Showing posts with label Afrobeat. Show all posts
Showing posts with label Afrobeat. Show all posts

Sunday, November 4, 2012

Collection Essentials #2: Zombie

Fela Kuti

In the same shared student lodging in Minneapolis that I discovered Old and in the Way my mind was blown by another essential disc. 

Ned Wood was a fellow fast order cook at Valli Pizza, the 24-hr greasy spoon where I worked. He was a tall guy with bent but wide shoulders. Gentle as a child but as quick witted as monkey in the jungle, Ned had an amazing collection of music.  Back in 1978 he estimated it to hold about 1000 LPs. Of course, he had been lucky enough to work at Positively 4th Street, a local disc-orium, and so had exploited a staff discount to good effect.

Ned was one of those people who, at various stages of life, took unwitting responsibility for my musical education.  Thanks to him I discovered Bob Marley as well as Eddie and the Hot Rods. The Flaming Groovies were another favourite of his, not to mention Elvis Costello and The The.

One early morning as were cleaning up the kitchen he said he’d bring me in some Fela the next shift.  I shrugged. It was late. I smelled like pizza dough. I wanted to get some sleep.   True to his word, the next shift we shared together he slipped a C-90 into my palm and said, “I think you’ll like this.”

Now, at that point I had not heard a single note of African music. So I didn’t rush right out and listen to it, but at some point in the next weeks or months I pushed the play button on my Teac deck.

Old and in the Way grew on me steadily over repeated listenings. Fela’s Zombie simply cocked a revolver and blew my head off in less than a minute.  From the hypnotic guitar riff that opened the album and led immediately to Fela’s fierce staccato sax, joined quickly by a chorus of jeering trumpets, I can honestly say I had NEVER even imagined music such as this. But now that I heard it, it seemed to strike some deep inner chord that embraced the sound as a birthright.  This was not a record that grew on you.  It was a record that grabbed you by the collar and slapped you in the face to wake you up.


Zombie-o, zombie (Zombie-o, zombie)Zombie-o, zombie (Zombie-o, zombie)

Zombie no go go, unless you tell am to go (Zombie)

Zombie no go stop, unless you tell am to stop (Zombie)

Zombie no go turn, unless you tell am to turn (Zombie)

Zombie no go think, unless you tell am to think (Zombie)

Tell am to go straight
 A joro, jara, joro

No break, no job, no sense

A joro, jara, joro

Tell am to go kill

A joro, jara, joro

No break, no job, no sense

A joro, jara, joro

Tell am to go quench

A joro, jara, joro

No break, no job, no sense

A joro, jara, joro

Go and kill! (Joro, jaro, joro)

Go and die! (Joro, jaro, joro)

Go and quench! (Joro, jaro, joro)

Put am for reverse! (Joro, jaro, joro)

Joro, jara, joro, zombie wey na one way

Joro, jara, joro, zombie wey na one way
J
oro, jara, joro, zombie wey na one way

Joro, jara, joro

Attention! (Zombie)

Quick march!

Slow march! (Zombie)

Left turn!
Right turn! (Zombie)

About turn!
Double up! (Zombie)

Salute!
Open your hat! (Zombie)

Stand at ease!
Fall in! (Zombie)

Fall out!
Fall down! (Zombie)

Get ready!
Halt!
Order!
Dismiss!

Zombie was Fela’s breakthrough album in the USA though it was his 27th! Taking it to the military that ran Nigeria, the song was a huge hit back home as well, with people marching past like dead men and chanting “Zombie” whenever they sighted a soldier.

The military no longer rule Nigeria but this is an article from today’s newspaper.

Fear is gripping Nigeria's northeastern city of Maiduguri with many men fleeing after the alleged execution style killings of around 40 young men, mostly teenagers, who residents say were rounded up and shot.

"All male residents have left the neighbourhood ... Those that remain are women, children and elderly men," said resident Fatima Mustapha.

The city is the stronghold of an insurgency by Boko Haram Islamists, blamed for the death of hundreds of people in northern and central Nigeria since 2009.

"The neighbourhood has been under siege since yesterday (Friday) with soldiers taking over the entire area," said Mustapha, a resident of the Gwange area where a retired army general, Mohammed Shuwa, was shot dead on Friday.

She said the men had fled fearing a heavy handed military response to the murder of the general who was being buried on Saturday.

A military source on Friday declined to comment on Thursday's killings saying only that if such shootings had taken place, they would have been "unjustified".

The killings came on the same day that Amnesty International accused Nigerian security forces of massive rights violations, including summary executions, in its campaign to crush the Islamists.

