#Ladies Kutis

[thejoyofviolentmovement]

New Audio: Bilal, Zap Mama and Common Team Up on Red Hot Org's 20th Anniversary of Red Hot + Riot Tribute to Fela Kuti

New Audio: Bilal, Zap Mama and Common Team Up on Red Hot Org's 20th Anniversary of Red Hot + Riot Tribute to Fela Kuti @Bilal @zap_mama @common @RedHotOrg @felakuti @motormouthpr

Red Hot has been producing great music to promote diversity and equal access to health care since 1990. The first project was the Cole Porter tribute Red Hot + Blue, quickly followed by Red Hot + Dance, No Alternative, Stolen Moments: Red Hot + Cool, and Red Hot + Rio. Over the past 15 years Red Hot produced two successful projects with Aaron and Bryce Dessner – Dark Was The Night and Day of the…

[sailorjojogames]

80s, Lagos & Africa 70

Fela Kuti. The Activist and the King of Afrobeat.

Many Thanks to all the talented CC creators @ebonixsims for the kit 🤩 @saturngalore @caio-cc @arethabee @stephanine-sims @simlaughlove @sageabara on TSR @sagittariahx @glorianasims

made on stream 📺

[kemetic-dreams]

THE UNTOLD STORY OF HOW AND WHY FELA KUTI MARRIED 27 WOMEN ON THE SAME DAY IN 1978 (A must read)

In 1978, the pioneer of Afrobeats, Fela Anikulapo Kuti, married 27 women in one day. This should not be strange to those who know the life and style of the Nigerian music legend nicknamed Abami Eda (strange creature).

Many of Fela’s band members became homeless after the devastating soldier attack on Fela’s commune (Kalakuta Republic) in 1977. In order to keep them together, Fela decided to do the unusual.

He gave a piece of paper to his female band members requesting the names of those that would like to marry him; the entire twenty-seven female band members put down their names.

After getting their consent, Fela Kuti married the 27 women on the 20th of February, 1978, at the Parisona Hotel in Anthony, Lagos, with the blessings of twelve Ifa priests. It was alleged that some parents of the ladies objected the marriage.

Fela married the women to protect and keep them together. The marriage ceremony was attended by Fela’s families, friends and other band members.

During the marriage ceremony, Fela rendered a short speech, pressed naira notes on his new wives’ foreheads and gave them marriage certificates. Fela embraced a rotation system of 12 wives at a time. After the marriage, Fela took his 27 wives to Ghana for honeymoon.

However, in 1986, shortly after his release from prison, Fela Kuti divorced his 27 wives on the claim that marriage brings jealousy. It should be noted that they were not forced to leave his house after the divorce; some lived with him till his death in 1997.

[burlveneer-music]

My WVUD playlist, 10/7/2024

Althea & Donna - Uptown Top Ranking China Street - Rock Against Racism Skinshape - Lady Sun (feat. Hollie Cook) Bagedai - San Muluo the Just Horace Andy & Jah Wobble - Superstition Kokoroko - Three Piece Suit (feat. Azekel) Seun Kuti & Egypt 80 - Stand Well Well Newen Afrobeat - Es la vida Motorpsycho - This Is Your Captain Abronia - What We Can See Wussy Duo - Cellar Door Gang of Four - At Home He's a Tourist Suzanne Vega - Rats X - Sweet Til The Bitter End Wet Fruit - Human Television Human Sexual Response - Keep a Southern Exposure Zeal & Ardor - Kilonova My Own Private Alaska - Ka Ora Holly Head - No Gain SOL SOL - Almost All Things Considered Como Asesinar a Felipes - Exterior (Parte III) Lotus - Synthbuljong

[fusilsapompe]

