playlist #20 | Fela Kuti: The Black President

Fela Kuti, the legendary Nigerian composer, bandleader, multi-instrumentalist, and political activist, is recognized for establishing the musical genre known as Afrobeat. With his storm-like musical audacity and passion for humanity, Fela’s discography offers an enlightenment that extends beyond mere music.

Water No Get Enemy (Expensive Shit, 1975)

Released during a period of personal turmoil for Fela, “Water No Get Enemy” celebrates water as a symbol of life and resilience as well as stimulating for its era. The song is inspired by a Yoruba proverb about the power of nature, contemplating the need for water in human existence. Fela encourages us to coexist peacefully with nature for a longer and more enlightened life.

The narrative encompassing the album “Expensive Shit” serves as compelling proof of Fela’s unwavering resolve to combat the oppressive actions of the Nigerian regime.

Zombie (Zombie, 1976)

“Zombie” represents the zenith of Afrobeat, fusing traditional African rhythms with subtle hints of funk and jazz. Fela’s rhythmic saxophone melds with African percussions, sparking an irresistible urge to dance as soon as he begins to play.

In terms of lyrics, Fella depicts members of the Nigerian military as soulless robots who have traded their soul for obedience - becoming Zombie. This song is a potent critique of the repressive military government that ruled Nigeria at that time.

Shakara (Shakara, 1972)

In this Afrobeat masterpiece “Shakara,” which translates to “deception” or “drama” in Yoruba, Fela presents a biting criticism of people who boast their riches/wealth without acknowledging the hardships faced by others.

From a musical perspective, Fela reflects the influence of Western jazz and R&B, as well as funk and soul music. His distinctive Afrobeat style becomes increasingly prevalent and inventive, amplifying call-and-response vocals and interweaving tenor with rhythm guitar (backing riff). His compositions grow lengthier, more ambitious, and possess an increasingly hypnotic quality.

Lady (Shakara, 1972)

“Lady” pays tribute to African women and their rights, while criticizing societal standards that oppress them. The titular Lady is an African woman who defies the conventional expectations of women’s behavior in post-colonial Nigerian society. The lyrics suggest that Lady resists patriarchal norms through her actions, and Fela presents her as a figure of both mockery and admiration in an ironic twist.

She go say im equal to man
She go say im get power like man
She go say anything man do im self fit do
She go say im equal to man
She go say im get power like man
She go say anything man do im self fit do
.
.
But lady, no be so
But lady, no be so

Lady na master
Lady na master
Lady na master

Like many of his other works, Fela’s sound is surreal, magical, musically-multifected, and profoundly African, which is why Fela stands as a prominent figure in Afrobeat, regarded as the black president. His stature commands such reverence that no king or ruler would dare challenge him.

Roforofo Fight (Roforofo Fight, 1972)

This funky track explores themes of corruption and hypocrisy within Nigerian society through its infectious grooves and impactful horn sections.

Fela and drummer Tony Allen infused a lively West African beat into the composition, while the horn section contributes an added layer of depth through their spirited interplay. With “Roforofo Fight,” Fela and his follow musicians transformed Afrobeat into a sophisticated art form, setting new standards for global music.

Sorrow, Tears and Blood (Sorrow, Tears and Blood, 1977)

“Sorrow, Tears and Blood” doesn’t possess the vivacious, rebellious energy of “Expensive Shit,” nor the intense assault of “Zombie”. Thie song moves with a gentle yet firm mid-tempo funk groove at an even pace while the horns and saxophones sedately blend into the calm cadences.

“Sorrow, Tears and Blood” is a chill rhapsody of Fela himself who refuses to be defeated in his fight against corruption and injustice, oppression using his music as tools for resistance.

Gentleman (Gentleman, 1973)

“Gentleman” satirizes those who adopt Western culture without truly understanding its implications. The lyrics are deeply rooted in Fela’s Afrocentric perspective, as he targets Africans who choose to attire themselves as ‘gentlemen’ in Western-style clothing, despite the African culture and norm, or climatic heat.

Africa hot, I like am so
I know what to wear but my friends don’t know
Him put him socks, him put him shoe
Him put him pant, him put him singlet
Him put him trouser, him put him shirt
Him put him tie, him put him coat
Him come cover all with him hat
Him be gentleman
Him go sweat all over
Him go faint right down
Him go smell like shit
Him go piss for body, him no go know
Me I no be gentleman like that

[Chorus]
I no be gentleman at all o!

I be Africa man original
I be Africa man original
I no be gentleman at all, at all
I be Africa man original
I be Africa man original

“Gentleman” is considered one of Fela’s finest works, showcasing his distinctive jazz influences while also solidifying Afrobeat’s presence through his unwavering commitment to production and inventive big band orchestration.

(header image credit: Fela Kuti - Water no get enemy)