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Playlist of AS FAR AS I AM CONCERNED ONLY FELA KUTI DOES AFROBEAT

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  • Alberto N. A. Turra/ Turbogolfer Duo Azimuth: teaser #7.

    39

    album:
    Azimuth di Alberto N. A. Turra / Turbogolfer Duo(s) (Felmay/Egea 2015)
    film:
    Let me stand next to your fire di Valeria Allievi

    The third record from the italian jazz guitarist Alberto Turra ( Roy Paci-Corleone, Mamud Band, Giovanni Venosta, Kabikoff, Piepaolo Capovilla) Turbogolfer, is a further step towards a crossover of improvised music, jazz, post-rock, avantgarde, free form.
    As it happened in his two previous records , Secret of a perfect golf swing and Lamentazioni per la Piave, the firm intention is to create a concept, which in the case of Azimuth, revolves around the investigation of the duo guitar / drums and rituals linked to the cardinal points, a central theme in all cultures close to the paths of initiation and spirituality (Druidic, yogic, shamanic, etc).
    The sound of the album is characterized by very different inspirations: from the most intimate folk atmosphere in the style of Bill Frisell to the violent sounds of Ruins or Mogwai; from the brighter Ben Allison to the more funk and polymetric Steve Coleman upto Coltrane's of A Love Supreme. And also a Berber lullaby close to the ethno-prog writing songs. All this has been written and arranged according to the rules of playing in duo perfectly described in projects such as Melhiana (Brad Meldau, Mark Guiliana), the duo Blade / Muthspiel, or Cheval de Frise, just to mention a few.
    The drummers involved are six;
    Six original songs titled with the name of each drummer (and to whom each of them is dedicated) plus six songs revisited: Resolution by J. Coltrane , Fire by Jimi hendrix, Platypus by Ben Allison, the more famous Ederlezi until Wights Waits for Weights from Steve Coleman;
    Each drummer is identified with a cardinal point in the strength of the need to orientate / centering in the sense mentioned above but also, more prosaically, from the point of view of the imagination of the listener.

    East: Alberto Pederneschi (A. Turra) + “Ederlezi” (balkan trad.)

    South: Marco Cavani (A. Turra) + “Platypus” (Ben Allison)

    West: Toni Boselli (A. Turra) + “Resolution” (Coltrane)

    North: Sergio Quagliarella(A. Turra) + “Atas atas amimmi” (Berber lullaby)

    Zenith: Tato Vastola (A. Turra) + “Fire” (Hendrix)

    Nadir: Andrea Rainoldi (A. Turra) + Wights Waits For Weights (Steve Coleman)


    Some details from Alberto Turra:

    WEST: TONI BOSELLI
    Playing with Toni is like coming to blows with the orthodoxy.
    He always puts me in a position of neither coming to a compromise,
    nor indulging in what concerns Intuition and Aesthetics, whether it would be jazz, funk, afrobeat, rock or free form.
    The Orthodox reluctant, for me a teacher.




    NORTH: SERGIO QUAGLIARELLA
    From the North came the Barbarians, the fathers of this Norman / African
    bearer of an impetuous drumming aesthetic in a costant balance between John Bonham, Terry Bozzio and the most refined Manu Katche.
    The drummer you always wish on stage;
    the brother you always wanted by your side.


    SOUTH: MARCO CAVANI
    Crystalline.
    Marco is the person who makes me laugh the most in the world.
    The drumming of Mark is infallible and conceited,
    which apparently should not be in line with his affability , but it gives instead a taste of pure joy and light-heartedness common to certain mystics or shaolin monks. You reach the highest peaks smiling.


    ZENITH: TATO VASTOLA
    Behind his drum-set Tato has the look of astonishment typical of
    of children playing as serial killers, like to say
    'there is nothing in the world that satisfies me more'.
    Among all those I know, he is closest to the concept of elemental.
    A prodigy of power.
    An avalanche.