Mix Fela par DJ Calzone

Cela peut être affirmé sans risquer de lever le début de la moindre vague d‘indignation : Olufela Olusegun Oludotun Ransome-Kuti alias Fela Kuti est une légende absolue. Si cela paraît évident aujourd’hui, ça ne l’a pas toujours été de son vivant. Il a fallu du temps pour le voir se faire accepter hors des frontières de son pays natal, le Nigéria, où son empreinte indélébile est toujours prégnante en 2023. Il faudrait plusieurs tomes pour expliquer toute son importance, raconter son œuvre et ses collaborations avec de véritables extraterrestres comme l’exceptionnel Tony Allen, qu’il surnommait “l’homme qui joue comme cinq batteurs”. Derrière l’expression « d’artiste engagé » souvent utilisée pour décrire le saxophoniste, on découvre un autre héritage du natif de Lagos. Il a été un opposant farouche à l’ordre établi, et tout au long de sa carrière, une véritable épine dans le pied du régime nigérian, au point de finir en prison au milieu des années 1980 ou d’être victime de nombreux tabassages en règle de la police. Ce combat de plusieurs décennies coûtera la vie à sa mère, Funmilayo Ransome-Kuti, militante féministe et anticoloniale féroce, blessée par un millier de soldats lors d’un assaut d’une violence inouïe de son bastion surnommé « la République de Kalakuta ». Il développera alors une aversion sans limite contre cet état policier. Pour célébrer sa mémoire, Fusils A Pompe s’associe à DJ Calzone pour proposer un mix d’une heure, traversant en accéléré cette carrière aussi dense qu'insaisissable.

A écouter ici ->

Tracklist :

Fela Ransome-Kuti And The Africa 70 - Confusion

Sandra Sings With Fela & Africa 70 - Up Side Down

Fẹla Aníkúlápó Kuti & Africa 70 - V.I.P. (Vagabonds In Power)

Fela Ransome-Kuti And The Africa 70  - I No Get Eye For Back

Fela Ransome-Kuti And The Africa 70 With Ginger Baker - Let's Start

Fela Ransome-Kuti And The Africa 70 - Lady

Mos Def - Fear Not of Man instrumental

Fela Anikulapo Kuti And Roy Ayers - 2,000 Blacks Got To Be Free

Fela Anikulapo Kuti & Afrika 70 - Ikoyi Blindness

Fela Ransome-Kuti And The Africa 70 - Shakara

Fela Ransome-Kuti And The Africa 70 - Igbe (Na Shit)

Fela Anikulapo Kuti & Egypt 80 - Beasts Of No Nation

Fela And Africa 70 - Mr Follow Follow

Sandra Sings With Fela & Africa 70 - Go Slow

Fẹla And Afrika 70 – Sorrow Tears And Blood

Fela Anikulapo Kuti & Afrika 70 - Gba Mi Leti Ki N'Dolowo (Slap Me, Make I Get Money)

Fẹla And Afrika 70 – Colonial Mentality

Fela Ransome-Kuti And The Africa 70 With Ginger Baker - Black Man's Cr

Fela Ransome Kuti & The Africa 70 - Gentleman

INI - Grown Man Sport

Fela Anikulapo Kuti And Roy Ayers - Africa- Centre Of The World

Fela Ransome-Kuti And The Africa 70 With Ginger Baker - (Egbe Mi O) Carry Me I Want To Die

[theperrylleluniverse]

shuffle your favorite playlist and post the first five songs

Tagged by @frommybookbook !

@princessbuttercup1987

[aquariumdrunkard]

The Aquarium Drunkard Show: SIRIUS/XMU (7pm PDT, Channel 35)

Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays.

Intro ++ Keith Jarrett & Jack DeJohnette – All We Got ++ Mor Thiam – Ayo Ayo Nene ++ Ebo Taylor – Love And Death ++ Alabaster DePlume – A Gente Acaba (Vento Em Rosa) ++ Arthur Verocai – Dedicada A Ela ++ Louis Banks – Song For My Lady ++ RK Nagati – De L’Orient A’ L’Orion ++ Fela Kuti – My Lady Frustration ++ General Echo – Arleen ++ Benny Yurco – Flor Amarilla ++ Scientist – Bad Days Dub ++ Tom Zé – Mã ++ Almon Memela – The Things We Do In Soweto ++ J.B. De Carvalho E Seu Terreiro – Fui Na Umbanda ++ Haruomi Hosono – Bara To Yaju ++ Erasmo Calos – Sorriso Dela ++ Dr. Alimantado – Ride On ++ Earth Girl Helen Brown – Feed Me ++ Whitefield Brothers – Weiya (Serengeti Beat) ++ Juan Wauters – Candombe ++ Peter Gabriel – Exposure ++ Count Ossie – Ruth One Mile ++ Piero Umiliani – Rite ++ Adrian Young – Starlights ++ Tone Scientists – Tiny Pyramids ++ Brahja – Keepers ++ Ill Considered – Djinn ++ Morphine – I Know You (Part I) ++ Robert Wyatt – Heaps Of Sheeps | art formless forming

[clockwrkcabaret]

My Little Friend

WARNING! This show is for adults. We drink cocktails, have potty mouths and, at least, one of us was raised by wolves.

