Fela Kuti
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'''Fela Anikulapo Kuti''' (born '''Olufela Olusegun Oludotun Ransome-Kuti''', [[October 15]] [[1938]] - [[August 2]] [[1997]]), or simply '''Fela''', was a [[Nigeria]]n multi-instrumentalist [[musician]] and [[composer]], pioneer of [[Afrobeat]] music, [[human rights]] [[Activism|activist]], and [[Politics|political]] [[maverick]]. | '''Fela Anikulapo Kuti''' (born '''Olufela Olusegun Oludotun Ransome-Kuti''', [[October 15]] [[1938]] - [[August 2]] [[1997]]), or simply '''Fela''', was a [[Nigeria]]n multi-instrumentalist [[musician]] and [[composer]], pioneer of [[Afrobeat]] music, [[human rights]] [[Activism|activist]], and [[Politics|political]] [[maverick]]. | ||
==Music== | ==Music== | ||
- | The musical style performed by Fela Kuti is called [[Afrobeat]], which is essentially a [[fusion]] of [[jazz]], [[funk]], [[psychedelic rock]], and [[African folk music|traditional African chants and rhythms]]. It is characterized by having African-style percussion, vocals, and musical structure, along with jazzy, funky horn sections. The endless groove is also used, in which a base rhythm of drums, shekere, muted guitar, and bass guitar are repeated throughout the song. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip-hop. 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 almost always over 10 minutes in length, some reaching the 20- or even 30-minute marks, 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 of Africa. His songs were mostly sung in Nigerian [[pidgin]], 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, guitar, and made 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. | + | The musical style performed by Fela Kuti is called [[Afrobeat]], which is essentially a [[fusion]] of [[jazz]], [[funk]], [[psychedelic rock]], and [[African folk music|traditional African chants and rhythms]]. It is characterized by having African-style percussion, vocals, and musical structure, along with jazzy, funky horn sections. The endless groove is also used, in which a base rhythm of drums, shekere, muted guitar, and bass guitar are repeated throughout the song. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip-hop. Some elements often present in Fela's music are the [[Call and response (music) |
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+ | |call-and-response]] within the chorus and figurative but simple lyrics. Fela's songs were almost always over 10 minutes in length, some reaching the 20- or even 30-minute marks, 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 of Africa. His songs were mostly sung in Nigerian [[pidgin]], 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, guitar, and made 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. | ||
==Discography== | ==Discography== |
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Fela Anikulapo Kuti (born Olufela Olusegun Oludotun Ransome-Kuti, October 15 1938 - August 2 1997), or simply Fela, was a Nigerian multi-instrumentalist musician and composer, pioneer of Afrobeat music, human rights activist, and political maverick.
Music
The musical style performed by Fela Kuti is called Afrobeat, which is essentially a fusion of jazz, funk, psychedelic rock, and traditional African chants and rhythms. It is characterized by having African-style percussion, vocals, and musical structure, along with jazzy, funky horn sections. The endless groove is also used, in which a base rhythm of drums, shekere, muted guitar, and bass guitar are repeated throughout the song. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip-hop. Some elements often present in Fela's music are the [[Call and response (music) From Culture Jump to: navigation, search
|call-and-response]] within the chorus and figurative but simple lyrics. Fela's songs were almost always over 10 minutes in length, some reaching the 20- or even 30-minute marks, 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 of Africa. His songs were mostly sung in Nigerian pidgin, 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, guitar, and made 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.
Discography
Year | Title | Label |
---|---|---|
1971 | Live ! (with Ginger Baker) | Regal Zonophone / Pathe Marconi |
1971 | Why Black Man Dey Suffer | Africa Songs Limited |
1972 | Stratavarious (with Ginger Baker) | Polydor / Atco |
1972 | Na Poi | EMI HMV |
1972 | Open & Close | EMI / Pathe Marconi |
1972 | Shakara | EMI / Editions Makossa / Pathe Marconi / Creole |
1972 | Roforofo Fight | Jofabro / Editions Makossa / Pathe Marconi |
1973 | Afrodisiac | EMI/ Regal Zonophone / Pathe Marconi |
1973 | Gentleman | EMI / Pathe Marconi / Creole |
1974 | Alagbon Close | Jofabro / Editions Makossa |
1975 | Noise for Vendor Mouth | Afrobeat |
1975 | Confusion | EMI / Pathe Marconi |
1975 | Everything Scatter | Coconuts / Creoles |
1975 | He Miss Road | EMI / Pathe Marconis |
1975 | Expensive Shit | Soundwork Shops / Editions Makossa |
1976 | No Bread | Soundwork Shop / Editions Makossas |
1976 | Kalakuta Shows | Kalakuta / Editions Makossa |
1976 | Upside Down | Deccas Afrodisia |
1976 | Ikoyi Blindness | Africa Music |
1976 | Before I Jump Like Monkey Give Me Banana | Coconut |
1976 | Excuse O | Coconut |
1976 | Zombie | Coconut / Creole / Mercury |
1976 | Yellow Fever | Decca Afrodesia |
1977 | Opposite People | Decca_Afrodesia |
1977 | Fear Not For Man | Decca Afrodesia |
1977 | Stalemate | Decca Afrodesia |
1977 | Observation No Crime | Decca Afrodesia |
1977 | Johnny Just Drop (J.J.D Live!! at Kalakuta Republic) | Decca Afrodesia |
1977 | I Go Shout Plenty | Decca Afrodesia |
1977 | No Agreement | Decca Afrodesia / Barclay / Celluloid |
1977 | Sorrow, Tears and Blood | Kalakuta |
1978 | Shuffering and Shmiling | Coconut / Celluloid |
1979 | Unknown Soldier | Phonodisk / Uno Melodic |
1979 | I.T.T. (International Thief Thief) | Kalakuta |
1980 | Music of Many Colours (with Roy Ayers) | Phonodisk / Celluloid |
1980 | Authority Stealing | Kalakuta |
1981 | Black President | Capitol |
1981 | Original Sufferhead | Lagos International / Arista |
1981 | Coffin for Head of State | Kalakuta |
1983 | Perambulator | Lagos International |
1983 | Live In Amsterdam | Wrasse |
1985 | Army Arrangement | Kalakuta / Celluloid |
1986 | Teacher Don't Teach Me Nonsense | Polygram / Barclay |
1989 | Beasts of No Nation | Kalakuta / Eurobound / Shanachie |
1989 | O.D.O.O. (Overtake Don Overtake Overtake) | Kalakuta / Shanachie |
1990 | Confusion Break Bones | Kalakuta |
1990 | Just Like That | Kalakuta |
1992 | Underground System | Kalakuta / Sterns |