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.
Observation Is No Crime
Fela Kuti Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
One, two, three…
[?] like they carry
[?] like them talk
[?] no come spoil [?] ([?] like they carry)
[?] no come spoil [?] ([?] like they carry)
Tell me, tell me my brother (Tell me, tell me) Why not?
Tell me, tell me if not (Tell me, tell me) Why not?
Tell me why I go get, I am not go see (Tell me, tell me)
Tell me why I go get to knows, I know the smell (Tell me, tell me)
Tell me why I go get the air no go here (Tell me, tell me)
Tell me why I go get your mouth another dog (Tell me, tell me)
Tell me why I go get your ear an I go home (Tell me, tell me)
Tell me why I go get your heart an I go home (Tell me, tell me)
Aha
I love you [?] my brother
[?] them they beat
[?] them they cheat
[?] them they [?] (Tell me, tell me)
I get the hand to fight if I want fight (Tell me, tell me)
I get the leg to run if I want run (Tell me, tell me)
Well they take the eye to see oppression every day (For left, for right, for up and down)
Well they take the nose to smell anomalities everywhere (Around, around, around, around)
Well they take the ear to hear corruption every day (For left, for right, for up and down)
We go take to march to talk the things we see, hear and smell (Around, around, around, around)
I swore [?] he I know my home I go put them for [?]
When they mock me for sell, When I the [?]
You're the savage on the no beat ground (Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
[?] they on talk (Tell me, tell me)
[?] they carry [?] no them spot [?] ([?] like they carry)
Tell me, tell me my brother (Tell me, tell me)
Tell me, tell me (Tell me, tell me)
Ah!
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
(Tell me, tell me)
One, two, three
Fela Kuti's song "Observation Is No Crime" is a political and social commentary about the state of governance and oppression in Nigeria. The song starts with a seemingly simple counting riff that serves as a backdrop for Fela's lyrics. Fela employs the repetition of the phrase "tell me, tell me my brother" as a way to encourage dialogue about the pressing issues affecting the lives of Nigerians.
Fela then points out the way in which the ruling class acts like they carry and talk, but they never spoil their own interests. He uses the metaphor of the senses to explain how people are aware of their oppression but fail to act. He talks about how people see, smell and hear the corruption and oppression, yet they do nothing about it. He then emphasizes his willingness to fight against oppression and his ability to do so.
Fela also highlights the way the government treats its citizens, beating and cheating them with ease. He then urges people to speak out about what they see, smell and hear if they want to bring about change. The song ends with a repetition of the counting riff.
Overall, "Observation Is No Crime" is a call to action for Nigerians to open their eyes, ears and noses to the government's oppressive actions and speak out about them.
Line by Line Meaning
One, two, three…
Counting off to start the song
[?] like they carry
People carry themselves with confidence
[?] like them talk
People talk boldly
[?] no come spoil [?] ([?] like they carry)
People who are confident should not be criticized for it
[?] no come spoil [?] ([?] like they carry)
People who are confident should not be criticized for it
Tell me, tell me my brother (Tell me, tell me) Why not?
Asking why people do not speak up about what they see
Tell me, tell me if not (Tell me, tell me) Why not?