Residents said troops conducting raids in areas of Maiduguri on Thursday separated males in their teens and twenties from older men and shot them.

In the Kalari neighbourhood they told the young men "to lie face down on the ground," then asked the rest to look away, one resident said.

"All we heard were gunshots. They shot them on the spot," said the elderly religious leader, who did not want to be named, adding that the troops did the same in three other neighbourhoods.

Most Maiduguri residents were on Saturday shut up at home.
Residents spoke of a heavy military presence in many areas of the city.

Boko Haram's insurgency in northern and central Nigeria and the state's military response are believed to have left more than 2800 people dead since 2009.

The music, as you can see remains as relevant today as when it was originally released.  I have never been without this record in my collection since 1978 and listen to it frequently.

     Track Listing:
01.    Zombie
02.    Mr. Follow, Follow






Wednesday, April 25, 2012

Hot Music on a Cold Night: Afrobeat Hard Funk


Afrobeat grooves for tonight. 

It was cold and rainy from before sun up till sun set.

Packed the kids up and took them off to see Dr Suess at the cinema.

House full, wouldn’t you know.

So we had hot chocolate on a cold sidewalk.

Kids are in bed at last.

Back to work tomorrow morning bright and early.

Love the cover of this album but dig the music more.

Fela, Tony Allen, Antibalas Afrobeat Orchestra, The Ruwenzoris and more.

All steaming stonking grooves to warm your chilly bones.

Good Evening!


            Track Listing:
            01 Wanna Do My Thing (Matata)
02 Battle of the Species (Antibalas Afrobeat Orchestra)
03 Wakafrika (Manu Dibango)
04 Blo (Blo)
05 Watchi Wara (Bantous Jazz)
06 Nefertiti (Wisdom)
07 N.E.P.A. (Never Expect Power Always) [Tony Allen]
08 Simbarere (Antonio Carlos)
09 Fefe Naa Efe (Fela Kuti)
10 Handsome Boy (E Wara), Pts. 1 and 2 (The   Ruwenzoris)
11 Afro Funk (Afro Funk)
12 Hihache (Lafayette Afro Rock Band)



Tuesday, June 14, 2011

Fela's Soul Mate: Ebo Taylor


Ebo Taylor
The luscious slipstream of West African music tonight bends toward Ghana, home of the grand old man of cool, Ebo Taylor. If Victor Olaiya, the Evil Genius of Highlife taught Fela Kuti how to play trumpet thereby helping to give birth to afrobeat, Ebo Taylor is the artist whose music equally embraces highlife’s incredible lightness of being as well as afrobeat’s urgent insurgent groove.

Born in 1936 Ebo Taylor played in and led a number of bands, such as The Stargazers and the Broadway Dance Band in Ghana throughout the 1950s and 1960s.  In 1962 he led the Black Star Highlife Band to London where other African musicians, including Fela Kuti, were learning their art. In fact, for a while Ebo and Fela studied together and shared their passion for blending highlife with the new sounds of jazz, R&B and rock ‘n roll they encountered in Europe. Both men returned to Africa, Fela to Nigeria and Ebo to Ghana next door. Over the years Ebo developed a sound that at times was similar to his Nigerian friend’s hard hitting, pile driving political funk but which always remained distinct and unique.

Ebo Taylor is the master of guitar and his brand of afrobeat has a different weight and feel to the leading sax lines of Fela’s. At the same time, while you could never be in any doubt about where Fela stood on the political and social issues of the day, you could listen to his music forever and never really get any closer to the ‘human’ Fela. Listen to tracks like Love and Death  or What is Life by Ebo Taylor however, and you get a very real sense of the personal human dramas and dilemmas of the singer.  But with no compromise on funkiness or grooviness.

Ebo Taylor is well into his seventies now but still plays music. He recently played his first European dates since the 1960s and earlier this year saw the release of Life Stories a compilation of some of his best work from the 1970s. Only now becoming known to the non-specialist, non-African audience, thanks to some of his tracks being sampled by hip-hop artists in the USA, the broader (if belated) ‘discovery’ of Ebo Taylor is a glorious new chapter in one of the most exciting African musical stories.

The Washerman’s Dog is very excited about this music and only hopes that Ebo Taylor will continue to make and reissue his music for many years to come.  Thank you sir!

