MU

SICR

OU

GH

GU

IDES

THE ROUGH GUIDE to

Afrobeat Revolution

Music is a weapon and can be used to wage a revolution. Afrobeat, like militant Jamaican rockers reggae of the 1970s, or the stirring corridos that sing of Zapata’s guerrilleros during the Mexican Revolution, is just one such genre of revolutionary music that came from a period in history where the small person in the street decided to fight the big man in power. Since its arrival in the aftermath of a turbulent 1960s, the visibility of Afrobeat has risen from a few people acknowledging an Afro-pop artist called Fela Kuti (and the local authorities trying to suppress it) to the mainstream acceptance of the term (if not the lifestyle that Fela cultivated as part of it) and the widespread influence among musicians it enjoys today. Along the way, a rebel secessionist compound, the Kalakuta Republic, was formed by the makers of Afrobeat within the city bounds of Lagos, Nigeria, containing living quarters and Fela’s Shrine nightclub. Despite the army’s best efforts to erase that village, to silence the man and his followers, to excise Fela’s contributions from the textbooks, he is more popular today in death than he was twenty years ago during his last stages of creativity, becoming a global phenomenon like Bob Marley. Afrobeat, once inseparable from its creation myth and reigning king of thunder, Fela Anikulapo-Kuti, has now become a distinct and separate genre in the minds of people everywhere, and is part of the general language of pop music.

Those who have followed the recent developments and outgrowths of this rebel music will almost unanimously hail rhythm

master Tony Allen as a major figure in contemporary music. A true human drum machine, it is simply impossible for one to sit still during a musical episode by the master drummer. His sound may recall machine-gun fire at times and it may take you hostage… only to heighten your awareness of the possibilities that can arise from this jungle we live in.

As the co-creator of the Afrobeat movement in the 1960s Nigerian music scene, Tony Allen now stands as the undisputed heavyweight champion of the living, breathing and growing Afrobeat Revolution. Where would we be without Tony’s inspiration? It would be hard to imagine the developments in modern Afropop (including juju and highlife), Afro-house, broken beat and, increasingly, global hip-hop and jazz, without Tony Allen’s original drum patterns as the heartbeat. It seems that every college town in the world has a representative elected to the league of Afrobeat, be it a band, record label, innovative club scene or radio station.

Afrobeat is an intoxicating concoction of imported James Brown swagger, mixed with jazz and highlife from home and abroad, topped with African pride and revolutionary sentiment. Fela, Geraldo Pino, Orlando Julius and others lit the fuse, and by the late 1970s it had exploded on the scene, a musical bomb that still ripples the global sound waves today, setting off action on the shores of places on every continent. Artists far and wide have offered their own personal

gifts in tribute to the Afrobeat revolution over the years, displaying eclectic influences, transmitted via Fela and Tony Allen’s vibrational framework. Jamaicans like Cedric ‘Im’ Brooks and Big Youth were hip to it, as was the Art Ensemble of Chicago, Roy Ayers, Ginger Baker, John Tchicai and Don Cherry. The call was heard all over and today we have this thing bumping from Tokyo to Accra, Israel to Colombia, hip-hop to house. The sampling allotted us here is but a tip of the iceberg. Joining us in the trenches you will find a host of artists, soul drummers all, who offer their own unique perspective on this Afrobeat Revolution.

La révolution de l’afrobeat, c’est le cocktail fulgurant du highlife nigérian distillé par Fela et de la soul de James Brown, mixé avec la nouvelle génération de sons révolutionnaires africains. Un rythme et un message qui vous laisseront pantois...

