'Attention! Quick march! Slow march! Salute!' sings Fela, 'Fall in! Fall out! Fall down! Go and kill! Go and die! Go and quench!' Each phrase is followed by the women singers' taunting response, 'Zombie!' Just a few months later on 18 February, 1977, around 1,000 soldiers, most of them armed, swooped on the Kalakuta Republic. On the title track of 1976's Zombie, Fela and the backup singers ridicule the mindset of men in uniform over an urgent, quick-march accompaniment from Afrika 70. In 'Eko Ile,' Fela sings that there is no place like home (Eko was the pre-colonial name of Lagos). Like many of Fela's lyrics of the period, the lyric employs parable and metaphor to encourage ethical conduct in everyday life. 'Alu Jon Jonki Jon' draws on the interaction between animals and humans that is part of Yoruba mythology, in a tale about a dog who betrays his friends. This proved to be prophetic stuff, given the police and army assaults, intended to silence him, which were just around the corner. Fela vows that he will always tell it like it is, no matter what. Lyrically, the standout track is the closing 'Je'Nwi Temi' ('don't gag me'), a critique of the Nigerian political/military establishment and a defence of free speech. In Broken English, the title means 'chop and quench,' which, in turn, means 'eat and die' in Standard English. The best known song on 1973's Afrodisiac is 'Jeun Ko Ku,' a satire about gluttony and Fela's first major hit in West Africa. Chris MayĪfrodisiac was recorded at EMI's Abbey Road studios in London. Up-tempo, with a suitably turbulent horn arrangement, it includes strong solos from Fela on keyboards and the fearsome Igo Chico on tenor saxophone. 'Shakara' is a mainly instrumental track, with a brief lyric, sung in Yoruba, warning against boasters and braggarts. In 'Lady,' Fela highlights the adoption of European social habits to the detriment of African culture. And female backing vocalists echo Fela's lead vocals in what was to become Afrobeat's trademark call-and-response pattern. Fela's Broken English lyrics extend his music's audience beyond Yoruba speakers and make his words understandable across Anglophone Africa. The pair's repetitive, interlocking riffs - part melody, part rhythm - play a similar role to the rhythm and mi-solo guitars used in contemporary Congolese rumba. There are two guitarists, rhythm guitarist Tutu Shoronmu and tenor guitarist Segun Edo. Shakara (1971) includes three of mature Afrobeat's signature ingredients. Shakara is one of a clutch of early 1970s albums, on which Fela's Afrobeat transitioned from foetal stage to something approaching full-grown form.

Arab strap rar zip