Nigeria music reviews

Wow. Fela Kuti. It's amazing that he hasn't become better known; his music is incredible. He blends orchestra, rock, jazz, and Yoruba music effortlessly. Fela Kuti is one of Nigeria's premier musicians and he has paved to road for Afro-pop music.

Songs like Teacher Don't Teach Me Nonsense and Unknown Soldier really show his political passion and message. If you're into political stuff, get this artist because he is very clear and outspoken about his political views. Fela was (mentally) very involved with Nigerian politics and sung of the corruption and lack of leadership that plague the nation's government even today.

Just as in Nigerian literature, Fela Kuti also sings of the nation's dislike of British colonialism, and the philosophy of the "white man's burden," which is the thought that other races are inferior to whites and that, through colonization and interaction, the whites can "educate" and culture the blacks.

If you aren't into that stuff, you should still get Fela, because he's that good. Now bear in mind, his music gets a little repetitive and "jam band-ish," so don't be surprised if you hear the same riff throughout a song. Songs like "Beasts of No Nation," and "Jingo" are very good and the orchestra's sound plays a large role in this. The accompaniment of horns and trombones and trumpets produces an infectious melody and makes you want to stand up and dance.

It's also very easy to see the roots of Fela's music. The African beat and pulse is what makes his music unique. As said earlier, he blends traditional African music with rock and jazz, concocting a mixture so delightful you will beg for more. His music is upbeat, but calming. It is calm, but urgent. It is arbitrary, but is carefully crafted. If a picture is a thousand words, then Fela Kuti is 9 billion. Now don't get me wrong, I'm not deifying him, because he also has some songs that don't shine so brightly and other songs get repetitive. However, ninety percent of the time, Kuti produces gold.

If you like Fela Kuti you should also check out Fema Kuti, his son. Unlike most movie sequels, this successor does his father, the precedent, justice and is almost as good. Ultimately though, Fela Kuti is the real deal.

Bought this in 2005. Roforofo Fight has to be one of the most intense and tight songs ever recorded. It just doesn't let up! It's like Nigerian King Crimson with Eric Dolphy on alto sax! I like it like that. In some ways, I don't think American people are equipped to handle music like Fela's. We want it melodic and relaxed -- like smooth jazz -- or nonmelodic and intense -- like metal or rap. Fela is melodic and intense. I like Fear and John Coltrane and Blind Lemon Jefferson and Earl Hooker and Black Sabbath and System of a Down and Stevie Wonder and James Brown and Metallica and Ron Carter maybe that's why I like Fela Kuti. The man was a human blast furnace. He could not be tamed. And my girlfriend likes it. So that helps. Fela, in my opinion, was the man who put it all together in the 1970s. Who says 1970s music was bad? Like James Brown, Miles Davis and Led Zeppelin, Fela put out his most out-there, kicking, mindroasting music in 1975. Long live the 25 minute song !!!

Overshadowed by Bob Marley, Fela Kuti is the true non-American Black Musical innovator. Not to take anything away from Tuff Gong's claim to fame, but Fela is a Black Panther/Eldridge Cleaver mixed with Charlie Parker, Miles Davis and Jimi Hendrix.

This selection of his music is a good intro (much like the RED HOT & RIOT CD, which contains intreptations of Fela's Afrobeat by the likes of Macy Gray, Maxwell and Sade), but you really need to get the original albums just to see how he was rolling with his album cover art (talk about political art!), the way he dressed and carried on -- like nothing you've ever really seen.

Oh, get the DVD on Fela MUSIC IS A WEAPON to see the man perform live and drop his knowledge and what's up with Nigeria, the West and the world at large!

I recommend Coffin For Head Of State, Zombie, Expensive Sh^t and Original Sufferhead, but others might tell you diffent. To be truthful, you can't really go wrong with a Fela purchase.

i listened to this while pregnant, then while nursing. now we listen to it at bedtime, and sometimes in the car. the music is so beautiful and soothing, it's one of my favorites in any category.

This is a great CD and I often listen to it without my child around. I've even played it when we have company and they comment on it being good. The music on this CD is very similar to some of the African influenced music on Graceland. Other CDs in the series are as good.

