The best of Fela Kuti
Tracklist:
Water No Get
Enemy, Mr
Follow Follow,
Observation I No
Crime, Kalakutashow, Excuse O,
Trouble Sleep Yanga
Wake AM
Fela Kuti (born
Olufela Olusegun Oludotun Ransome-Kuti;
15 October 1938 – 2
August 1997), also known as
Fela Anikulapo Kuti or simply Fela, was a
Nigerian multi-instrumentalist, musician, composer, pioneer of the
Afrobeat music genre, human rights activist, and political maverick.
The musical style of Felá is called afrobeat, a style he largely created, which is a complex fusion of
Jazz,
Funk,
Ghanaian/Nigerian High-life, psychedelic rock, and traditional
West African chants and rhythms. Afrobeat also borrows heavily from the native "tinker pan" African-style percussion that
Kuti acquired while studying in
Ghana with
Hugh Masekela, under the uncanny Hedzoleh
Soundz. The importance of the input of
Tony Allen (Fela's drummer of twenty years) in the creation of Afrobeat cannot be overstated. Fela once famously stated that "without Tony Allen, there would be no Afrobeat".
Afrobeat is characterized by a fairly large band with many instruments, vocals, and a musical structure featuring jazzy, funky horn sections. A riff-based "endless groove" is used, in which a base rhythm of drums, shekere, muted
West African-style guitar, and melodic bass guitar riffs are repeated throughout the song. Commonly, interlocking melodic riffs and rhythms are introduced one by one, building the groove bit-by-bit
and layer-by-layer. The horn section then becomes prominent, introducing other riffs and main melodic themes.
Fela's band was notable for featuring two baritone saxophones, whereas most groups were using only one of this instrument. This is a common technique in African and African-influenced musical styles, and can be seen in Funk and
Hip hop. Fela's bands at times even performed with two bassists at the same time both playing interlocking melodies and rhythms. There were always two or more guitarists. The electric West African style guitar in Afrobeat bands are paramount, but are used to give basic structure, playing a repeating chordal/melodic statement, riff, or groove.
Some elements often present in Fela's music are the call-and-response within the chorus and figurative but simple lyrics. Fela's songs were also very long, at least
10–15 minutes in length, and many reaching the 20 or even
30 minutes, while some unreleased tracks would last up to
45 minutes when performed live. This was one of many reasons that his music never reached a substantial degree of popularity outside
Africa. His
LP records frequently had one 30-minute track per side. Typically there is an instrumental "introduction" jam part of the song, perhaps 10–15 minutes long, before
Fela starts singing the "main" part of the song, featuring his lyrics and singing, in which the song continues for another 10–15 minutes. Therefore, on some recordings one may see his songs divided into two parts, Part 1 (instrumental) followed by the rest, Part 2.
His songs were mostly sung in
Nigerian pidgin English, although he also performed a few songs in the
Yoruba language. Fela's main instruments were the saxophone and the keyboards, but he also played the trumpet, electric guitar, and took the occasional drum solo. Fela refused to perform songs again after he had already recorded them, which also hindered his popularity outside Africa.
Fela was known for his showmanship, and his concerts were often quite outlandish and wild. He referred to his stage act as the "
Underground"
Spiritual Game. Fela attempted making a movie but lost all the materials to the fire that was set to his house by the military government in power. Kuti thought that art, and thus his own music, should have political meaning.
It is of note that as Fela's musical career developed, so too did his political influence, not only in his home country of
Nigeria, not just throughout Africa, but throughout the world. As his political influence grew, the religious aspect of his musical approach grew. Fela was a part of an Afro-Centric consciousness movement that was founded on and delivered through his music. Fela, in an interview found in
Hank Bordowitz's "
Noise of the
World", states, "
Music is supposed to have an effect. If you're playing music and people don't feel something, you're not doing shit. That's what
African music is about. When you hear something, you must move. I want to move people to dance, but also to think. Music wants to dictate a better life, against a bad life. When you're listening to something that depicts having a better life, and you're not having a better life, it must have an effect on you."
- published: 26 Jan 2016
- views: 266