Olufela Olusegun Oludotun Ransome-Kuti (15 October 1938 – 2 August 1997 … Read Full Bio ↴Olufela Olusegun Oludotun Ransome-Kuti (15 October 1938 – 2 August 1997 ), known professionally as Fela Kuti, Fela Anikulapo Kuti, or simply Fela, was a Nigerian multi-instrumentalist musician and composer, pioneer of Afrobeat music, human rights activist, political maverick & leader of Fela Ransome Kuti & Africa 70.
HMV Magazine ranked him as #46 on a list of the 100 most influential musicians of the 20th century.
The musical style performed by Fela Kuti is called Afrobeat, which is essentially a fusion of jazz, funk, highlife, and traditional Yoruban 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. His band was notable for featuring two baritone saxophones, whereas most groups using this instrument only use one. 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 took 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.
Fela was born Olufela Olusegun Oludotun Ransome-Kuti in Abeokuta, Ogun State, Nigeria, to a middle-class family. His mother, Funmilayo Ransome-Kuti, was a feminist activist in the anti-colonial movement and his father, Reverend Israel Oludotun Ransome-Kuti, a Protestant minister and school Principal, was the first president of the Nigerian Union of Teachers. His brothers, Dr. Beko Ransome-Kuti and Professor Olikoye Ransome-Kuti,both medical doctors, are both well known in Nigeria.
Fela was sent to London in 1958 to study medicine but decided to study music instead at the Trinity College of Music. While there, he formed the band Koola Lobitos, playing a style of music that he would later call Afrobeat. The style was a fusion of American Jazz, psychedelic rock, and Funk with West African Highlife. In 1961, Fela married his first wife, Remilekun (Remi) Taylor, with whom he would have three children (Femi, Yeni, and Sola). In 1963, Fela moved back to Nigeria, re-formed Koola Lobitos and trained as a radio producer for the Nigerian Broadcasting Corporation. In 1969, Fela took the band to the United States. While there, Fela discovered the Black power movement through Sandra Smith (now Isidore)—a partisan of the Black Panther Party—which would heavily influence his music and political views and renamed the band Nigeria ’70. Soon, the Immigration and Naturalization Service was tipped off by a promoter that Fela and his band were in the US without work permits. The band then performed a quick recording session in Los Angeles that would later be released as The '69 Los Angeles Sessions.
Fela and his band, renamed Africa '70, returned to Nigeria. He then formed the Kalakuta Republic, a commune, a recording studio, and a home for many connected to the band that he later declared independent from the Nigerian state. Fela set up a nightclub in the Empire Hotel, named the Afro-Spot and then the Afrika Shrine, where he performed regularly. Fela also changed his middle name to Anikulapo (meaning "he who carries death in his pouch"), stating that his original middle name of Ransome was a slave name. The recordings continued, and the music became more politically motivated. Fela's music became very popular among the Nigerian public and Africans in general. In fact, he made the decision to sing in Pidgin English so that his music could be enjoyed by individuals all over Africa, where the local languages spoken are very diverse and numerous. As popular as Fela's music had become in Nigeria and elsewhere, it was also very unpopular with the ruling government, and raids on the Kalakuta Republic were frequent. In 1974 the police arrived with a search warrant and a cannabis joint, which they had intended to plant on Fela. He became wise to this and swallowed the joint. In response, the police took him into custody and waited to examine his feces. Fela enlisted the help of his prison mates and gave the police someone else's feces, and Fela was freed. He then recounted this tale in his release Expensive Shit (now released together with "He Miss Road" as Expensive Shit/He Miss Road).
In 1977 Fela and the Afrika ’70 released the hit album Zombie, a scathing attack on Nigerian soldiers using the zombie metaphor to describe the methods of the Nigerian military. The album was a smash hit with the people and infuriated the government, setting off a vicious attack against the Kalakuta Republic, during which one thousand soldiers attacked the commune. Fela was severely beaten, and his elderly mother was thrown from a window, causing fatal injuries. The Kalakuta Republic was burned, and Fela's studio, instruments, and master tapes were destroyed. Fela claimed that he would have been killed if it were not for the intervention of a commanding officer as he was being beaten. Fela's response to the attack was to deliver his mother's coffin to the main army barrack in Lagos and write two songs, "Coffin for Head of State" and "Unknown Soldier," referencing the official inquiry that claimed the commune had been destroyed by an unknown soldier.