La musique est une arme, qui peut servir à mener une révolution. Comme le reggae des rockers jamaïquains des années 70 ou les émouvants corridos créés par les guerrilleros de Zapata durant la révolution mexicaine, l’afrobeat est un de ces genres musicaux révolutionnaires apparus à un moment historique où l’homme de la rue se révolte contre les puissants. Depuis son émergence, à l’issue des turbulentes années 60, la visibilité de l’afrobeat, n’a fait que croître, passant d’un petit nombre de passionnés reconnaissant le talent d’un artiste

afro-pop du nom de Fela Kuti (et les autorités nationales qui tentaient de le supprimer) à une profonde influence sur les musiciens et à une vaste reconnaissance du terme d’afrobeat (sinon du style de vie que Fela représentait). A l’instigation des fondateurs de l’afrobeat, un quartier sécessionniste rebelle s’établit progressivement sur les territoires urbains de Lagos, Nigeria, qui comprend le Shrine, le nightclub de Fela et des quartiers d’habitation, connus sous le nom de Kalakuta Republic. Malgré les efforts de l’armée pour éradiquer ce village, pour faire taire l’homme et ses partisans, pour supprimer ses textes des manuels, Fela est plus populaire aujourd’hui qu’il y a vingt ans, alors qu’il se trouvait au sommet de sa créativité et qu’il devenait un phénomène mondial comme Bob Marley. L’afrobeat, d’abord indissociable de son mythe créateur et du roi tonitruant en exercice, Fela Anikulapo-Kuti, est maintenant devenu un genre à part entière dans le monde entier. Il appartient désormais pleinement au vocabulaire de la pop.

Ceux qui ont suivit les évolutions récentes et les péripéties de cette musique rebelle loueront de manière quasi unanime le maître du rythme Tony Allen, une figure centrale de la musique contemporaine. Véritable machine à percussion humaine, le batteur ne laisse personne indifférent: son son, qui évoque parfois le bruit des armes à feu, vous retient en otage… pour mieux éveiller votre conscience sur les possibilités qui peuvent surgir de la jungle dans laquelle nous vivons.

En tant que cofondateur du mouvement de l’afrobeat sur la scène musicale nigériane des années 60, Tony Allen fait aujourd’hui figure de poids lourd incontestable de la révolution de l’afrobeat, une révolution toujours vivante et qui connaît un renouveau, voire une explosion.

Où serions-nous sans l’inspiration de Tony ? Sans ses patterns originaux en toile de fond, difficile d’imaginer l’évolution de l’afropop moderne (juju et highlife inclus), de l’afro-house, du broken beat et, qui plus est, du hip-hop mondial et du jazz. Chaque ville universitaire semble compter un représentant de la ligue de l’afrobeat: groupe, label, scène innovante ou station de radio.

L’afrobeat est une concoction enivrante d’éléments importés de la soul et du funk de James Brown, mixés avec du jazz et du highlife d’ici et d’ailleurs, saupoudrés de fierté africaine et de sentiments révolutionnaires. Fela, Geraldo Pino, Orlando Julius et d’autres ont allumé l’incendie, et fait explosé sur scène à la fin des années 70 une bombe musicale dont la détonation se répercute encore sur les rives de tous les continents. Au fil du temps, des artistes du monde entier ont offert leur tribut à la révolution de l’afrobeat, affichant des influences éclectiques, transmises par le biais de Fela et des vibrations de Tony Allen. Des Jamaïquains comme Cedric ‘Im’ Brooks et Big Youth ont contribué à accroître la résonance de l’afrobeat, tout comme le groupe Art Ensemble de Chicago, Roy Ayers, Ginger Baker, John

Tchicai et Don Cherry. L’appel a été entendu partout et aujourd’hui, l’afrobeat rebondit de Tokyo à Accra, d’Israel à Colombia, du hip-hop à la house. Les compositions rassemblées ici ne représentent que le sommet de l’iceberg. En nous rejoignant, vous découvrirez une pléiade d’artistes, de batteurs soul, qui ouvrent chacun une perspective unique sur la révolution de l’afrobeat.

La revolución del Afrobeat Revolution tomó el intoxicante coctel entre la música highlife Nigeriana de Fela y el pavoneo de James Brown, mezclándolo con los sonidos revolucionarios de una nueva generación Africana ,agitándole con el ritmo y conmoviéndole con el mensaje..

