‘Another underground spiritual’, as the opening puts it, about Botha and apartheid,and supporters like Thatcher, Reagan and the Dis-United Nations. (‘One veto vote is equal to 92 or more, or more’).

In 1974 the police raided Fela’s commune. Looking for dope, they threatened to pump his stomach.

Interpol head: ‘I’ll talk to you in my office.’
Fela: ‘You get office? You foolish, stupid bastard, you goat…’

Shakara is killer, with Fela and Africa 70 right at the top of their game. London Scene has Egbe Mi O, where afrobeat is joined spine-tinglingly by the Abbey Road house choir.

50th Anniversary Reissue; ‘Igbo smoke vinyl’.

Scorcher!
The double LP is an anniversary edition, with extras, and new artwork.

Aka J.J.D. (Johnny Just Drop).
‘Recorded in autumn 1976, six months before the army attack on Kalakuta Republic, this is a lampoon of ‘been-to’ Nigerians, who had been to Europe or the US and returned with an inferiority complex about African culture. Ghariokwu Lemi’s front-cover portrays a suited-up been-to, dressed like a cartoon British toff, as he parachutes into a Lagos street to the bemusement of passers-by. The back cover shows a more funkily dressed been-to, wearing US-style ghetto-chic, but looking equally out of place. See how these JJD’s dress and talk, sings Fela, they are trying to be foreigners. In response, the chorus repeats the single word ‘original’, invoking Fela’s closing line on Gentleman: ‘I no be gentleman at all-o, I be Africa man, original.’‘

‘Fela used the cover of Ikoyi Blindness to announce his change of middle name from Ransome, which he now considered a slave name, to Anikulapo, which means ‘he who carries death in his pouch.’ The front cover shows Ransome crossed out and Anikulapo added above it.
‘The cover also announced the Africanisation of Africa 70’s name, changing it to Afrika 70. In the title track, Fela draws attention to the economic chasm separating the haves and have-nots of Nigerian society, contrasting the get-rich-at-all-costs, self-obsessed residents of the prosperous Lagos suburb Ikoyi with the more community-minded, poor inhabitants of the Mushin, Maroko, Ajegunle and Somolu neighbourhoods.
‘On the flip, Slap Me Make I Get Money) rails against the upsurge in police and military personnel assaults on people in the streets of mid-seventies Lagos. Motorists were commonly pulled out of their vehicles and given a whipping for minor traffic offences; police and soldiers were getting away with flagrant corruption in broad daylight.’