I received this cd as a gift from a friend for my 5 month old daughter. We listen to it every night as part of our bedtime ritual. She loves it and I probably enjoy it at least as much. A very nice alternative to the routine lullaby cd's out there!

I wore out the grooves on the vinyl ... so I had to get the disc, which sounds great. A staple in any music lover's diet.

I got this CD in a local book/CD store's reggae section. As timeless & beautifully as it is, I just want you to know that the music focuses more on the intricate African rhythms than upbeats, as he's from Nigeria & devoted to carrying traditions of Nigeria. Important thenes here are spirituality, mrality, & honor. This music, from conception to production, is a vision immaculately realized. That's why this has earned its reputation as one of the most monumental recordings of the 20th century, not only of this kind of music but ever!

I hope this review has been helpful to you!

What is astounding about this contemporary masterpiece is its absolute ground-breaking and utterly contemporary fusion of innumerable elements. About as experimental and open-hearted as music gets, the endless interweavings of various guitars, heavenly voices and subtle percussion have been killing me softly since it was first released. A masterpiece in any terms.

This was my first Afrobeat purchase and I bought it based on the reviews of others. I was not disappointed - it's soulful and moving, upbeat and serious dance music all at the same time. It makes you appreciate the music even further to have to visualize the heartache that must have been poured into the songs during the writing and production. This was my first, but hopefully not my last Fela album.

Keep in mind, I am a hard-core Fela fan. I love this CD, especially Unknown Soldier. I am not sure though if this is a good CD for the uninitiated. Perhaps, the "Best Of" or something like that. I think songs like Gentleman or Lady are better if you've never heard Fela before. Remember to start slow and work your way up.

Unknown Soldier is a song that goes beyond anything you can imagine. It is 31 minutes long, and super-dope. I don't know what to say, it's like describing the Grand Canyon to someone who's never seen a picture of it. They walk away with a vague understanding, but no idea of its true powers.

Just curious if anyone else does this....I never turn a Fela song off once it has started. It has to play itself out. I can leave the house but the stereo has to stay on. Anybody else do that?

Fela Kuti was more than just a musician, he was a spokesman for the people of his native Nigeria. He brought their concerns to light and gave them a voice on the world stage. "Coffin For The Head Of State" and "Unknown Soldier" are stirring pieces of Afrobeat jazz with intricate arrangements and experimental sounds. But they also provide a scathing commentary on the Nigerian leaders of state. These two songs are compelling on a musical and thought provoking level.

Fela Kuti is simply too much! His music is among the absolute best I know. The combination of his powerful messages and moving instrumentals are beyond description.

fela is one of the very few musicians who refuse to be silenced... even the nigerian govt. could'nt, sadly baba has left us but the legend of his music lives on..... when I was much younger i had the one in a lifetime opportunity to visit his shrine at Ikeja, Lagos.......brilliant, breathtaking, soul warming music, I even got grounded for going because I was but a young girl then and young nigerian girls should not be caught at Fela shrines back home ....but then again I never regretted it he is great, outspoken a proper basket mouth, you have to be nigerian or understand the language to decipher some of what he says but someone with a true appreciation of highlife and its main men would love this......truly nigerian,......thruthful and sometimes saddening....what shall we do without him....well done amazon for feauturing him in your collection..for there is trully noone like Baba himself.

How and where do you begin to analyze"Baba"?Fela,through his music addresses you at your core.A realm that transcends the intellect. Play your Fela tape/cd,relax,let go and allow Fela to guide you into"another underground spiritual--"heaven. "short break"

I first discovered this album back in the mid-1970's and still have my original LP copy, though the grooves are worn out.

It's finally out on CD and none too soon. If you're tired of pre-programmed, pre-kiddie, music-in-a-can, everything-sounds-alike, unoriginal-unimaginative, drum machine-coma-inducing and downright boring music, give this one a spin. It will get you off your derrier(spelling?).