La Música es un arma que puede usarse como arma y lograr una revolución. El Afrobeat al igual que los Militantes Jamaiquinos que interpretaban rock con reggae en los 70’s o los conmovedores corridos cantados por los Guerrilleros de Zapata durante la revolución Mexicana, es solo un ejemplo de un género musical revolucionario surgido en un período de la historia cuando una pequeña voz en la calle decidía enfrentarse contra las personas que se encontraban en el poder. Desde su aparición ocurrida después de los turbulentos 60’s, la visibilidad del Afrobeat ha aumentado del conocimiento de unas pocas personas de un artista Afro-pop llamado Fela Kuti (y de las autoridades locales tratando o de suprimir su música) a la aceptación de los grandes mercados

musicales en términos (no como parte del estilo de vida que Fela cultivaba) de su difusión e influencia que disfruta hoy entre los músicos. A lo largo del camino, se formo un separatismo rebelde dentro de los lazos conformados dentro de la ciudad de Lagos en Nigeria desarrollado por los creadores del Afrobeat. El Club nocturno de Fela Shrine y sus cuarteles fueron conocidos como la República Kalakuta. A pesar de los esfuerzos del ejército para borrar la villa del mapa, de silenciar a este hombre y sus seguidores, al eliminar las contribuciones de Fela en los libros de texto; el es más popular ahora que hace 20 años durante sus últimas etapas de creatividad artística convirtiéndose en un fenómeno cultural de la dimensión de Bob Marley. El Afrobeat que fuera una vez inseparable de su creador convertido en mito y reinante rey del trueno, Fela Anikulapo-Kuti, se ha ahora convertido en un género distinto y separado en las mentes de las personas en todas partes y es parte del lenguaje general de la música pop.

Aquellos que han seguido el reciente desarrollo y expansión de esta música rebelde han señalado unánimemente al maestro del ritmo Tony Allen como una enorme figura dentro de la música contemporánea. Una verdadera maquina humana del tambor. Es simplemente imposible mantenerse sentado cuando este maestro interpreta su música. Sus sonidos recuerdan el sonido de una ametralladora que te atrapa y hace que tu autoconciencia se eleve ante las posibilidades que surgen de esta selva en la que vivimos.

Como co-creador del movimiento del Afrobeat de los 60’s en la escena musical Nigeriana, Tony Allen se erige ahora de manera indiscutible como el campeón de peso completo de la vida, la respiración y el crecimiento de La Revolución del Afrobeat.

Donde estaríamos si la inspiración de Tony? Es difícil imaginar el desarrollo del Afro-pop moderno. (Incluyendo juju y highlife), el Afro-house, broken beat y un crecimiento global del hip-hop y el jazz, sin los patrones originales de Tony Allen en la percusión simulando los latidos del corazón. Pareciera como si cada población del mundo tuviese un representante electo en la liga del Afrobeat, sea como una banda, un sello disquero una innovadora escena de clubes nocturnos o una estación de radio

Afrobeat es una pócima intoxicante del pavoneo importado de James Brown, mezclada con jazz y highlife de acá y de allá condimentado con manifestaciones Africanas de orgullo y un sentimiento revolucionario. Fela, Geraldo Pino, Orlando Julius y otros prendieron la llama y para finales de los 70’ estoa explotó en escena, una bomba musical con presencia en el territorio de cada continente. Los artistas han ofrecido ampliamente sus propios dones como tributo a la revolución del Afrobeat en los últimos años mostrando influencias eclécticas trasmitidas a través del marco de referencia transmitido por Fela y Tony Allen. Los Jamaiquinos tales como Cedric ‘Im’ Brooks y Big Youth eran lo popular del momento así como lo fue hip to

it, as Art Ensemble de Chicago, Roy Ayers, Ginger Baker, John Tchicai y Don Cherry. El llamado fue escuchado en todo el mundo y ha saltado de lado a lado desde Tokyo hasta Accra, Israel hasta Colombia, del hip-hop al house. La selección que veremos aca es solo la punta del iceberg. Acompáñenos en esta senda donde usted encontrará un grupo de artistas todos percusionistas quienes ofrecen su única perspectiva de esta revolución del Afrobeat.

