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.
Unnecessary Begging
Fela Kuti Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Na arrangement now, now, now, now
Arrangement O
Na arrangement I tink sey I dey meki, O
Arrangement O
Na agreement na him I tink sey I dey sign ni
Arrangement O
Na ma friend na him I tink sey I dey tok to
Arrangement O
Na ma money di man dey look boin boin
Arrangement O
Dem manage to tek ma monie away
Arrangement O
Long, lon time an long lon time
Arrangement O
Na agreement I see monie don fly
Arrangement O
Now listen to me now, now, now
Den I meet am for road
Na Arrangement O
I grab for shirt
Na Arrangement O
Every bodi dey
Na Arrangement O
Police man dey
Na Arrangement O
Army sef dey
Na Arrangement O
Custom sef dey
Na Arrangement O
Me sef don tanda
Na Arrangement O
Den he start to beg an beg
Na Arrangement O
Den he start to beg an beg
Na Arrangement O
Den he start to beg an beg
Na Arrangement O
Den he start to beg an beg
Na Arrangement O
Den he start to beg an beg
Na Arrangement O
Den he start to beg an beg
Na Arrangement O
As we dey call am for area
Oro ebe O sè lè
Now, now, now
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Gimme me my monie
Oro ebe O sè lè
You no go, go anywhere
Oro ebe O sè lè
Gimme me my monie
Oro ebe O sè lè
You no go, go anywhere
Oro ebe O sè lè
And now,now
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Ra ra, aaaaa
Na ma contry I tink sey I dey stay
Na Afrika we dey O
Na ma contry I tink sey I dey chop
Na Afrika we dey O
Every day, every day I dey hungry
Na Afrika we dey O
Every day, every day no house to stay
Na Afrika we dey O
Monkey dey work Baboon dey chop
Na Afrika we dey O
Baboon dey hold di key of store
Na Afrika we dey O
Monkey dey look, Baboon dey laugh
Na Afrika we dey O
Now, listen to me, now, now, now
De day Monkey eye com open now
Na Afrika we dey O
Baboon dey vex
Na Afrika we dey O
Monkey refuse to work
Na Afrika we dey O
Baboon dey vex an craze
Na Afrika we dey O
Den he start to beg an beg
Na Afrika we dey O
Den he start to beg an beg
Na Afrika we dey O
Den he start to beg an beg
Na Afrika we dey O
Den he start to beg an beg
Na Afrika we dey O
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Now, now, now
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Hum, Gimme mi monie
You no go, go anywhere
Oro ebe O sè lè
Gimme mi monie
Oro ebe O sè lè
Everybodi monnie
Oro ebe O sè lè
You no go, go anywhere
Oro ebe O sè lè
Now, now, now
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Ra ra, aaaaa
Hi now now na na now
Hi now
A shi iiiiii
As we dey call am for area
Oro ebe O sè lè
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Unnecessary begging
As we dey call am for area
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Na arrangement now, now, now, now
Arrangement O
Na arrangement I tink sey I dey meki, O
Arrangement O
Na agreement na him I tink sey I dey sign ni
Arrangement O
Na ma friend na him I tink sey I dey tok to
Arrangement O
Na ma money di man dey look boin boin
Arrangement O
Dem manage to tek ma monie away
Arrangement O
Long, lon time an long lon time
Arrangement O
Na agreement I see monie don fly
Arrangement O
Now listen to me now, now, now
Den I meet am for road
Na Arrangement O
I grab for shirt
Na Arrangement O
Every bodi dey
Na Arrangement O
Police man dey
Na Arrangement O
Army sef dey
Na Arrangement O
Custom sef dey
Na Arrangement O
Me sef don tanda
Na Arrangement O
Den he start to beg an beg
Na Arrangement O
Den he start to beg an beg
Na Arrangement O
Den he start to beg an beg
Na Arrangement O
Den he start to beg an beg
Na Arrangement O
Den he start to beg an beg
Na Arrangement O
Den he start to beg an beg
Na Arrangement O
As we dey call am for area
Oro ebe O sè lè
Now, now, now
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Gimme me my monie
Oro ebe O sè lè
You no go, go anywhere
Oro ebe O sè lè
Gimme me my monie
Oro ebe O sè lè
You no go, go anywhere
Oro ebe O sè lè
And now,now
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Ra ra, aaaaa
Na ma contry I tink sey I dey stay
Na Afrika we dey O
Na ma contry I tink sey I dey chop
Na Afrika we dey O
Every day, every day I dey hungry
Na Afrika we dey O
Every day, every day no house to stay
Na Afrika we dey O
Monkey dey work Baboon dey chop
Na Afrika we dey O
Baboon dey hold di key of store
Na Afrika we dey O
Monkey dey look, Baboon dey laugh
Na Afrika we dey O
Now, listen to me, now, now, now
De day Monkey eye com open now
Na Afrika we dey O
Baboon dey vex
Na Afrika we dey O
Monkey refuse to work
Na Afrika we dey O
Baboon dey vex an craze
Na Afrika we dey O
Den he start to beg an beg
Na Afrika we dey O
Den he start to beg an beg
Na Afrika we dey O
Den he start to beg an beg
Na Afrika we dey O
Den he start to beg an beg
Na Afrika we dey O
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Now, now, now
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Hum, Gimme mi monie
You no go, go anywhere
Oro ebe O sè lè
Gimme mi monie
Oro ebe O sè lè
Everybodi monnie
Oro ebe O sè lè
You no go, go anywhere
Oro ebe O sè lè
Now, now, now
Unnecessary begging
As we dey call am for area
Oro ebe O sè lè
Ra ra, aaaaa
Hi now now na na now
Hi now
A shi iiiiii
The lyrics of Fela Kuti's "Unnecessary Begging" reflect the pervasive problem of corruption in Africa. The song speaks to the issue of bribery and corruption in the continent, particularly in Nigeria. In the song, Fela describes how pervasive this issue is in African societies while simultaneously pointing out how begging has become a way of life for many people in Africa. The song calls for an end to corruption in Africa, as well as a call for African citizens to stand up for themselves and refuse to engage in bribery and corruption.
