, and made the music feel truly alive.

The sound of Nigerian highlife music was also shaped by the influence of Ghanian highlife sounds, which gave it a unique flavor. Musicians like Fela Kuti, Sunny Ade and the likes were influenced by the sounds of Nana Acheampong, Jewel Ackah, Sista Afia, Akosua Agyapong, Akwaboah Snr, Akwasi Ampofo Adjei Gyedu-Blay Ambolley and other Ghanaian highlife artistes, and they incorporated those elements into their own music. This helped to create a new, hybrid sound that was distinctly Nigerian but also had global appeal. Engr. John Malife was among those who were instrumental in bringing this sound to life, and his work with Fela and others helped to spread Nigerian highlife music around the world.

Today, the sound of highlife music has evolved and changed, but the influence of those early recordings can still be heard in modern Nigerian music. The raw energy and emotion of the early recordings continue to inspire new generations of musicians, and the legacy of producers like Engr. John Malife lives on in the sound of Nigerian music today. From Afrobeats to Afro-pop, the influence of highlife music can be heard in many different genres and styles. It's a testament to the lasting impact of those early pioneers and their dedication to creating something new and exciting.

Engr./Prof John Malife was an expert Recording Engineer and Sound Mixer. In late 1960s, he started working for Afrodisia Decca West Africa Limited branched at Yaba, Lagos State. Decca West Africa was a top Recording Company that focused on making Afro-music productions.

John Malife was among those who were behind the finest studio projects for musicians such as Oriental Brothers International Band, Chris Essien Igbokwe, Fela Anikulapo, among others.

He later became the Chief Executive of the NDSS recording company in Aba where Sir Warriors Children recorded their music. Also he had worked for Rogers All Stars Onitsha, Tabansi Studios, Godiac Studios, among others.

Real Name:
Prof/Engr. John Malife (a.k.a Malife)

Town, State & Country:
He hails from Umunya in Oyi LGA of Anambra State, Nigeria.

Born 1942 - ??

Not Estimated 

Marital Status:
Married with kids

Contribution In Highlife Music Industry:
Prof. John Malife's contributions to the Nigerian music industry are immeasurable. As a recording engineer and sound mixer, he was responsible for creating the distinct sound of many iconic Nigerian bands and artists, including Oriental Brothers International Band, Chris Essien Igbokwe, Fela Anikulapo, and many others. He was known for his innovative use of recording equipment and techniques, and his ability to bring out the best in the musicians he worked with. He was a pioneer in the Nigerian music industry, and his legacy continues to live on in the work of the artistes and bands he worked with.

Moreover, his work has shaped the sound of Nigerian music and helped to establish the country as a leading force in the global music scene. In addition to his many musical achievements, Prof. John Malife was also a family man who was deeply devoted to his wife and children. He will be remembered not only for his contributions to Nigerian music, but also for his kindness, generosity, and commitment to his loved ones.

highlife, type of West African popular music and dance that originated in Ghana in the late 19th century, later spread to western Nigeria, and flourished in both countries in the 1950s. The earliest form of highlife was performed primarily by brass bands along the Ghanaian coast.

Igbo highlife is a contemporary musical genre which combines highlife and Igbo traditional music. It first started off in the southeast region of Nigeria, during the 1920s. The genre is primarily guitar-based music, with a rare characteristic blend of horns and vocal rhythms. Igbo highlife lyrics are sung mostly in Igbo with occasional infusion of Pidgin English. One of the most influential composers and performers of the music is Chief Stephen Osita Osadebe whose career spanned over 40 years. Osadebe's discography comprises numerous popular songs including the 1984 hit "Osondi Owendi" which launched him on the world stage as a pioneer of the Igbo highlife genre.