THE SOULJAZZ ORCHESTRA – Formed in 2002 in Ottawa, Canada, and led by keyboard maestro Pierre Chrétien, this incredibly tight six-piece (plus guests) orchestra bridges the gap between Afrobeat and James Brown-style hard funk, with a pinch of Latin boogaloo, highlife, soukous and soul-jazz thrown in for good measure. Multilingual, multiethnic (and multitalented), high-energy, hypnotic and polyrhythmic: words that attempt to describe the magnetic power this body-rocking ensemble has over the crowd. ‘Freedom No Go Die’ is the title tune from their second album of the same name and features Rwandan/Burundi vocalist Mighty Popo Murigande. Mighty Popo’s inspirational lyrics rail against injustice and carry the revolutionary torch for freedom: ‘Brother, know your rights, Sister know your rights, Freedom no go quench, Freedom no go die.’

LEKAN BABALOLA – Songs Of Icon is a unique project from the Mr Bongo label: a double album consisting of a disc of Yoruba

orisa/Santería-inspired instrumental jazz-funk, and a set of remixes from a diverse selection of DJs coming out of the brokenbeat/leftfield scene. Lekan Babalola is a Nigerian master percussionist who has played with everyone from Fela to Ernest Ranglin, Roy Ayers, Tony Allen and Branford Marsalis. Babalola wanted to pay tribute to the ancestors and the ‘Icons’ – the spirit deity beings that made us in their image. ‘Kabioye’ is a Yoruba chant set to music that praises the orisa deity Sangó, lord of fire, thunder and electricity. Remixer Mark de Clive-Lowe takes the original and transforms it into a clubland tribute to Fela, god of thunder in his own way, icon of the Afrobeat Revolution. Babalola gives thanks to the DJs ‘for putting the hipness back into the hopfunk so the boys and girls can boogie on the dancefloor… I am feeling you!’

DENNIS FERRER – South Bronx-born, NJ-based Ferrer started making techno records nearly twenty years ago. But after completely giving up music for a while he returned to the scene in 1998 with polyrhythmic house music and a new operation with Kerri Chandler called Sfere Recordings. A mixture of live instruments and vocals with electronics, Ferrer’s productions are more spiritual and live-sounding than some of the commercial house music ubiquitous in today’s clubs or television adverts, with influences ranging from soul/jazz, to gospel, Brazilian and African. The authentic lead vocal on ‘Dem People Go’ is by Bola Belo, the jazzy highlife-inspired guitar work by Dominic Kanza, and soul alto sax by Toyin Ogunlade. Yoruba

chants add to the ancestral connections and the influence of Tony Allen’s drum beats are evident. All these are ingredients in star producer Ferrer’s deeply felt Afro-house music.

THE AFROMOTIVE – This Asheville, North Carolina-based group has its own spin on the genre, incorporating jazz, funk and West African flavors. The politically charged track ‘Lies’ comes from the band’s debut disk, Scare Tactics, and is propelled by sax and djembe interplay, the compelling and raw sound of Kevin Meyame’s vocals going from French to English, proclaiming the story of rulers that lie and treat the common people like dogs. Meyame hails from Côte d’Ivoire and is a talented dancer, composer and drummer. His knowledge of complex West African rhythms and extensive performance experience adds a special element to the recording. Chugging like a locomotive, the band creates a sound that crosses musical and ethnic boundaries, and is not to be missed in the live context as they incorporate marathon jamming and improvisation into their sweaty sets.

ALBINO! – A ten-piece ensemble that ’honours the fiery legacy’ of Fela through a commitment to activism, charity causes and performing lively protest music, the band utilizes a large brass section, authentic African percussion, wild costumes, dancers and entertaining choreography to get their message of dance and rebellion across. ‘Puppet Boy’ comes from their debut album Rhino and uses satirical biting humour to point the finger at the forces behind

our empty-headed puppet rulers. The lyrics paint a picture of a ‘boy’ who is merely a servant of larger forces, whose masters put him on TV, tell him what to think, what to say and keep him in line by inspiring fear. Some tasty percussion, funky drumming and sexy baritone sax work complement the taunting vocals of special guest Amber Hines.

