Fela Kuti

Every Fela Kuti album in one box: 51 records on 29 CDs, from Koola Lobitos highlife to Underground System, with rarities, two unreleased tracks, the A Slice Of Fela DVD and a 52-page booklet by Chris May.

Before Afrobeat, there was Highlife-Jazz and Afro-Soul. Highlife music, originally from Ghana and widely popular across West Africa, dominated the music scene in Lagos when Fela Kuti returned to the newly independent Nigeria in 1963. Fela had been studying trumpet at Trinity College of Music in London where he met drummer Tony Allen, who also joined him in new group Koola Lobitos as they sought to mix things up by introducing the sounds they had heard in the capital's jazz clubs. The music of Fe…

Sorrow Tears and Blood offers a glimpse into the complicated social, cultural, and political phenomenon that is Nigeria.

Fela used the cover of Ikoyi Blindness to announce his change of middle name from Ransome, which he now considered a slave name, to Anikulapo, which means “he who carries death in his pouch.” The front cover shows Ransome crossed out and Anikulapo added above it. Fela also used the album cover to announce the Africanisation of Africa 70’s name, changing it to Afrika 70. In the title track, Fela draws attention to the economic chasm separating the haves and have-nots of Nigerian society, contrast…

This edition of Original Sufferhead is a major event. With the release of box set #5, and now on this reissue, the title track of this magnificent album is presented in its full-length, 25 minutes 24 seconds glory. While preparing the master disc for the box set, our engineer Jedi, Colin Young, discovered four minutes of “lost” material on the B-side of the original pressing, including a superb keyboard solo by Fela. This had been omitted from subsequent reissues. The restored version used here …

Overtake Don Overtake Overtake was the penultimate album of newly recorded studio material released by Fela before he passed in 1997. Like its immediate predecessor, Beasts Of No Nation (also 1989), and its followup, Underground System (1992), the album finds Fela continuing to campaign for human rights and social change despite the relentless beatings, jailings and general harassment he had received from successive military regimes since the start of the 1970s.

"The Nigerian establishment labelled Kalakuta Republic inhabitants as — ‘hooligans’, ‘hemp smokers’, etc. Noise For Vendor Mouth is Fela’s indifference to that name calling because, for him, people in Kalakuta are really a bunch of hard working citizens, trying to survive in a society riddled with corruption and mismanagement. He adds that the real hooligans are those in authority who resort to political gangsterism, and sometimes military coups in order to resolve constitutional issues. He cons…

The deepest song here is the second track, ""Mr Grammarticalogylisationalism Is The Boss,” which ridicules the notion that speaking ""proper"" English demonstrates superior intelligence, and bemoans the fact that doing so is, unfortunately, a requirement for upward mobility. As the chorus repeats the line “Him talk oyinbo pass English man” (“He talks English better than an Englishman”), Fela lays it down: “The better oyinbo you talk, the more bread you get, school start na grade four bread, B.A.…

"The Kalakuta Show album release was Fela’s undaunted manner of extracting revenge on the military regime that attacked and brutalized him in 1974. The second of such attacks in a space of eight months, Kalakuta Show was an attempt by the Nigerian police to influence the cause of justice. After the first police raid on Kalakuta in April 1974, Fela was charged to court for: ‘possession of dangerous drugs’, and abduction of ‘minors’. However, the evidence presented by the prosecution was easily ex…

Also featuring Ginger Baker, the title track is among Fela’s first overtly political lyrics. His political perspective had evolved during the 1969 / 1970 tour of the US, largely through his friendship with the black-rights activist Sandra Izsadore, who introduced him to the writings of Malcolm X, Stokely Carmichael, Angela Davis and other revolutionary thinkers. By the time Fela wrote “Why Black Man Dey Suffer,” his songwriting and public statements were becoming increasingly critical of the pow…

*2023 stock* "A brilliant album from Fela Kuti – and one that shows him really coming into his own, with that tremendous new sound that would go onto influence decades of musicians! The title track – Roforofo Fight – is a side-long jam that instantly sets a new standard for African funk – skittish drums, a sweet keyboard line that snakily sets the groove, and a wonderful long alto solo that's got even more raspy soul than Fela's vocals! Those vocals are sometimes more broken up, verbally – and h…

*50th Anniversary reissue* These percolating, horn-heavy grooves simmer while Fela Kuti lays down his trademark rants, often in deliberately skewered pidgin English....totally unstoppable in its mix of music and message. His voice, interlocking guitars and percussionist Tony Allen turn grooves that often have 1 or 2 chords into complex statements - minimalism made for dancers.