The Clockwork Cabaret is a production of Agony Aunt Studios. Featuring that darling DJ Duo, Lady Attercop and Emmett Davenport. Our theme music is made especially for us by Kyle O’Door.

This episode aired on Mad Wasp Radio, 12.03.23.

New episodes air on Mad Wasp Radio on Sundays @ 12pm GMT! Listen at www.madwaspradio.com or via TuneIn radio app!

Playlist:

Joe Strummer – Omotepe

DADDY LONG LEGS – Street Sermon

Legendary Tigerman – Gone

Elle King – Man’s Man

Black Rebel Motorcycle Club – Beat the Devil’s Tattoo

Legendary Shack Shakers – Mud

AJJ – Normalization Blues

Man Man – Black Mission Goggles

Split Lip Rayfield – The High Price of Necromancy

The Devil Makes Three – Johnson Family

The Bridge City Sinners – Unholy Hymns

Algiers – Hymn for an Average Man

Marvin Gaye – Inner City Blues (Make Me Wanna Holler)

Stevie Wonder – Living For the City

Janelle Monáe – Float (feat. Seun Kuti & Egypt 80′)

Sufjan Stevens – Futile Devices

Perfume Genius – Queen

Orville Peck – Smalltown Boy

Murder By Death – Dead Man’s Party

Pokey LaFarge – Fuck Me Up

Pink Williams – I Don’t Know About You

The Two Man Gentlemen Band – Time Changes Everything

Asylum Street Spankers – Shadrack, Meshach, And Abednego

Squirrel Nut Zippers – Axman Jazz (Don’t Scare Me Papa)

The Hot Sardines – Running Wild

The Puppini Sisters – Bei Mir Bist Du Schön

The Lost Fingers – Lovefool

Check out this episode!

[gerogerigaogaigar]

David Bowie - The Rise And Fall Of Ziggy Stardust And The Spiders From Mars

This was the dawning of a new age of glam rock. It's spacey like much of the glam scene, but it brought a rock n roll edge that would go on to be a major influence in the development of punk. Ziggy Stardust is supposedly a concept album about a bisexual alien rock star sent to earth to avert an energy crisis, but let's be real that concept only exists in like four songs on the album and even then only loosely. No this is really just an album about creating a moody and weird rock and roll drama filled with jangly guitars, dissonant chords, and a weird sense of desperation that is hard to put my finger on.

Talking Heads - Remain In Light

Remain In Light is a complex labyrinth of looping polyrhythmic grooves equally inspired by punk and new wave as it was from Fela Kuti. This is the album that truly brings the strengths of every member of the band to the forefront. Chris Frantz's funk/punk hybrid drumming is challenged to incorporate complex rhythmic elements from African drumming. Tina Weymouth's looping bass lines wind up holding the entire album together. Jerry Harrison on keys and guitar wind up filling in all the empty spaces in the soundscape. And singer David Byrne delivers cryptic stream of consciousness lyrics. Remain In Light, like their last couple albums, was produced by Brian Eno, and Eno's touch is definitely felt. The production is tight, but well textured. Odd noises are brought further into the foreground and vocals are allowed to sit further back than most bands would allow. Remain In Light is a must listen album.

Bob Dylan - Blonde On Blonde

It must be said, Rainy Day Women #12 & 35 is a bad and stupid song. Yes I 'get it' haha see he says stoned like weed but he means like biblically 🤣🤣🤣🤣🤣🤣🤣. Oh it's so fucking clever kill me. The second that song is over this instantly becomes one of the best Dylan albums by a huge margin. The stretch of songs from Visions Of Johanna to Most Likely You'll Go Your Way (And I'll Go Mine) is an amazing run of 10/10 songs. And the closer, Sad Eyed Lady Of The Lowlands is probably my second favorite Dylan closer after Desolation Row. The tightrope act of balancing the folk and rock sides of his style is performed incredibly.

Dr. Dre - The Chronic

The Chrinic is not a Dre solo album, it's a sampler of all the talent he has collected for his new record label. In fact Snoop probably shares as many verses as Dre does on here. It's an incredibly confident move and all the original Death Row inmates are here. Dre, Snoop Dogg, Lady Of Rage, Warren G, RBX, Kurupt, Nate Dogg, it's an incredible cast. And it's all topped off with new and innovative production that utilizes fewer samples, but deploys then with precision. The gratuitous Parliament-Funkadelic sampling would become standard for hip hop going forward, with The Chronic G-Funk was officially established.