TONY ALLEN FEATURING YINKA DAVIES – In 2006, the excellent London-based record label Honest Jon’s had the good fortune of landing the always-in-demand Tony Allen. Returning to Nigeria to record Lagos No Shaking (‘Lagos is doing fine’ in Pidgin) was a homecoming for him and, as such, he incorporated more traditional elements on the disk, like talking drums, wood flute and juju sounds. Several generations of Nigerian artists appear: Fatai Rolling Dollar (the grandfather of palm-wine music) and Baba Ani (from Fela’s band). Yinka Davies, the ‘Erykah Badu of Nigeria’, is a star vocalist, actress and cover girl with a deep spirituality. No stranger to Afrobeat, she previously worked with Lagbaja before a car accident nearly ended everything for her; Allen has provided her return to the scene with a lush home-grown backdrop for her soulful voice to flower once again. Kilode means ‘What’s the matter, what’s going on?’ This song answers the question with grace and feeling.

RUTH TAFEBE & THE AFROROCKERZ – The Afrorockerz is an ensemble led by guitarist Julien ‘Juju’ Raulet of the group Fanga. Their debut Holy Warriors on Comet Records brings

in new flavours to the scene with acoustic guitar, talking drum, electronics and spaced-out atmospherics. The project was born from the ‘longing for breaking off the rules, starting with those who create musical genres… this is the idea of an anti-globalization activism willing to turn music into a lasting energy’, as the band’s press release puts it. Guest vocalist Ruth Tafebe is originally from Abidjan, Côte d’Ivoire, and grew up in Montpellier, France, where she hooked up with Julien. She is a soulful lady who sings in English and Bambara, and is joined by Nigerian diva Asha on Yoruba vocals. Amayo (of Antibalas) and Chief Udoh (from Fela’s group) also guest on the disk. ‘Wâri’ (‘Mother’) features Tony Allen.

KALETA & ZOZO AFROBEAT – Composer, vocalist, percussionist and guitarist Leon ‘Kaleta’ Ligan-Majek is from Benin (but grew up in Lagos), and played an important role recording and touring with both Fela Kuti’s Egypt 80 orchestra and ‘rival’ King Sunny Adé’s African Beats back in the 1980s, as well as Shina Peters and, more recently, Lauryn Hill. Now based in NYC, Kaleta and his ultra-funky crew drop a truly transcendent anthem inspired by Bob Marley and The Wailers’ ‘Get Up Stand Up’ – a track that topples all ‘downpressors’ with its musical might. Marley may very well be the planet’s most popular musical artist – an icon whose songs have been ‘versioned’ countless times but never before in this most appropriate context, as Fela’s message is essentially the same. Zozo Afrobeat unites these two spiritual

brothers with an irresistible groove, taking the dancefloor to the highest level – that stateless state of enlightenment. If conscious music brings us reasoning, then the knowledge of self-empowerment we gain through it should be a tool of revolution.

AFRODIZZ – This octet hails from Francophone Montreal, Canada, though their soulful lead vocalist, Vance Payne, sings in English. With guitar harmonics imitating thumb piano or weaving syncopated funk, plus wild keyboard dynamics, slinky dual sax swirls, call-and-response chorus, and deep bass and driving percussion, Afrodizz create a trance-like state of being akin to the original Kalakuta Shrine experience, but with a raw power informed by garage rock and the kick-ass attitude of classic punk. ‘Bombé’ comes from their sophomore album Froots. Payne sings of social bombing, ecological bombing, military bombing, economic bombing, while people are struggling to earn enough to survive and dealing with inequality and injustice on a daily basis. Led by guitarist Gabriel Aldama, Afrodizz have been around since 2002, and have been making a name for themselves on the live circuit by touring intensively.