50th Anniversary Reissue on Igbo Smoke Vinyl. Fela Kuti (1938-1997) was a Nigerian musician, producer, arranger, political radical, outlaw and the originator of Afrobeat. A titanic musical and sociopolitical voice, Fela’s legacy spans decades and genres, touching on jazz, pop, funk, hip-hop, rock and beyond.  1973’s Gentleman is the 7th in the series of celebratory Fela 50th Anniversary reissues. Like its predecessors in the series, this version will be available on exclusive colored vinyl (Igbo…

*2023 stock* "Perhaps the distinguishing factors of records like Open & Close and some of Fela Kuti's other '70s releases are that as much as he liked to ride a groove, he also liked to disrupt it, twist it and turn it, reshape it, only to bring it back to its original shape. There was less of that later in his career" - All Music

"Zombie: Fela in his life time was never ‘a good bed-fellow’ of the military institution. As a political activist, he believed the army should operate under the mandate of a civil government. If national interest compels the armed forces to intervene in government, the army is obliged to hand over power to a new civil government elected by the people and enjoying their mandate. To do otherwise is to usurp power particularly since a soldier’s duty is not to seek a political mandate. For emphasis …

*2023 stock* "Teacher Don’t Teach Me Nonsense: Fela explains the role of the teacher in any society with the concept that: all the things we consider as problems, and all the good things we accept from life as good, begin with what we are taught. The individual teaching begins with when we are children – our mother is our teacher. When we come of school age, our teacher is the school-teacher. At the university, the lecturers and professors are our teachers. After university—when we start to work…

*2023 stock* Fela Kuti deplores the fashion among African women for skin-whitening creams, an example of the post-colonial inferiority complex he believed was holding back the country's development. The song addresses the fashion much as 1973’s “Gentleman” berated African men for adopting European suits and ties. Fela explains that if you catch an “original” fever such as jaundice, you will suffer but, with luck, survive, and your symptoms will fade away. But if you catch an “artificial” (self-i…

*2023 stock* "Johnny Just Drop is talking about Africans who travel abroad only to return home with new values and mannerisms. Since the advent of colonialism in Africa, the education system left Black people with an inferior perception of their culture. Those who are Western educated, are in the habit of repeating untruths about African traditions and heritage, because the discipline to think and act big has not yet become a part of Africa’s present day academic and intellectual traditions. For…

* 50th-anniversary reissue, 2LP on red vinyl * Originally recorded in 1971 at Abbey Road studios in just a few hours, 'Live!' is a collaboration between good friends former Cream drummer Ginger Baker and Nigerian multi-instrumentalist and Afrobeat pioneer Fela Ransome-Kuti and his band The Africa 70.  Featuring a live audience of 150 people who crammed into the studio with them, this is not only a piece of history with some of the most accomplished musicianship you'll ever hear, it's also a real…

* 2022 Small Repress * Over a decade a half after his death, vindication has come to Fela Kuti, Africa’s musical genius. AfroBeat, his gift to the world, is now an international staple on his own uncompromising terms, social content intact. Throughout his life, Fela contended that AfroBeat was a modern form of danceable, African classical music with an urgent message for the planet’s denizens. Created out of a cross-breeding of Funk, Jazz, Salsa and Calypso with Juju, Highlife and African percus…

* 50th anniversary edition of 1971's London Scene, pressed on limited edition white, red, blue splatter vinyl. Complete with a collector's gold OBI strip *Fela Kuti (1938-1997) was a Nigerian musician, producer, arranger, political radical and outlaw, and the originator of Afrobeat. A titanic musical and sociopolitical voice, Fela’s legacy spans decades and genres, touching on jazz, pop, funk, hip-hop, rock and beyond. After graduating from Trinity College of Music (now Trinity Laban Conservatoi…