    EAST: ALBERTO PEDERNESCHI
    A musician with a very high degree of attention and listening.
    His readiness of orchestrating tones and dynamics
    in relation to what is happening around him excites me a lot.
    If he is returned to the attention and care he puts in listening
    you can reach impressive levels of interplay and sound pressure.
    A perfect mirror. A brave person.


    NADIR: ANDREA RAINOLDI
    Andrea is the drummer with whom I started the experience Turbogolfer, nearly 15 years ago. I thank him for sharing with me the first impatience for the time and manner of some improvised music played in Italy and Milano. It is no coincidence that he is both the producer and engineer of this record. Musically, I always had the impression that it was the meeting point between Peter Erskine and Marvin 'Smitty' Smith.

  • x
  • Alberto N. A. Turra Azimuth // teaser #1 Toni Boselli

    33

    album:
    Azimuth di Alberto N. A. Turra / Turbogolfer Duo(s) (Felmay/Egea 2015)
    film:
    Let me stand next to your fire di Valeria Allievi

    The third record from the italian jazz guitarist Alberto Turra ( Roy Paci-Corleone, Mamud Band, Giovanni Venosta, Kabikoff, Piepaolo Capovilla) Turbogolfer, is a further step towards a crossover of improvised music, jazz, post-rock, avantgarde, free form.
    As it happened in his two previous records , Secret of a perfect golf swing and Lamentazioni per la Piave, the firm intention is to create a concept, which in the case of Azimuth, revolves around the investigation of the duo guitar / drums and rituals linked to the cardinal points, a central theme in all cultures close to the paths of initiation and spirituality (Druidic, yogic, shamanic, etc).
    The sound of the album is characterized by very different inspirations: from the most intimate folk atmosphere in the style of Bill Frisell to the violent sounds of Ruins or Mogwai; from the brighter Ben Allison to the more funk and polymetric Steve Coleman upto Coltrane's of A Love Supreme. And also a Berber lullaby close to the ethno-prog writing songs. All this has been written and arranged according to the rules of playing in duo perfectly described in projects such as Melhiana (Brad Meldau, Mark Guiliana), the duo Blade / Muthspiel, or Cheval de Frise, just to mention a few.
    The drummers involved are six;
    Six original songs titled with the name of each drummer (and to whom each of them is dedicated) plus six songs revisited: Resolution by J. Coltrane , Fire by Jimi hendrix, Platypus by Ben Allison, the more famous Ederlezi until Wights Waits for Weights from Steve Coleman;
    Each drummer is identified with a cardinal point in the strength of the need to orientate / centering in the sense mentioned above but also, more prosaically, from the point of view of the imagination of the listener.

    East: Alberto Pederneschi (A. Turra) + “Ederlezi” (balkan trad.)

    South: Marco Cavani (A. Turra) + “Platypus” (Ben Allison)

    West: Toni Boselli (A. Turra) + “Resolution” (Coltrane)

    North: Sergio Quagliarella(A. Turra) + “Atas atas amimmi” (Berber lullaby)

    Zenith: Tato Vastola (A. Turra) + “Fire” (Hendrix)

    Nadir: Andrea Rainoldi (A. Turra) + Wights Waits For Weights (Steve Coleman)


    Some details from Alberto Turra:

    WEST: TONI BOSELLI
    Playing with Toni is like coming to blows with the orthodoxy.
    He always puts me in a position of neither coming to a compromise,
    nor indulging in what concerns Intuition and Aesthetics, whether it would be jazz, funk, afrobeat, rock or free form.
    The Orthodox reluctant, for me a teacher.




    NORTH: SERGIO QUAGLIARELLA
    From the North came the Barbarians, the fathers of this Norman / African
    bearer of an impetuous drumming aesthetic in a costant balance between John Bonham, Terry Bozzio and the most refined Manu Katche.
    The drummer you always wish on stage;
    the brother you always wanted by your side.