Michael Jackson - Off The Wall

This was Michael Jackson's fifth album, but it really was his debut as an adult musician. The cutesy baby faced member of the Jackson Five was now a certified pop star who could compete on his own merits. The disco hits Don't Stop 'Til You Get Enough and Rock With Me as well as the ballad She's Out Of My Life lay the groundwork for Jackson's most fertile creative period. Other than that the album is quite good but does pale in comparison to his 80s output.

The Beatles - Rubber Soul

This was the first Beatles album where it felt like they actually wanted to be taken seriously as artists. Rubber Soul leans into a more folk rock sound that strongly distinguishes this album from its rock and roll predecessors. The expanded instrumentation, including their first use of sitar on Norwegian Wood, is a welcome inclusion. The fab four have fully embraced fuzzy guitars. Also of note is the very surreal attitude towards women on here. Like what the fuck is going on in Norwegian Wood and Run For Your Life? Rock music isn't kind to women, but this is just some psycho shit. I love it.

Stevie Wonder - Innervisions

Innervisions is the real start to a more introspective, witty, and socially conscious Stevie Wonder. There are no more sappy love songs and instead politically minded songs like Living For The City or spiritually hopeful songs like Higher Ground are the bread and butter of this record. What Innervisions does do is take the synth bass that was used on Talking Book and ramp it's usage up. The Moog bass gets more usage as the the clarinet and electric piano. Wonder's energy is extremely infectious, it's no surprise that Innervisions spawned four massive hits that all still see play on classic rock radio.

Amy Winehouse - Back To Black

It is very clear that Amy Winehouse could have gone all the way for period accurate recreation of early 60s Doo wop and girl groups had she wanted to. Thankfully she was better than that. The way she blends those classic styles with their modern equivalents beautifully illuminates the evolutionary path of soul and R&B music. Winehouse is backed up by the legendary Dap-Kings which adds to the authentic retro feel, but the lyricism absolutely trends more towards a modern style (I don't think Rehab would have flown in the early 60s). All in all Back To Black is a shockingly unique yet recognizable album that can only be the result of a unique musical vision.

Beyoncé - Lemonade

This album made a huge splash when it came out. It was dropped without any warning and overnight white girls were writing think pieces about the state of black America. The album's main topic is how her husband Jay-Z had been cheating on her, but she takes the simple theme os heartbreak and betrayal and evaluates it through the lens of how the legacy of American slavery has had ripple effects on black masculinity, femininity and relationships. I'll stop there lest this becomes another white girl think piece about Lemonade. Underneath the themes and stuff is one of Beyoncé's most dynamic albums. It is not at all contained to just R&B and delves into rock frequently and Daddy Lessons is straight up a country rock song. I'm not even close to the first person to sing the praises of this album but you're gonna have to hear it again because Lemonade is perfect.

Miles Davis - Kind Of Blue

In many ways Kind Of Blue resembles other post bop albums. But under the surface something incredibly innovative is happening. You see rather than a chord progression to set the key and then a bunch of solos there is... Wait do you guys know about musical modes? Oh. Uh. This is gonna be hard to explain then. Just trust me that the underlying structure of these songs provides the performers with much more tonal freedom than in other forms of jazz without losing the sense of harmonic center. If you are intrigued Google modal jazz at your own risk. Now the performers themselves are some of the best of the best. Miles himself on trumpet, Cannonball Adderley and John Coltrane on alto and tenor sax respectively, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums. Each one of these performers is a legend, each one likely to be the biggest name in any other band. And they explore the freedom that the moral form allows them to craft some of the finest solos in the history of jazz. And it's kinda catchy too. I already have the refrain from So What stuck in my head. Somehow one of the most experimental albums also became one of the best selling jazz albums of all time.