FANGA – The name for this eight-piece ensemble from France translates as ‘(Spiritual) Force’ in the Dioula dialect of West Africa. Deeply humanist, Fanga stands for the respect of fundamental human rights, and against inequality created by the quest for profit or

by any form of intolerance. Jazzy electric piano and a rocking guitar intro mark ‘Ni I Ma Toro’ (‘As long as the frog doesn’t know hot water, it doesn’t know that it’s living in cold water’). Burkina Faso native Yves ‘Korbo’ Khoury adds a distinctive militant flair with his forceful raspy vocals, which, like Fela’s, fall somewhere between rap and a cry for justice. Korbo states that the song ‘is about the multiplicity of emotions that makes you feel alive. Even the negative ones such as boredom, pain due to a separation, anger or melancholy, help us to appreciate in a better way our happiness.’ What makes it all worth it ‘is the fact that, despite all the negative emotions we feel, we all heal and are ready for feeling all these emotions again’. This track reveals the strength of Fanga: the positive state of mind of nu-Afrobeat music.’

TED SIROTA’S REBEL SOULS – Chicago-based drummer Ted Sirota and his Rebel Souls are an inspired bunch, working in the field of ‘Modern Creative’ music, and informed by the worldly sounds of the late folk-jazz nomad Don Cherry, as well as avant-garde improvisation concepts, dub reggae and Afrobeat. After studies in Boston, Ted moved to Chicago in 1992 and formed the Rebel Souls in 1995. The rebellious spirit of Fela (certainly a jazz lover) resides in the quintet’s album Breeding Resistance, especially in the tribute to Nigerian martyr Ken Saro-Wiwa. Saro-Wiwa was an acclaimed author and activist who as a warrior for social justice railed against Shell Oil’s pipeline construction project,

which benefited nobody but corporate profiteers and government goons (as well as Americans and their oil addictions). The Nigerian military unapologetically executed eight activists, Saro-Wiwa being the last (to make him watch the hangings of his comrades). The driving intensity of the rhythm is tempered by a catchy melody that lingers on like the bittersweet memory of a martyred soul.

Pablo Ellicott Yglesias (DJ Bongohead) is a Cuban-American graphic designer, artist, DJ, percussionist, exhibit curator and writer. His book Cocinando: 50 Years of Latin Album Cover Art was published in 2005 by Princeton Architectural Press. He has written for Latin Beat, Hispanic and Wax Poetics.

Brendon Rule (DJ Andujar) is a DJ, as well as writer, publisher, labourer, musical artist and joker. He appreciates hard funk, free jazz, salsa dura and roots reggae, as well as baseball, fine beer and the Latin American move towards socialism. His radio show clandestino can be heard online at www.wmua.org

Thank YouBongohead: Margot, Isaac, Nona and especially my father for turning me on to Fela’s music. Andujar, Brad, Matt, Anu and Phil at WMN for keeping the faith. Ghariokwu Lemi, the genius Afro-visionary artist. All the musicians, labels, DJs and staff, especially Tony Allen. Also (in no particular order): Gabriel Aldama, Kaleta, Mark Ainley (Honest Jon’s), Ted Sirota, Pierre

HOW TO USE THIS ENHANCED CD The data track of this CD contains information on relevant music and travel from the Rough Guide books as well as relevant web links. To view this via your internet browser please insert the disc into the CD drive, and double click on the file: ‘LAUNCH’. PC and Apple Mac compatible. Whilst the enhanced portion of this CD should run happily on most computers with a current web browser, we cannot accept any liability for any failure to do so or for any problems that result from running this part of the CD on your computer.

01 SOULJAZZ ORCHESTRA Freedom No Go Die from the album FREEDOM NO GO DIE (DRO21CD) (Pierre Chrétien & Popo Murigande) pub Souljazz

Orchrestra (Socan). Licensed courtesy of Do Right! Music.

02 LEKAN BABALOLA Kabioye (Mark De Clive-Lowe Remix)

from the album SONGS OF ICON (44) (arr Lekan Babalola/Ed Puddick) pub Mr Bongo Records.

Licensed from Mr Bongo Records.

03 DENNIS FERRER Dem People Go from the album THE WORLD AS A SEE IT (Dennis Ferrer) pub True Vibes (BMI)/Sfere Music (BMI).

Licensed from King Street Sounds/Nite Grooves.