    SOUTH: MARCO CAVANI
    Crystalline.
    Marco is the person who makes me laugh the most in the world.
    The drumming of Mark is infallible and conceited,
    which apparently should not be in line with his affability , but it gives instead a taste of pure joy and light-heartedness common to certain mystics or shaolin monks. You reach the highest peaks smiling.


    ZENITH: TATO VASTOLA
    Behind his drum-set Tato has the look of astonishment typical of
    of children playing as serial killers, like to say
    'there is nothing in the world that satisfies me more'.
    Among all those I know, he is closest to the concept of elemental.
    A prodigy of power.
    An avalanche.



    EAST: ALBERTO PEDERNESCHI
    A musician with a very high degree of attention and listening.
    His readiness of orchestrating tones and dynamics
    in relation to what is happening around him excites me a lot.
    If he is returned to the attention and care he puts in listening
    you can reach impressive levels of interplay and sound pressure.
    A perfect mirror. A brave person.


    NADIR: ANDREA RAINOLDI
    Andrea is the drummer with whom I started the experience Turbogolfer, nearly 15 years ago. I thank him for sharing with me the first impatience for the time and manner of some improvised music played in Italy and Milano. It is no coincidence that he is both the producer and engineer of this record. Musically, I always had the impression that it was the meeting point between Peter Erskine and Marvin 'Smitty' Smith.

  • x
  • Scatter - Backwards Academy

    3:23

    This is our new acoustic song, Scatter. Sorry, for the lack of releases lately, we've been working really hard on our full band material.

    ----------

    LYRICS:
    And we were on our way home,
    from dinner on my birthday.
    You told me you were 'doing better,
    it's nice to catch up, since we hardly ever speak.'
    That's when i knew that you were lying.
    Cause you only joke in small talk
    when you know there's something that you should be telling me.

    Chorus:
    As we stared up at the sky, you told me, Everything's alright.
    And I almost believed you.
    And I felt you breaking down, I wish that I could save you now.
    But i'm just too broken to fix you.

    Those nights we were riding state lines,
    the whole world seemed fine.
    But late nights and Bright Eyes can't fix this anymore.
    And i've sat in parking lots,
    and just watched you spill your guts.
    And I know what the bottoms like,
    I've been living there this month.

    And so have you.

    And maybe that's the worst part.

    So scatter all these thoughts around,
    I'm worried that these walls aren't sound.
    I said that I would keep you strong but
    i'm weaker than you now.

    She said, Grin and bear it
    Cause that's all we're taught to do.
    The world don't wanna listen.
    It doesn't care about you.

    CHORUS.

  • FREE HARD BASS TRAP TYPE BEAT - STRIKE | Hip Hop Trap Beat x Dancehall Riddim Instrumental 2020

    2:14

    Hip Hop Trap Beat x Dancehall Riddim Instrumental 2020. FREE HARD BASSY TRAP TYPE BEAT INSTRUMENTAL - STRIKE produced by aYo CiTy
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  • x
  • FREE | Slowthai x Denzel Curry type beat | Ghxst

    2:51

    Download/Buy Link:

    More at: redthemaestro.com

    Prod. Red the Maestro

    --------------------------------------------------------------------------

    (non)social Socials:

    Instagram -
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    Denzel Curry x Slowthai x Jpeg Mafia type beat

  • Left Opposition Love Song

    1:32

    Yes, I’ll crash your bourgeois parties
    'Cuz you don’t invite me to your bourgeois parties
    Take my hand, we’ll smash the state
    Take my hand, it’s not too late

    'Cuz baby, I’m a Trotskyist
    I’ve got my cap and working boots on
    Read my party’s paper, darling
    It only costs a quarter, darling

    Yes, I’ve read the early Marx
    And yeah, I think he’s pretty smart
    Over coffee, we can talk on Hegel
    Could I have a bite of that bagel?