Fela and his band then took residence in Crossroads Hotel as the Shrine had been destroyed along with his commune. In 1978 Fela married 27 women, many of whom were his dancers, composers, and singers to mark the anniversary of the attack on the Kalakuta Republic. Later, he was to adopt a rotation system of keeping only twelve simultaneous wives. The year was also marked by two notorious concerts, the first in Accra in which riots broke out during the song "Zombie," which led to Fela being banned from entering Ghana. The second was at the Berlin Jazz Festival after which most of Fela's musicians deserted him, due to rumors that Fela was planning to use the entirety of the proceeds to fund his presidential campaign.
Despite the massive setbacks, Fela was determined to come back. He formed his own political party, which he called 'Movement of the People'. In 1979 he put himself forward for President in Nigeria's first elections for more than a decade but his candidature was refused. At this time, Fela created a new band called Egypt 80 and continued to record albums and tour the country. He further infuriated the political establishment by dropping the names of ITT vice-president Moshood Abiola and then General Olusegun Obasanjo at the end of a hot-selling 25-minute political screed titled "I. T. T. (International Thief Thief)."
In 1984, he was again attacked by the Military government, who jailed him on a dubious charge of currency smuggling. His case was taken up by several human-rights groups, and after 20 months, he was released from prison by General Ibrahim Babangida. On his release he divorced his 12 remaining wives, saying that "marriage brings jealousy and selfishness." Once again, Fela continued to release albums with Egypt 80, made a number of successful tours of the United States and Europe and also continued to be politically active. In 1986, Fela performed in Giants Stadium in New Jersey as part of the Amnesty International Conspiracy of Hope concert, sharing the bill with Bono, Carlos Santana, and the Neville Brothers. In 1989, Fela & Egypt 80 released the anti-apartheid "Beasts of No Nation" album that depicts on its cover U.S. President Ronald Reagan, UK Prime Minister Margaret Thatcher and South African Prime Minister P.W. Botha with fangs dripping blood.
His album output slowed in the 1990s, and eventually he stopped releasing albums altogether. The battle against military corruption in Nigeria was taking its toll, especially during the rise of dictator Sani Abacha. Rumors were also spreading that he was suffering from an illness for which he was refusing treatment. On 3 August 1997, Olikoye Ransome-Kuti, already a prominent AIDS activist and former Minister of Health, stunned the nation by announcing his younger brother's death a day earlier from Kaposi's sarcoma brought on by AIDS. (Their younger brother Beko was in jail at this time at the hand of Abacha for political activity). More than a million people attended Fela's funeral at the site of the old Shrine compound. A new Africa Shrine has opened since Fela's death in a different section of Lagos under the supervision of his son Femi Kuti.
HMV Magazine ranked him as #46 on a list of the 100 most influential musicians of the 20th century.
The musical style performed by Fela Kuti is called Afrobeat, which is essentially a fusion of jazz, funk, highlife, and traditional Yoruban 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. His band was notable for featuring two baritone saxophones, whereas most groups using this instrument only use one. 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 took 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.
Fela was born Olufela Olusegun Oludotun Ransome-Kuti in Abeokuta, Ogun State, Nigeria, to a middle-class family. His mother, Funmilayo Ransome-Kuti, was a feminist activist in the anti-colonial movement and his father, Reverend Israel Oludotun Ransome-Kuti, a Protestant minister and school Principal, was the first president of the Nigerian Union of Teachers. His brothers, Dr. Beko Ransome-Kuti and Professor Olikoye Ransome-Kuti,both medical doctors, are both well known in Nigeria.
Fela was sent to London in 1958 to study medicine but decided to study music instead at the Trinity College of Music. While there, he formed the band Koola Lobitos, playing a style of music that he would later call Afrobeat. The style was a fusion of American Jazz, psychedelic rock, and Funk with West African Highlife. In 1961, Fela married his first wife, Remilekun (Remi) Taylor, with whom he would have three children (Femi, Yeni, and Sola). In 1963, Fela moved back to Nigeria, re-formed Koola Lobitos and trained as a radio producer for the Nigerian Broadcasting Corporation. In 1969, Fela took the band to the United States. While there, Fela discovered the Black power movement through Sandra Smith (now Isidore)—a partisan of the Black Panther Party—which would heavily influence his music and political views and renamed the band Nigeria ’70. Soon, the Immigration and Naturalization Service was tipped off by a promoter that Fela and his band were in the US without work permits. The band then performed a quick recording session in Los Angeles that would later be released as The '69 Los Angeles Sessions.