04 THE AFROMOTIVE Lies from the album SCARE TACTICS (HAR-031) (Ryan Reardon/Kevin Meyame) Copyright Control.

Licensed from Harmonized Records.

05 ALBINO! Puppet Boy from the album: RHINO (MNCD001) (Bruce Buchanan) pub People’s Elbow, BMI.

Licensed from Mighty Niblet Records.

06 TONY ALLEN FEATURING YINKA DAVIES Kilode

from the album LAGOS NO SHAKING (Tony Allen, Kayode Samuel, Barbara Snow) Copyright

Control. Licensed from Honest Jon’s.

07 RUTH TAFÉBÉ & THE AFROROCKERZ Wâri from the album HOLY WARRIORS (COMETCD042) (Ruth Tafébé and Julien Raulet) pub Planet Woo.

Licensed from Planet Woo/Comet Records.

08 KALETA & ZOZO AFROBEAT Get Up from the album COUNTRY OF GUNS (Leon Ligan-Majec) Copyright Control. Licensed from

Kaleta Music Productions.

09 AFRODIZZ Bombé from the album FROOTS (CPR22194) (Vance Payne, Gabriel Aldama) pub Avalanche Sound

Publishing. Licensed from C4 Productions.

10 FANGA Ni I Ma Toro from the album NATURAL JUICE (000 110 UR) (Fanga) pub UR Records. Licensed from

Underdog Records.

11 TED SIROTA’S REBEL SOULS Saro-Wiwa from the album BREEDING RESISTANCE (DG-551) (Ted Sirota) pub Rebel Soul Publishing. Licensed from

Delmark Records.

Chrétien, Arnaud Sorel (Underdog), Korbo, Ryo Nakata, Graeme (Mr Bongo), Lekan Babalola, Mel Pujlic (Mondo Mundo). Respect to all the bands and musicians we were not able to include, especially Nomo (Elliot Bergman), Aphrodesia (Ezra Gale), Budos Band, Femi Kuti, AIFF, Kingdom Afrocks (Leo Nanjo), Bantu and Ayuba, Quantic, Ty, Masters at Work, Rhythm Funk Masters, Afrobeat Down, Wunmi, Segun Damisa and The Afro-beat Crusaders, Wale Oyejide, Ocote Soul Sounds and Adrian Quesada, Inemo, Kerri Chandler, Ayetoro, Orgone, Najite Olokun Prophecy, Daktaris, Lagbaja, Baba Ani, Bukky Leo and Black Egypt, Eufórquestra and Massak. Respect to the Kuti family and all of Fela’s fans worldwide.

Andujar: Pablo and family, Brandon Irvin and Ally Burnett (and baby), all at Rough Guides, Jesse C. Reed, Kirsten and Caleb Barrett (and Anise), Glenn Siegel and all at WMUA, Suheir Hammad, Lester Hayes, Idris, Shiz, Jeff Hartford, Omar Sheikh, the Jazz Gangsta, Darrin Stukuls (and Devon), Dan Friel, Martin Perna, Mike Burke, Ramon Perez, Sem Dente, DJ 12XU, Jeremy Starpoli and family, Ramón Oliva, Mystery Train Records (Amherst), GFM backroom (for toleratin’ tha noize), WMCB, WFMU, WRSI, WZBC, WERS, WXOJ, Camilo/I-Ganic, Daria Fisk, Mom and Dad, my whole crew, all the artists and labels, Lemi for the cover, Master Drummer Tony Allen, the Black President Fela Anikulapo-Kuti and everyone who believes in music... peace and rhythm.

MU

SICR

OU

GH

GU

IDES

RGNET1222CD

For more information contact

WORLD MUSIC NETWORK 6 Abbeville Mews88 Clapham Park RoadLondon SW4 7BX, UK

T 020 7498 5252F 020 7498 5353E post@worldmusic.net

Listen to sound samples at www.worldmusic.net and subscribe to our free email newsletter!

Visit www.roughguides.com/music to read online versions of Rough Guides’music guide books

and find dozens of new CD reviews every month