* 2021 Repress * Knitting Factory Records reissue Fela Kuti’s ‘Army Arrangement’ on vinyl, previously only available as part of the Box Set series. ‘Army Arrangement’ is about Nigeria’s attempt at ‘democracy’ in 1979 after more than a decade of military rule.Bill Laswell’s mix of Army Arrangement for the Celluloid label was an act of gross cultural-arrogance. With Fela in jail on trumped up currency-smuggling charges when the time came to make the final mix, the label approached Dennis Bovell. B…

Knitting Factory Records reissue Fela Kuti’s ‘Army Arrangement’ on vinyl, previously only available as part of the Box Set series. ‘Army Arrangement’ is about Nigeria’s attempt at ‘democracy’ in 1979 after more than a decade of military rule.Bill Laswell’s mix of Army Arrangement for the Celluloid label was an act of gross cultural-arrogance. With Fela in jail on trumped up currency-smuggling charges when the time came to make the final mix, the label approached Dennis Bovell. But Bovell was una…

** In process of Stocking ** The tape of the very first Fela Ransome Kuti recording session has languished in a series of dusty cupboards and damp basements for 60 years. It’s a miracle that it has survived in such fine condition. The original Melodisc single, comprising side A of this release, was for long thought lost until a copy of the session acetate turned up and was reissued as part of the superb Soundway compilation Highlife on the Move (2014). However the two tracks on side B of this al…

Super album, mixing some of the improvisational verve of jazz into Fela Kuti's Afro-funk stew. These four workouts, all sung in Nigerian, are propulsive mixtures of funk and African music, avoiding the homogeneity of much funk and African records of later vintage, done with nonstop high energy. The interplay between horns, electric keyboards, drums, and Kuti's exuberant vocals gives this a jazz character without sacrificing the earthiness that makes it danceable as well. "Jeun Ko Ku (Chop'n Quen…

Includes liner notes by Jacqueline Grandchamp-Thiam, Rikki Stein and Mabinuori Kayode Idowu. Digitally remastered by Pompon (Translab Paris, Paris, France). With the inclusion of Nigerian master musician Fela Anikulapo Kuti's incendiary 1977 single, "Zombie," "Mr. Follow Follow," a typical anti-authoritarian exhortation, and a couple of hitherto-unreleased live cuts from the 1978 Berlin Jazz festival, ZOMBIE finds the iconoclastic singer and bandleader at his electrifying best. The title track, …

Fela Anikulapo Kuti's 1978 Berlin Jazz Festival appearance, here as V.I.P. (Vagabonds in Power), is one of Africa 70's finest performances. V.I.P. castigates Nigerian authority more sizably than any other Fela album for one reason: he verbally beat down the country's power structure in front of a European crowd. It was a big move for the singer (who'd lost his mother, his home, and any sense of physical security in his homeland thanks to Nigeria's thoroughly corrupt military elite). Fela certain…

This two-for-one CD reissue brings together a couple of the more unusual offerings in Fela Kuti's discography. Upside Down, released in 1976, is the usual two-song, half-hour deal, the songs beginning with several minutes of instrumental solo trades before the socially conscious lyrics enter. The song "Upside Down" itself, however, is sung not by Kuti but by Sandra Akanke Isidore. She was a woman who Kuti met during his stay in the United States at the end of the '60s, and who is credited with h…

Personnel includes: Fela Kuti (vocals, soprano saxophone, electric piano, organ); Laspalmer Ojeah (guitar); Femi Kuti (alto saxophone); Oyinade Adeniran (tenor saxiphone); Tajudeen Amimashaun, Achampong (baritone saxophone); Moses Sobo Wale, Akameah (trumpet); Dele Soshimi (keyboards); Lamtey (drums); Benjamin (congas). Producer: Fela Kuti. Reissue producer: Jean-Pierre Haie. Recorded live in Amsterdam, The Netherlands on November 28, 1983. Includes liner notes by Jacqueline Grandchamp-Thiam, Ri…

A record full of magical chants & even more magical grooves (anyone who would wish the part seven minutes into "Zombie" would end has no soul & probably does not have a soul). Fela Kuti's music transcends barriers of taste & culture, due to the inevitable desire of all human beings to throw their hands up & shake their rumps with no remorse.