I teach 8th grade in an urban, primarily African American Charter School. I like to open my kids up to a variety of cultural experiences, ranging from their own backgrounds to those very foreign to them. One of the ways that I do this is through music. Well, my kids love "Drums of Passion" so much, that one of them apparently took it home and forgot to return it, so I am here to order another...they listen to this CD so much that they know the words "by heart", even if they don't quite understand them. It is a pleasure to watch them voluntarily play Olatunji's music, rather than beg to listen to popular favorites...if your percussion can win the hearts of 13 year olds, you've got to have something going!

This is excellent traditional African music using various percussion and vocals. Very vibrant. Many tribal sensibilities are found in the rhythms.

"Jingo Lo Ba (Drums Of Passion)" was covered by Santana on their 1969 debut album.

Great traditional music.

Fela is second to none,one before the rest.His music hits me from both right,left and center.Although he is gone but his music liveth forever.I thank him for the vision he saw and sang about for it's all happening today but i wish he were around to yab the govt again.Rest in peace BABA,for i miss you.

Fela is really the ultimate in Nigeria's music scene. He has really, really given so much. I wish there were more like him.

For those who were fortunate enough to see the Abami- Eda himself live,would have appreciated what a Great Philosopher he was.I saw him performing live in concert as a student of the Obafemi Awolowo University, Ile-Ife in 1988 and he took everyone on a roller coaster ride with his yabis, and then the music took over.A great album.

Yes this is one of the best, if not THE best, of Felas recordings. Why then have I only given it one star? For the simple reason that this Terrascape CD is, unless they have corrected their blunder, an absolute travesty. Why? Because, at least on my copy, purchased some 6 years ago, every single sax solo has been virtually eliminated from the mix. You can still here it way off in the distance but this, and I have the original vinyl to compare with, is NOT the original mix. I have played this CD on many different systems and the fault is definitely there. Be very careful before you buy this CD.

Thus Fela introduces the opening track on this album, and from there on, it becomes exceedingly clear what he came into the room for. It was to funk you right into outerspace.

I could explain every track and all the elements and all that mess, but I'm going to keep this simple: If you want to know what funk is, Fela will show you.

Ginger Baker's drumming integrates PERECTLY with the band. You would swear they've been playing together for decades. And he really does manage to display immense virtuosity (on Track 2), but in service to the groove and only in ways that make the music better.

Enough about him though, this is Fela's record. Fela and his band are in top form here. The best rhythms this side of James Brown. The msuic has a lot of drive, and a lot of heart.

Yes this is one of the best, if not THE best, of Felas recordings. Why then have I only given it one star? For the simple reason that this Terrascape CD is, unless they have corrected their blunder, an absolute travesty. Why? Because, at least on my copy, purchased some 6 years ago, every single sax solo has been virtually eliminated from the mix. You can still here it way off in the distance but this, and I have the original vinyl to compare with, is NOT the original mix. I have played this CD on many different systems and the fault is definitely there. Be very careful before you buy this CD.

Thus Fela introduces the opening track on this album, and from there on, it becomes exceedingly clear what he came into the room for. It was to funk you right into outerspace.

I could explain every track and all the elements and all that mess, but I'm going to keep this simple: If you want to know what funk is, Fela will show you.

Ginger Baker's drumming integrates PERECTLY with the band. You would swear they've been playing together for decades. And he really does manage to display immense virtuosity (on Track 2), but in service to the groove and only in ways that make the music better.

Enough about him though, this is Fela's record. Fela and his band are in top form here. The best rhythms this side of James Brown. The msuic has a lot of drive, and a lot of heart.

I've seen Lagbaja live and I have to say this CD doesn't do him justice. There is an impassioned energy to his live show that just isn't present here. I believe this is mostly due to the fact that this is obviously a low budget recording. It sounds as if the majority of the music was programmed on a Korg M1 keyboard. On most tracks, the only real recorded musicians are Lagbaja, some backing vocalists, and percussionists. Even Lagbaja's sax playing is backed up by a canned eighties sounding keyboard horn patch rather than a real horn section. I understand that all the tracks on this CD were taken from Lagbaja's previous Nigerian releases. It is typical now days for recordings made in Nigeria to be very low budget and primarily sequenced on a keyboard. While Nigeria is an artistically rich country it is also financially poor compared with most western nations. Low budget recordings are a necessity in Nigeria, but if the record label that released this in the US really wanted to represent Lagbaja well, they would have gotten his entire band into the studio and recorded it right. There just isn't that energy that you hear on good recordings by Fela Kuti or Sunny Ade.