Fela and his band, renamed Africa '70, returned to Nigeria. He then formed the Kalakuta Republic, a commune, a recording studio, and a home for many connected to the band that he later declared independent from the Nigerian state. Fela set up a nightclub in the Empire Hotel, named the Afro-Spot and then the Afrika Shrine, where he performed regularly. Fela also changed his middle name to Anikulapo (meaning "he who carries death in his pouch"), stating that his original middle name of Ransome was a slave name. The recordings continued, and the music became more politically motivated. Fela's music became very popular among the Nigerian public and Africans in general. In fact, he made the decision to sing in Pidgin English so that his music could be enjoyed by individuals all over Africa, where the local languages spoken are very diverse and numerous. As popular as Fela's music had become in Nigeria and elsewhere, it was also very unpopular with the ruling government, and raids on the Kalakuta Republic were frequent. In 1974 the police arrived with a search warrant and a cannabis joint, which they had intended to plant on Fela. He became wise to this and swallowed the joint. In response, the police took him into custody and waited to examine his feces. Fela enlisted the help of his prison mates and gave the police someone else's feces, and Fela was freed. He then recounted this tale in his release Expensive Shit (now released together with "He Miss Road" as Expensive Shit/He Miss Road).
In 1977 Fela and the Afrika ’70 released the hit album Zombie, a scathing attack on Nigerian soldiers using the zombie metaphor to describe the methods of the Nigerian military. The album was a smash hit with the people and infuriated the government, setting off a vicious attack against the Kalakuta Republic, during which one thousand soldiers attacked the commune. Fela was severely beaten, and his elderly mother was thrown from a window, causing fatal injuries. The Kalakuta Republic was burned, and Fela's studio, instruments, and master tapes were destroyed. Fela claimed that he would have been killed if it were not for the intervention of a commanding officer as he was being beaten. Fela's response to the attack was to deliver his mother's coffin to the main army barrack in Lagos and write two songs, "Coffin for Head of State" and "Unknown Soldier," referencing the official inquiry that claimed the commune had been destroyed by an unknown soldier.
Fela and his band then took residence in Crossroads Hotel as the Shrine had been destroyed along with his commune. In 1978 Fela married 27 women, many of whom were his dancers, composers, and singers to mark the anniversary of the attack on the Kalakuta Republic. Later, he was to adopt a rotation system of keeping only twelve simultaneous wives. The year was also marked by two notorious concerts, the first in Accra in which riots broke out during the song "Zombie," which led to Fela being banned from entering Ghana. The second was at the Berlin Jazz Festival after which most of Fela's musicians deserted him, due to rumors that Fela was planning to use the entirety of the proceeds to fund his presidential campaign.
Despite the massive setbacks, Fela was determined to come back. He formed his own political party, which he called 'Movement of the People'. In 1979 he put himself forward for President in Nigeria's first elections for more than a decade but his candidature was refused. At this time, Fela created a new band called Egypt 80 and continued to record albums and tour the country. He further infuriated the political establishment by dropping the names of ITT vice-president Moshood Abiola and then General Olusegun Obasanjo at the end of a hot-selling 25-minute political screed titled "I. T. T. (International Thief Thief)."
In 1984, he was again attacked by the Military government, who jailed him on a dubious charge of currency smuggling. His case was taken up by several human-rights groups, and after 20 months, he was released from prison by General Ibrahim Babangida. On his release he divorced his 12 remaining wives, saying that "marriage brings jealousy and selfishness." Once again, Fela continued to release albums with Egypt 80, made a number of successful tours of the United States and Europe and also continued to be politically active. In 1986, Fela performed in Giants Stadium in New Jersey as part of the Amnesty International Conspiracy of Hope concert, sharing the bill with Bono, Carlos Santana, and the Neville Brothers. In 1989, Fela & Egypt 80 released the anti-apartheid "Beasts of No Nation" album that depicts on its cover U.S. President Ronald Reagan, UK Prime Minister Margaret Thatcher and South African Prime Minister P.W. Botha with fangs dripping blood.