[burlveneer-music]

RAH & The Ruffcats - Orile to Berlin

As one of the most sought after and technically sublime working bands in the German live music scene, Berlin based Ruffcats are something of an institution. This eight-piece outfit made up of some of the country’s most revered session musicians, pool all of their diverse influences and come together as Ruffcats to create a unique take on the music they love. Since forming in 2007, and via their live jams at Bohannon Soul Club in Berlin, Ruffcats have found themselves acting as the backing band for artists such as Georgia Anne Muldrow, Sweet Charles, Lady Alma, Jaguar Wright, Miles Bonny & many more. In and out of the studio, they have also worked continuously with German soul singer Flomega, and in 2013 the Ruffcats were the touring band for the first Voice of Germany winner Ivy Quainoo. In the meantime, and for over a decade, Rapturous Apollo Helios, better known as RAH, has been making a name for himself as one of Berlins' most outstanding rappers, songwriters and vocalists. Originally hailing from Lagos, Nigeria, RAH’s music has always been influenced by his environment as well as a rich history of black music from hip hop to soul and, of course, Afrobeat. Having crowned his journey from Lagos to Berlin with the release of his debut album, How Far? in 2018, RAH began the next stage of his sonic adventure by hooking up with long-time friends, the Ruffcats band. Their first single together, the Curtis Mayfield influenced Shifting Sands, dropped the same year to huge acclaim, and it wasn’t long before both parties looked towards working on a larger project together. After a pause for the pandemic, their collaborative process really began to bear fruit, and following the release of the warmly received singles Agidi, MoonSun and Sorry, they now present their debut full length LP. Entitled Orile To Berlin, the album marks RAH’s migration from the area he grew up in Lagos to the German capital he calls home today. It’s an LP steeped in Afrobeat and highlife but with funk sensibilities and a hip hop attitude. Produced by Jochen Ströh, producer for Ebo Taylor classics Love & Death and Appia Kwa Bridge, and mixing engineer for Pat Thomas and Kwashibu Area Band, it has a strong production pedigree. It represents the band’s own version of Afrobeat within the unwritten laws of this music, and without trying to make a Fela Kuti copycat record. The album draws on original Afrobeat influences with tracks like Agidi and Rodeo reminiscent of the golden age of the genre, albeit with RAH’s distinctive rasping hip hop vocals and perhaps a more concise and to-the-point framework than the Afro-political anthems of 1970’s Lagos.

[oinfodemaniaco]

Imagine que os ETs benevolentes chegam para nos evacuar de uma Terra feita um buraco fumegante onde apenas as baratas conseguem sobreviver. Você é permitido a trazer um pendrive de música de apenas 10 GB. Quais seriam as dez canções que vocês levaria para a viagem ao planeta Tralfamadora, onde serão exibidos em um zoológico junto com outros animais de alta periculosidade? Já escolhi «Xote», de Gil, «Metamorfose Ambulante», «My Old Flame» de Billie Holliday, «Sophisticated Lady», de Duke Ellington, «Soul Love» de Bowie, «Kill the Poor» dos Dead Kennedys, «Venus» de Shocking Blue, e «Sorrow Tears and Blood» de Fela Kuti. Falta dois.

[theloniousbach]

WHOA! ERNIE ISLEY!!

Before most things musical I was a lead guitar fan. That’s the source of my pursuit of virtuosity, mostly in jazz these days. But there have been agreeable sojourns with bluegrass/Old Time/Celtic fiddles, fingerpicked guitar, Balkan, and European chamber music, all of which cycle through. There were giants in my youth—Hendrix above all, but Allman, Betts, Bloomfield, Garcia, Kaukonen, Stills, Winter—and I didn’t miss Haynes and Trucks when I came back.

But I criminally missed ERNIE ISLEY who took over in time in the family band from Jimmy Hendrix, as he was known then. That is both a reference point and a recommendation. He soars and swoops against his own almost out of control feedback. He does have the soul and funk from his brothers as a launching pad. It’s all pretty amazing and I regret not attending to his music until now.

What we called soul music was on the radio and I heard Motown, Stax, the Philly scene, but my deep dive was not that adventuresome. Still knowing Aretha Franklin, Stevie Wonder, Marvin Gaye, Al Green, and Sly Stone pretty well was necessary. So I heard the Isley’s radio tunes and there was a killer solo on Who’s That Lady, but I didn’t go deeper. I should have.

Similarly, I explored Parliament/Funkadelic for the groove as the American version of Afro Pop, Fela Kuti, and King Sunny Ade. So I also missed Eddie Hazel’s Maggot Brain solo the first time around.

Regrets. I has ‘em.

https://open.spotify.com/playlist/6HMToDoHW0GR7cy0ogo14D?si=4UIQiEj-TnGmCuV_hoi7Ug&pi=u-Sn1QsPLJRE-M