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Fela Kuti - Today's #FelaFriday installment is from the LP 'Zombie': Listen to "Observation No Crime" here! #yeahyeah
Fela Kuti - "More people know Fela than the name of any president in the history of Nigeria." Read more on TheCable here:
Fela Kuti - Today's #FelaFriday installment is the final album of newly-recorded studio material to be released during his lifetime. Listen to 'Underground System' for more info about the LP here:
Fela Kuti - Learn more about one of the previously lost treasures in Fela’s discography, ‘Perambulator,’ and listen to the full LP here:
Fela Kuti - This week's installment of #FelaFridays is for the 1977 LP 'No Agreement.' "I no go agree make my brother hungry make I no talk..."
Fela Kuti - Did you know in the mid-70s, Fela released 23 albums in less than 3 years? Here's one of them - 'Everything Scatter' - for today's #FelaFridays video.
Fela Kuti - Celebrate #FelaFridays with this week’s #YellowFever! From one of the seven LPs included in the Erykah Badu curated Fela Box Set 4. Full track with commentary here: #YeahYeah
Fela Kuti - Do you know the track "Colonial Mentality"? The second side of Fela's 1997 'Sorrow Tears And Blood' was written following the South African regime's murderous crushing of the Soweto uprising. Watch here for more history:
Fela Kuti - In case you missed the incredible new video from Childish Gambino last week, watch it now and read about the Fela inspiration in HuffPost:
Fela Kuti - Today’s #FelaFriday video features commentary on the hit track “Gentleman.” “I no be gentleman at all o / I be Africa man original / Africa hot, I like am so / I know what to wear, but my friends / don't know”
Fela Kuti - REMEMBERING FELA by Sobo Sowemimo An aburo was chatting with me this evening about how he shared with his friends on a WhatsApp group my affinity for Fela and his music. He then pushed his luck by asking that I “describe what Fela is” to me for him to further share with his friends. I knew what he was trying to make me do was to relive one of my reminiscences of my Fela-following years which I might have discussed with him in the past. Below are the few lines I sent to him now before setting out for home: Fela was (is) the visionary of our time. He came before his time and left taking away too much unrevealed talent. You want to call him a musical prodigy but you know it doesn’t truly capture his essence. If you followed him in the last ten years of his life like I did, you would appreciate that the much the world know of Fela’s music today is just a pinch of the potential the man still had stuffed inside of him by the time he left. His bare-faced activism clearly must have distracted him from fully espousing his all in music during his short life. Fela’s last (unrecorded) compositions (about ten epic songs that he regularly played at the Shrine but never got to record) showed the unbelievable new musical innovations he still had inside of him. In that respect, he was unlike most other enigmas of music that we know who, having advanced in age, would only perform their old popular songs. That was not Fela! Abami Eda kept writing, arranging and performing new and more complex music styles till he passed. He just couldn’t stop evolving. What musical entertainment can exhilarate a youth more than Fela’s live performance at the Africa Shrine? A spectacle! That usually was the experience. You had the best of dance, comedy (in form of Fela’s Yabis), singing, full stage lighting and a full complement of an ‘African Jazz orchestra’ on stage (with about 8 to 10 horns, 4 guitars, two keyboards, three akuba and konga drums, one drum set, about eight female backup singers and a minimum of four beautiful ladies wriggling their waists in the most seductive manner to the heavy groove of Fela’s music) in exchange for the pittance you paid as gate fee. We used to laugh over how guys who believed they were “happening” become dumb in awe of seeing Fela at the Shrine for the first time. No “omo ita” would see Fela face to face and not bow that “craze pass craze”. Was it Fela’s swag you want to talk of or his super athletic gait and figure? His manner of walk into the Shrine or unto the stage (after Baba Ani would have introduced him as “Abami Eda gidi gangan”) had this heroic suaveness to it. He would just glide past to the centre microphone with no awkwardness, holding a smoking stick of cigarette or his “igbo” to calmly say “everybody say yeah yeah!” to announce his arrival, and of course the whole place would have fallen into a trance. Fela was a perfectionist. He would not let a missing beat of any instrument go without correction. His ears were so naturally tuned to musical notes that even before he approached the stage, he would have noted from preliminary performances of his band any string of any of the four guitars that was not in tune and as soon as he gets on stage, you see him making adjustments immediately. I can still picture the way he usually pointed his fingers to his band men, moving them with the beat to sync their play correctly to the music; one of the reasons, most certainly, some of his fans call him “Choir Master”. I can’t really fully describe Fela in words for you to fully appreciate the man the way I do. He was just too much. For me, live musical entertainment ended with the transmutation of Fela. “Transmutation” because, as you know, Fela didn’t really die. He is very much alive in our hearts, in his music and in his message. ~ Ṣobọ Ṣowẹmimọ (04/05/18)
Fela Kuti - Today's #FelaFriday installment is in honor of 'Authority Stealing.' A "ferocious and lyrically exalted attack on the abuse of state power." Find out more and listen here:
Fela Kuti - Favorite Fela lyric?