His album output slowed in the 1990s, and eventually he stopped releasing albums altogether. The battle against military corruption in Nigeria was taking its toll, especially during the rise of dictator Sani Abacha. Rumors were also spreading that he was suffering from an illness for which he was refusing treatment. On 3 August 1997, Olikoye Ransome-Kuti, already a prominent AIDS activist and former Minister of Health, stunned the nation by announcing his younger brother's death a day earlier from Kaposi's sarcoma brought on by AIDS. (Their younger brother Beko was in jail at this time at the hand of Abacha for political activity). More than a million people attended Fela's funeral at the site of the old Shrine compound. A new Africa Shrine has opened since Fela's death in a different section of Lagos under the supervision of his son Femi Kuti.
Je'nwi Temi
Fela Kuti Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Hey, ehn, hey, oh, eh
Ti'n ba ro tan ma so, o le p'enu mi de o
Ehn, oh
Je'n wi temi o, o le p'enu mi de oh
Ehn, oh, oh
Ma l'enu bi apere o, o le p'enu mi de o
Ke, ke-ke, ke-ke, hey
Ke-ke, ke-ke, hey
Ke-ke, ke-ke, hey
Ke-ke, ke-ke, hey
E dede du-de o
E dede du-de o
Ti'n ba ro tan ma so o
O le p'enu mi de o, ma gbo
Je'n wi temi o, je'n wi temi
O le p'enu mi de o
Otito koro
O le p'enu mi de o, rara, Olohun
E dede du-de o
E dede du-de
E dede du-de o
Ke-ke, ke-ke, ke-ke, hey
Oh, oh, ehn, oh, ke-ke, oh
Bo ti mi mo'le o, o le p'enu mi de o
Ma l'enu bi apere o, o le p'enu mi de o
Ke-ke, ke-ke
Ke-ke, ke-ke
Ke-ke, ke-ke, hey
E dede du-de eh
Ti'n ba ro tan ma so o
O le p'enu mi de o
Padlock mi osi l'owo e o
Akada koto mi osi l'owo e o
O le p'enu mi de o
E dede du-de eh
E dede du-de
E dede du-de
Ti'n ba ro tan ma so, o le p'enu mi de o
Ehn, oh
Je'n wi temi o, o le p'enu mi de oh
Ehn, oh, oh
Ma l'enu bi apere o, o le p'enu mi de o
Ke, ke-ke, ke-ke, hey
Ke-ke, ke-ke, hey
Ke-ke, ke-ke, hey
E dede du-de o
E dede du-de o
Ti'n ba ro tan ma so o
O le p'enu mi de o, ma gbo
Je'n wi temi o, je'n wi temi
O le p'enu mi de o
Otito koro
O le p'enu mi de o, rara, Olohun
E dede du-de o
E dede du-de
E dede du-de o
Ke-ke, ke-ke, ke-ke, hey
Oh, oh, ehn, oh, ke-ke, oh
Bo ti mi mo'le o, o le p'enu mi de o
Ma l'enu bi apere o, o le p'enu mi de o
Ke-ke, ke-ke
Ke-ke, ke-ke
Ke-ke, ke-ke, hey
E dede du-de eh
Ti'n ba ro tan ma so o
O le p'enu mi de o
Padlock mi osi l'owo e o
Akada koto mi osi l'owo e o
O le p'enu mi de o
E dede du-de eh
E dede du-de
E dede du-de
The lyrics to Fela Kuti's "Je'nwi Temi" tell the story of someone who believes that they are being talked about behind their back. The song starts with the singer commanding someone who is talking about him to come forward and speak plainly to him so that he can understand what the issue is. He then goes on to express that he is not ashamed of himself and cannot be intimidated by anyone. He also indicates that he will not be silenced or stopped by anyone who tries to discourage him.
Despite being targeted, the singer asserts his confidence and self-assuredness, saying that nobody can bring him down. He also thanks God for his talents and blessings, reaffirming that he will continue to use them fearlessly. The song's title "Je'nwi Temi" translates to "Talk About Me" in English and serves as a reminder that people should speak their minds and not be afraid to be themselves.