Continuing to ask why people do not speak up
Tell me, tell me if not (Tell me, tell me)
Repeating the question about why people do not speak up
Tell me why I go get, I am not go see (Tell me, tell me)
Questioning why someone cannot see what is happening despite having eyes
Tell me why I go get to knows, I know the smell (Tell me, tell me)
Questioning why someone cannot recognize corruption despite having knowledge and senses
Tell me why I go get the air no go here (Tell me, tell me)
Questioning why someone cannot hear the oppression despite having ears
Tell me why I go get your mouth another dog (Tell me, tell me)
Questioning why someone cannot speak out against corruption and oppression despite having a voice
Tell me why I go get your ear an I go home (Tell me, tell me)
Questioning why someone cannot hear the cries for help and still turn a blind eye
Tell me why I go get your heart an I go home (Tell me, tell me)
Questioning why someone cannot feel the pain of others and still do nothing
I love you [?] my brother
Expressing love and unity towards fellow human beings
[?] them they beat
People are beaten by those in power
[?] them they cheat
Those in power cheat and exploit their fellow human beings
[?] them they [?] (Tell me, tell me)
People in power also oppress their fellow human beings
I get the hand to fight if I want fight (Tell me, tell me)
Expressing the willingness to fight for justice if necessary
I get the leg to run if I want run (Tell me, tell me)
Expressing the ability to run away if necessary for survival
Well they take the eye to see oppression every day (For left, for right, for up and down)
People witness oppression every day from all directions
Well they take the nose to smell anomalities everywhere (Around, around, around, around)
People can sense the wrongness and corruption around them
Well they take the ear to hear corruption every day (For left, for right, for up and down)
People hear about corruption and oppression from all directions
We go take to march to talk the things we see, hear and smell (Around, around, around, around)
Reiterating the importance of speaking up against oppression and injustice
I swore [?] he I know my home I go put them for [?]
Vowing to fight against those who oppress and exploit others
When they mock me for sell, When I the [?]
When people criticize or belittle him, he refuses to be shaken in his beliefs
You're the savage on the no beat ground (Tell me, tell me)
Some people are still oppressed and treated like savages despite supposed progress and equality
[?] they on talk (Tell me, tell me)
People in power continue to talk without taking action for positive change
[?] they carry [?] no them spot [?] ([?] like they carry)
People in power sometimes carry themselves with arrogance and fail to recognize their own flaws
Tell me, tell me my brother (Tell me, tell me)
Urging others to speak up against injustice
Tell me, tell me (Tell me, tell me)
Continuing to urge others to speak up
Ah!
Expression of emotion and passion towards this cause
(Tell me, tell me)
Repeating the plea for others to speak up
(Tell me, tell me)
Continuing to repeat the plea
(Tell me, tell me)
And again, repeating the plea for others to speak up
(Tell me, tell me)
One final plea for others to join in the fight against injustice
One, two, three
Ending the song with the same counting as the beginning
Contributed by Gavin I. Suggest a correction in the comments below.
@philmessina476
Same here. Million thanks.
Some of us felt such rage at the thought of white supremacists, racists, and white nationalists marauding on the U.S. Capitol on January 6th plus a Capitol Hill police stand-down. We started to fear the 20th may be a more extreme stand-down and the police will get the military to allow a coup to install Trump as a dictator.
Then, I caught myself. I had been possessed by fear. I suspect others, too.
Then, I remembered the words of Fela, "the secret to life is to have no fear".
Cf. Lumpenproletariat.org
@jackevans7016
Absolutely Fantastic
@tarikmerabti3089
Fela, the genius...more than music for me, thank you for posting.
@SuperBuckwheat11
Fela superfan from Ethiopia! The Best!
@veronica552
Love him … his spirituall energy 🌹❤️🌟
@edlara3375
Love this song
@isaiahalexanderanderson1107
Fela made timeless music.🖤 Can we get the right lyrics to this song? The lyrics on the internet is funny and a total deviation.
@louisotieno4712
Genius... Absolute Genius
@balrajsingh776
thanks for posting. First time I have heard this song, love it.
@felakuti
No problem Balraj, hopefully you can put these videos in your playlist as well. Hopefully you are subscribed to this channel and take care "Yeah Yeah".
@philmessina476
Same here. Million thanks.
Some of us felt such rage at the thought of white supremacists, racists, and white nationalists marauding on the U.S. Capitol on January 6th plus a Capitol Hill police stand-down. We started to fear the 20th may be a more extreme stand-down and the police will get the military to allow a coup to install Trump as a dictator.
Then, I caught myself. I had been possessed by fear. I suspect others, too.
Then, I remembered the words of Fela, "the secret to life is to have no fear".
Cf. Lumpenproletariat.org