At 28 minutes in length, the title track boogies from fat funk break to fat funk break as though James Brown possessed the structural ambition of Duke Ellington. Recorded when Fela's 34-piece band was at its apex, this indispensable Fela disc has it all: wavelike call-and-response blowing and singing, thundering-herd percussion, dynamic electric grooves, and potent lyrical invective. The title track excoriates a government no less corrupt today than when it was written.

In Teacher Don't Teach Me Nonsense, Fela explains the role of the teacher in any society with the concept that all the things we consider to be problems and all that we consider to be good in life begin with what we are taught, whether it's by our mothers at home, our teachers at school, lecturers at University or the government beyond that. Who then is the governments teacher? 'Culture and Tradition' says Fela.

Originally released in 1977, this is a studio recording so it has a more polished sound than on the recent Best Best. BTW, none of these tracks are on Best Best... Stalemate and Fear not for Man are the stand outs, but the rest of album is good too. It's another intoxicating organic mixture of African harmonies, bebop, and James Brown. Listen to the samples!

Nigerian musician Fela Anikulapo Kuti specialized in the percolating jam, peppered with idiosyncratic horn stabs and political chants, underpinned with sinuous, interweaving guitar and bass lines, and propelled by Tony Allen's Afrobeat percussion, blending traditional Yoruban rhythms and contemporary James Brown beats. SHUFFERING AND SHMILING is trademark Fela, mixing several lengthy, irresistibly danceable tracks (including "Dog Eat Dog," a collaboration with Art Ensemble of Chicago trumpeter L…

These percolating, horn-heavy grooves simmer while Fela lays down his trademark rants, often in deliberately skewered pidgin English....totally unstoppable in its mix of music and message. His voice, interlocking guitars and percussionist Tony Allen turn grooves that often have 1 or 2 chords into complex statements - minimalism made for dancers.

This is essentially a CD reissue of Fela Kuti's 1972 album Roforofo Fight, with the addition of two previously unreleased tracks from the same era. It's true that Kuti's early-'70s records tend to blur together with their similar groupings of four lengthy Afro-funk jazz cuts. In their defense, it must be said that while few artists can pull off similar approaches time after time and continue to make it sound fresh, Kuti is one of them. Each of the four songs on Roforofo Fight clocks in at 12 to …

Nearly every one of MCA's twofer reissues of the best albums in Fela Kuti's discography is worthwhile, and this pairing of 1980's I.T.T. and 1982's ORIGINAL SUFFER HEAD is no exception. By the early '80s Fela had already honed his intensely polyrhythmic Afrobeat sound to perfection, and these two recordings feature all of the extended vamps, roiling rhythms, searing horns, call-and-response vocals, and political invective he was known for. ORIGINAL SUFFERHEAD marks the debut of Fela's Egypt 80 b…

His mixture of raw energy and sophistication is as remarkable today as it was when he first put it all on wax.

"Monkey Banana/Excuse O" is another gem in the Fela two-albums-on-one-CD reissue series. (By the way, the cover art posted on this page is that of "Upside Down" not "Monkey Banana.") It should be noted that unlike some of the other titles in this series, the song "Monkey Banana" was previously available on the original Celluloid label release of "Zombie" in the mid-1980s. Both the original "Monkey Banana" (with its b-side "Sense Wiseness") and "Excuse O" (with its b-side "Mr. Grammarticalogylisa…

Recorded between 1964 & 1969. Includes liner notes by Mabinuori Kayode Idowu, Jacqueline Grandchamp-Thiam & Rikki Stein.Mojo (Publisher). Intriguing...KOOLA gathers 6 highlife tracks from 1964-68, ranging from the almost-Caribbean via trad jazz to the nascent funk of 'Wayo'....by THE 69 LA SESSIONS [Fela] had discovered African music in California and the 10 tracks are life-affirming slabs of soul music.