Also, I agree with a previous reviewer that while Labaja lyrics and persona are interesting, he certainly isn't breaking a lot of new ground. He's obviously living in the shadow of Fela Kuti. Live, Lagbaja has some great grooves and he's obviously a talented musician. He has some good songs and I'm sure many listeners won't be as bothered by the recording quality as I am. Obviously most of the other reviewers here are ecstatic about this CD, but I hope to hear Lagbaja and his band better recorded in the future.

If you're interested the modern sound of Nigeria you'd do better to check out Bola Abimbola. If you just want to hear the modern version of Fela Kuti then listen to his son Femi Kuti. At least his stuff has been captured well on CD.

As a relatively modern Nigerian musician, Lagbaja must undoubtedly live in the shadow of the late great African genius Fela Kuti. Just a little research into Fela will show that the identity that he constructed for himself was so timely and relevant that his political agenda eventually overcame his musical ambitions. Lagbaja has been no less methodical in the construction of his identity. However, as Fela was fascinating for presenting his personal agenda to his audience, Lagbaja's presentation separates his private self to the point that his agenda becomes widely accessible.

The word Lagbaja is Yoruba in origin, and translates loosely as "anyone" or "everybody". In interviews, onstage, and on camera, the performer Lagbaja dogmatically appears with his face masked, sometimes elaborately. He obscures his identity to the general public to better relate to them - in fact to become them. For example, in Nothing for You, he says "I might be forty something/ I might be fifty something/ In my heart, I'm twenty something". Lagbaja could be the person next to you in line at the supermarket; he could be sitting on the senate. The messages of unification and truth that he bases his trilingual lyrics on (which are helpfully translated when necessary in the liner notes in this volume) are meant to express the feelings of the modern Nigerian common man. Rather than focus on the agenda of the traditional tribal chieftain, as Fela had done, he chooses to represent the concerns of post-colonial Nigeria on the most personal level.

However, it should be stated: as interesting as Lagbaja is as a modern Nigerian personality, he does not break as much ground musically as his predecessors. In very different ways, both King Sunny Ade and Fela made great strides in integrating Nigerian musical ideals with colonial European ideas. It cannot be argued that Lagbaja continues their work in the modern soundscape. However, his work does not earn its own title like "highlife" or "afrobeat", respectively. Also, his vocal approach is not as readily available to the Western listener, although this can admittedly be due to my personal Westernized tastes.

The lowdown: To the average Western listener, the songs on We Before Me sounds like something like what one would hear if they were listening in on a band playing in Jabba the Hutt's palace on Tattooine. It's pretty groovy, and strangely familiar (bordering on the cliche), but it feels alien enough to give a sense of "the other" that must be reconciled to fully appreciate its better points.

Masked singer/saxophonist L�gb�j� is in the running for heir apparent to the throne of late Afrobeat king Fela Kuti. This CD is a brilliant example of his rich African music; backed by an 11 piece band, rich percussion (especially African talking drums), horns, deep bass, and socially conscious lyrics.

Opening track `Me and you no be enemy' is a prime example. Lyrics in pidjin English, a call for unity among the various (often volatile) tribes in Nigeria set to darting horns, a lilting rhythm and staccato of talking drums and other percussion.

A mournful horn intro announces `Gengen' which is sung in Yoruba and pidjin English and talks about rumours.

My absolute favourite track is the beautiful horn drenched love song `Nothing for you'. A great song (and video) about his quest to win the love of some beautiful girl.

`Shake body' is a jazzy/funky drum/melodic guitar filled song urging you to dance (as if one needed urging).

`Prayer for the youth' as the name implies, is a prayer for the Nigerian youth. A mellow song filled with a shuffling beat and rolling percussion. `Suuru lere' is a soft, lilting number with shuffling percussion, bells ringing, lots of horns and melodic guitar and a great electric guitar solo.

Great!!!