         Track Listing:
         01 Heaven
02 Atwer Abroba
03 Victory
04 Ohiani Sua Efir
05 Kwaku Ananse
06 Peace on Earth
07 Aba Yaa
08 Ene Nyame Nam 'A' Mensuro
09 Tamfo Nyi Ekyir
10 Love and Death
11 Ohye Atar Gyan
12 Yes Indeed
13 Mumude
14 What Is Life
15 Etuei
16 Egya Edu

Listen here



Saturday, May 14, 2011

Fight the Power: Fela Kuti Remembered

Twenty years ago, in another country and another time, I went down to a club called First Avenue to witness two musical mammoths share the stage.  Fela Kuti for the first hour. Jimmy Cliff for the second!  At the time Fela was about the only African music I knew and I thought he was absolutely from a different world. How could anyone make such grooving, moving, urgent, angry and arrogant music?   He seemed in some way to represent the very end of Music itself. Nothing better could ever be made.
Nigeria Anti-corruption poster

In the intervening years, I’ve had the humble pleasure of exploring the wonders of so many other brilliant African musicians: Grand Kalle, Farka Toure, Orchestre Poly-Ritmo, OK Jazz, Mbaraka Mwinsheshe, S.E. Rogie. And yet there stands Fela above and beyond. Just out of reach.

So what a surprise to learn that the big Broadway hit of the season has been FELA! The Broadway Show produced by hip hop star Jay-Z and starring, Patti Labelle.  About time, I say, the corporate-Top-40-Kasey-Kasem-encrusted  radio audiences be introduced to the funkiest of all music makers of any country, of any time. Period. Amen.  Lettucespray.

About three weeks ago FELA! landed in Lagos, Fela Kuti’s  hometown which is a bit weird. Nigerian music exported to the West who packaged it up and re-sold it back to the original owners!  Ahh Das Kapital!  How, one wonders, could the show even come close to the great man’s hot, cranking brand of politico-commentary art? After all Fela is NOT ancient history. Afrobeat and his political messaging has been kept very much alive in the music of his sons, Femi and Seun.

The mind boggles.

In any case, as an antidote to this freezing Friday evening, the Washerman’s Dog, offers several scrumptious slices of Afro-beat from the Master of the Universe aka Fela Ransome Anikulapo Kuti.

For those few who are not yet familiar with the music of Fela, please feel free to crawl out from under your stone and go to http://www.fela.net/ or simply click Fela into Google and find out about this Giant of an Artist.

            Track Listing: Before I Jump Like Monkey Give Me Banana (1975)
1.    Monkey Banana
Monkey Banana is Fela’s advice to those who want to work for the Nigerian status quo without social security, heath insurance, job security, etc., to think twice before slaving for nothing. In his habitual manner of putting-down the Nigerian elite, he sings the popular English expression: ‘A fool at forty is a fool forever’—implying life begins for a man at forty. Calling on the worker to stop slaving for nothing, he compares the worker to a monkey, that can only be enticed to dance if you offer it the banana. He concludes by saying: ‘…before I jump like monkey, give me banana’.
2.    Sense Wiseness
Fela, in this song, is singing of the state of alienation in which the educated elite in the African society find themselves. After their education in Western ways and mannerisms, the educated elite in Africa try to distance themselves from the ghetto. Sense Wiseness is Fela’s sarcastic way of saying: ‘book sense is different from street sense’. The song starts with: ‘You are student! You been to grammar school (college)! You graduate MA! MSe! and PhD! You go for London! You Go for New York! You come for Lagos? You start to miss your road! One boy for Mushin (ghetto)! Him hustle you! For Ajegunle (another ghetto area)! You ne get mouth! For Jankara (big ghetto market)! Your money lost!’

Listen here.

            Track Listing: Yellow Fever/Na Poi (1976)
1.    Yellow Fever
Yellow Fever, is a scathing criticism of post-colonial Nigerians who cannot shake their “colonial mentality”. Fela rails on women who bleach their skin as an act of beauty, contemptuously adding that, despite what they think, it only makes them less attractive.
2.    Na Poi 75
The notorious “Na Poi” (loosely translating to “things collide”) was banned by the Nigerian Broadcasting Company for its explicit, socially shocking sexual references. As Fela jams out, the song becomes a veritable “how-to” guide to sex, including allusions to motion and lubrication, among other taboo details.
3.    Na Poi Pts 1 and 2
This version interchanges spoken word and sung lyrics over the Africa 70 horn play, spanning not only the complete A-side of the record, but the first part of the B-side as well – clocking in over 25 minutes.
4.    You No Go Die…Unless
“You No Go Die….Unless”, is a hard-hitting funk tune that displays Fela’s bravado as he instructs people not to fear death, because, he explains, they won’t die until they’re ready to die. Again Fela is playing provocateur to the ruling regime, essentially announcing his fearlessness in the face of their brutality.

Listen here.
           
 Track notes thanks to Knitting Factory