One could sense Fela’s preference for the former, and his fear of the latter, because even though he is well known for having married 27 Nigerians on the same day, he was also madly in love with an English mixed-race woman, Remilekun Taylor, with whom he had his son Femi. In Lady, Fela makes the distinction between a simple African woman – docile, obedient and obliging to her husband −, and the educated lady who, influenced by western morals, wants to be man’s equal. Fela’s imperial song, and the response from female choirs, still provide the most irrepressible chills.Both Lady and Shakara are addressed to women, in an ambiguous way that triggered the wrath of some feminists. Guitars keep up the pressure, brass mount their attack like warriors, marking the shapes and volutes of this sensual epic. De esta manera Matthieu Chédid -M- presenta en 1997 su peculiar álbum debut como solista Le Baptême, que posee, como él mismo aseveró, 'sonidos de la infancia, estampas auditivas para locos y soñadores', estampas que se mueven dentro de ritmos tan diversos como la bossa nova, el rock, el reggae, el pop, el funk, la rumbao el blues. Fela, with his Rhodes organ and a playing style reminiscent of the Doors’ Ray Manzarek, injects drama, while Tony Allen sets the rhythm so specific to afrobeat and conducts the musicians. The two epic tracks both stretch over 13 minutes.
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