The first verse of the song talks about the unnecessary begging that goes on in many African communities. Fela notes that begging has become so common that it has become part of the language of the people in the area. The chorus echoes this sentiment, reiterating how begging has become unnecessary and how the people of Africa should fight against it.
The second verse of the song describes how bribery and corruption work in many African communities. Fela talks about how agreements and arrangements are made between people, and bribes are often paid to ensure these arrangements are upheld. He also points out how people in positions of power, such as police officers and army men, are often involved in bribery and corruption. The third verse describes how corruption affects the lives of ordinary Africans, with Fela reminding us that many people still go hungry every day and struggle to make ends meet while others profit off their misery.
Line by Line Meaning
Unnecessary begging
The act of begging for assistance when one can provide for oneself
As we dey call am for area
Asking for help within the community
Oro ebe O sè lè
I do not understand the motive behind the begging
Na arrangement now, now, now, now
It's a preconceived agreement
Arrangement O
An agreement has been established
Na ma friend na him I tink sey I dey tok to
I'm speaking to my friend
Na ma money di man dey look boin boin
The man is eying or coveting my money
Dem manage to tek ma monie away
They succeeded in taking my money away despite my efforts
Na agreement I see monie don fly
The money has vanished under the guise of an agreement
Den I meet am for road
I stumbled upon him on the road
I grab for shirt
I held onto his shirt
Every bodi dey
Everyone is involved
Now, listen to me now, now, now
Listen carefully to what I'm about to say next
Na ma contry I tink sey I dey stay
I reside in my country
Every day, every day I dey hungry
I'm hungry every day
Monkey dey work Baboon dey chop
Those who are not working are benefiting from the efforts of those who are
Baboon dey hold di key of store
Those in control of resources are not sharing with those in need
De day Monkey eye com open now
The day will come when those who have been unaware will realize the inequities in society
Gimme mi monie
Return the stolen money
Everybodi monnie
Everyone should return their fair share of the funds
Now, now, now
Right now, immediately
Ra ra, aaaaa
Expression of exasperation or disgust
Hi now now na na now
A chant or exclamation of frustration
A shi iiiiii
Expression of frustration or disappointment
Writer(s): Kuti Fela Anikulapo
Contributed by Victoria Y. Suggest a correction in the comments below.
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@OSHINEMI1
He is the best , Period!!
The African Mozart/. Beethoven .
May his soul rest in peace.🎉
@arnelevans4803
Excellent comment, much love and respect
@abiodunosemobor
Absolutely awesome music.
No one could arrange the horns like Fela.
The music of my youth in 70's Lagos Nigeria
@anthonynosegbe8003
Listening to Fela now it's taken me back memory lane. Those were the days growing up in Lagos. He was a legend & may god bless his soul.
RIP BABA 7O
@asaolujames1115
One of the best musicians so far may his soul rest in peace amen.
@tundeezekiel134
The best composer of music in Africa, no doubt....he is still number 1 till date
@kasherimilkong1036
Yep!!! Aint never gonna be an Afrobeat king ever like Fela.
@elrededwards863
This is african music we gave the world so that all can enjoy lifetime forever with us
@andrewallace9555
Still solid and relevant ... Fela's beautiful unique trumpet lines always move me
@nicebahula5315
Moving my head in 2022 August 10, enjoying the rhythms of the legendary African icon in Afro jazz Fela Kuti