Overall, the lyrics of "Je'nwi Temi" are a bold statement of self-confidence and determination in the face of adversity. The song encourages listeners to stand up for themselves and pursue their dreams, no matter who may try to bring them down.
Line by Line Meaning
Hey, ehn, hey, oh, eh
Fela starts the song by making some noise
Ti'n ba ro tan ma so, o le p'enu mi de o
If you are looking for trouble, you can't buy me with money.
Je'n wi temi o, o le p'enu mi de oh
Don't try to deceive me, you can't bribe me with money.
Ma l'enu bi apere o, o le p'enu mi de o
Even if you talk sweetly, you can't bribe me with money.
Ke, ke-ke, ke-ke, hey
This line has no clear meaning and is just part of the chorus.
E dede du-de o
This line has no clear meaning and is just part of the chorus.
Ti'n ba ro tan ma so o
If you are looking for trouble
O le p'enu mi de o, ma gbo
You can't bribe me with money. Listen.
Je'n wi temi o, je'n wi temi
Don't try to deceive me, don't try to deceive me
O le p'enu mi de o
You can't bribe me with money.
Otito koro
This line has no clear meaning and is just part of the chorus.
Rara, Olohun
This line is a Yoruba expression that means 'Never, God'.
E dede du-de o
This line has no clear meaning and is just part of the chorus.
Bo ti mi mo'le o, o le p'enu mi de o
Even if you know my secrets, you can't bribe me with money.
Padlock mi osi l'owo e o
My padlock is not for sale.
Akada koto mi osi l'owo e o
My small motorcycle is not for sale.
E dede du-de eh
This line has no clear meaning and is just part of the chorus.
Writer(s): Fela Kuti
Contributed by Ruby V. Suggest a correction in the comments below.
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@ronkebarber6238
Oh, hen, ho, he- hen!
Tí mbá rò tán, má so ó!
Ó 'ò lè pá'nú ù mí dé
Hen, ho!
Je nwi temi o, o 'o le panu u mi de o! Hen! He! Ho!
Ma a la'nu bi apeere o, O 'o le panu u mi de o! Hen!
Ke ke ke, ke ke, he!
Ke ke ke ke! He!
Ke ke ke ke! He!
Ke ke...Ho!
Idededude o! Hen!
Idededude o! Hen!
Idededude e e!
Ti mba ro tan ma so o! Oh!
O 'o le pa'nu u mi de o!
Je nwi temi o!
Je nwi...O 'o le pa'nu u mi de o! Hen!
Otito koro o! Hen!
O 'o le pa'nu u mi de o! Rara! Mo o gbo!
Idededude e e! Hen!
Idedeede duuudeee ee ee! Hen
Hen, hen, hen, hen, hen, hen!
Hen, hen, hen hen! Hen, o!
Ideede du o! Hen!
Ken nken!
Ken nken,
Ken nken! Ken, nken!
Ken nken, ho!
Ho! Ho! Ho! Ho!
Hen, ho!
Ken nken, ho!
B'o o ti mi mo'le o!
O 'o le pa'nu mi de o! Hen! Hen!
Ma a la'nu bi apeere o!
O'o le pa'nu u mi de o! Hen!
Ken nken, ken nken!
Ken nken, ken nken,
Ke nke, ke nke, he o!
Ideededude e, o!
Ti mba ro tan maa so o! Hen!
O 'o le pa'nu u mi de o! Hen!
Padiloku mi o si l'owo e o!
O' o le pa'nu u mi de o!
Agadagodo mi o si l'owo e o! Hen!
O 'o le pa'nu u mi de o! Hen!
Ideedelude e o! Hen, hen, hen!
Ideededude hen, ehn! Hen!
Ideeedeeee! Hen, hen!
(Saxophone)
Hen, he!
Ti mba ro tan, ma a so o! O 'o le paa'nu u mi de o! Hen! He o!
Ti mba ro tan, ma a so o, O 'ò le paa'nu u mi de o! Hen!
Padiloku mi o si l'owo e o, O 'ò le paa'nu u mi de o!
Agadagodo mi o si l'owo e o!
O 'o le paa'nu u mi de o! Hen!
B'o o ti mi mo'le o! O 'o le paa'nu mi de o! Hen! Ho!
Mo o gbo!
Moo gbo, bi awon baba wa se nwi, moo gbo!
