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Rating: Navigating the discography of Fela Kuti is practically impossible, and I have no intention of giving you any tips. I discovered him by chance.
The artist is one of the most interesting things that can fall into the hands of a music enthusiast: Nigerian, born in 1938, son of a reverend and a women's rights activist, revolutionary, politician, and above all, a fantastic musician who skillfully alternated between the trumpet, the sax, and vocals (rightly considered by many to be the inventor of afrobeat). From the beginning of his career, he was inspired by African American movements like the Black Panther Party, antagonizing the various dictatorships that succeeded each other in leading his country (in fact, in 1977, the destruction of the commune founded by him, Kalakuta, was ordered, and in the clashes, Fela's mother tragically lost her life).
Musically speaking, his style can be seen as an orgiastic and heated fusion, boisterous and angry blend of jazz, soul, and funk: the driving grooves and robust rhythms of his offering are still tremendously current and influential (a solid base for hip-hop sampling and the relentless danceable beat of house music, just to name two examples).
The album I've decided to bring to your attention is "Shuffering & Shmiling/No Agreement", a recent reissue that combines two LPs released in '77/'78: its colorful and chaotic cover faithfully reflects the music of Fela and his band, Africa '70. A compact and powerful sound that advances in a playful and irresistible way; the percussion and bass that draw an oceanic groove, the brass that punctuate everything making it even more danceable and compelling, the electric piano that enhances the whole giving almost a rock'n'roll accent, and then the voice that enters cheerfully but at the same time resentful and angry. In these three long tracks, you can breathe an air of pure creativity absolutely unbridled: emphasizing how music was the best way for Fela to convey his philosophy and messages (respect between religions in "Shuffering & Shmiling", rejection of shady politicians and their devious schemes in "No Agreement"). Completely instrumental is the last track, Dog Eat Dog: compact and liberating, scorching and incandescent, it would make even a piece of wood move its butt with those delicate trumpet phrases that evoke the less restrained Miles Davis...
Few other times will you have the opportunity to hear music so sincere and vital (despite its creator having decided to call himself Anikulapo, meaning "He Who Carries Death in a Pouch"). Don't waste time and (if you haven't already) discover this wonderful artist, who deserves all the respect and honor in the world!
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