Moo gbo bi awon baba wa se nso, moo gbo, moo gbo! 2ce moo gbo, moo gbo, moo gbo, moo gbo, moo gbo! Moo gbo!
Je nwi temi i se o!
Je nwi temi! Hen!
Je nwi temi o, o!
Je nwi temi i!
Òwò, kìí fun ówò l'oorùn o!
K
Je nwi temi!
Owo kii fun owo l'orun o!
Je nwi temi!
Otito koro, o!
Omo araiye 'o fe e, o!
Otito koro, o!
Omo araiye o fe e, o! Hen!
Be e fe, be o fe, o!
Emi a wi temi ,o! Hen! 2ce
Je nwi temi se o! Je nwi temi!
Je nwi temi o, o! Je nwi temi!
Owoo kii f'owo l'oorun o! Je nwi temi!
O wooo, ki i fun owo looorun o! Je nwi temi!
O 'o le paa'nu u mi de e,o!
O 'o le paa'nu u mi de! Hen! 4 times
Ken, ken, ke nke, ke nke! Hen!
O 'o le paa'nu u mi de! 6 times
Hen! Ho!
Moo gbo! (Keyboard)
Hen! Ho, e!
Je nwi temi se o! Je nwi temi!
Je nwi temi o, ho! Hen! Je nwi temi!
Owo kii fun owo l'oorun o! Hen!
Je nwi temi! 2ce
Otito koro o!
Omo araiye 'o fe e o! Hen! 2ce
Be e fe, be e o fe o, hen, emi a wi temi o! 2ce
Je nwi temi se o! Je nwi temi! 2ce
Owo kii fun owo l'oorun o! Je nwi temi!
Owoooo ki i fun owo l'oorun o! Je nwi temi!
O 'o le paa'nu u mi de o! O 'o le paa'nu u mi de! Ken nken, O 'o le paa'nu u mi de! Ken nken, ken nke, ke nke, O 'ò le paa'nu u mi de!
B'o o ti mi mo'le o,o! O 'o le paa'nu u mi de!
Padiloku mi o si l'owo re o! O 'o le paa'nu u mi de!
Ma a la'nu bi apeere o! O 'o le paa'nu u mi de o!
O 'o le paa'nu u mi de!
Ken nken, ken nken! O 'o le paa'nu u mi de o!
Babadedodude,eo! Idodedude,ye, o!
Idodedude, ye, o! (Scatting)
Heeey,heeey! O 'o le paa'nu u mi de! Hen, igen, igen, igen, hen,hen! Hen!
O 'o le paa'nu u mi de, he,o! Igegelugehan,an, an! (Scatting), ha, hen!
Igege, he,o! Ken,ken! Ken nken, ke nke! Ken nken! He,o!!!!!
@erlineandrews
Just listened to this 3 times in a row. It might be my favorite Fela Kuti song. I love the short silence at the start before the horns kick in. I love his grunting. I love his defiance. I love the triangle. I love the keyboard/synthesizer about two-thirds in. I love the cacophony at the end. I love everything about it.
@piefunk98
This is the song that introduced me to Fela. My bass teacher played this one, and gave me the key to this stunning world called Afrobeat!
@ochanyamichelle
Nice!
@tawananyashamutekwe6725
Me too. This was my Fela introduction but in my case it was after buying a long play album which I think was called Jenwi Temi way back in 1983. The Africa 70 was at its awesome best on this one.I can also feel Ginger Baker on the drum section.
@bamideleabayomi4687
This is the first Fela song I heard as a toddler
@joniakpederi5336
i almost faint each time I hear this deathkess masterpiece.....
The throbbing, changing base line..
the crazy horrn arrangement and evil, haunting piano solis....
And the inimitable Fela scatting: Idexenudede!
Eternal soul music from the core of creativity...
Feka is irreplaceanke.
@cynthiaadeolaobafemi4450
Fela Anikulapo Kuti, was a song composer, songwriter, musician, an activist, fearless to the core about the government ways of ill-treatment to the citizens. May his great soul rest in perfect peace ✌ ❤❤❤
@smartupconsultants9257
Truth is bitter, don’t gag me, and let me say my bit. Thank you baba and everything said is still happening to us now even worse
@ashleyterry2715
This is a new one for me love it 🤩
@1mistaGROOVE
This was before he became a minister against govt injustice.