    'Cuz baby, I’m a Trotskyist
    I’ve got my cap and working boots on
    Read my party’s paper, darling
    It only costs a quarter, darling

    Our revolution will be permanent
    And so will this sentiment
    There’s just one thing you’ll have to remember
    You’ll always be second to ol' Leon

    'Cuz baby, I’m a Trotskyist
    I’ve got my cap and working boots on
    Read my party’s paper, darling
    It only costs a quarter, darling

    Yes, I’ll crash your bourgeois parties
    'Cuz you don’t invite me to your bourgeois parties
    Take my hand, we’ll smash the state
    Take my hand, it’s not too late

    'Cuz baby, I’m a Trotskyist
    I’ve got my cap and working boots on
    Read my party’s paper, darling
    It only costs a quarter, darling

  • x
  • Mike Love - Moving On

    4:30




    Find HI*Sessions on iTunes!

    Mike Love lets loose on his batch of pedals with a reggae song called, Moving On. Watch him build this song, one track at a time!

    Percussions - Sam Ites

    See other videos from Mike Love's episode:
    Introduction:
    Penniless:
    No Regrets:

    Visit to see a complete list of artists, and tune in every week for new videos and updates!

    Follow HI*Sessions:


  • Vakula: история карьеры, жизнь в Конотопе и нашумевший релиз «Per Aspera Ad Astra» | Много Воды

    1:6:30

    В феврале 2019 года украинский электронный артист Vakula выпустил релиз «Per Aspera Ad Astra». На обложке изображены главные звезды мировой техно/хаус сцены — Нина Кравиц, Nastia, Peggy Gou и The Black Madonna. Все они в шлемах, из которых идут провода, подключенные к пульту управления космическим кораблем в виде фаллоса. Через два месяца после релиза Vakula оказался в центре громкого скандала. Его обвинили в сексизме и мизогинии. Артист лишился всех гастролей, а музыкальные магазины стали снимать с печати его релизы. Справедливо ли это наказание? И правильно ли поняли артиста все те, кто его критикует — от редакции Resident Advisor до комментаторов в Facebook и Instagram?

    Команда украинского YouTube-канала «Много Воды» отправилась домой к Vakula, в маленький украинский город Конотоп, чтобы взять у него первое эксклюзивное интервью.

    Много воды в Facebook —
    Много воды в Instagram —
    Много воды в VK —
    Telegram-канал Много воды —

  • Idris Ackamoor and the Pyramids - Message To My People

    7:49

    Strut presents the brand new album from cosmic jazz travellers The Pyramids, led by saxophonist Idris Ackamoor, ’An Angel Fell’. “I wanted to use folklore, fantasy and drama as a warning bell,” explains Ackamoor.
    “The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation... but positive themes too, the healing power of music, collective action and the simple beauty of nature.”
    Produced by Malcolm Catto of The Heliocentrics, the album was recorded during an intense week at Quatermass studios in London and is one of the deepest, richest works yet from a band reaching their highest creative peak since the early ’70s.
    From Album: An Angel Fell
    Released: May 11, 2018
    For better quality:


    Musicians:
    Idris Ackamoor: Tenor Saxophone, Keytar, Lead Vocals
    Sandra Poindexter: Violins, Lead Vocals
    David Molina: Guitar, Effect pedals, Vocals
    Skyler Stover: Double Bass, Vocals
    Bradie Speller: Congas, Handsonic, Vocals
    Johann Polzer: Drums
    Album cover - top right
    Artwork by Lewis Heriz.

  • x
  • Fireboy DML x Joeboy Type Beat - Fluent Vibrancy

    5:01

    ????????‍???? Produced by Sir Niick ????????‍????

    ✨Thank you for watching!
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    If you would like to use this beat, you must credit me.


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  • JasonTyson - In Time

    1:00

    Practice Time...Woke up feeling real good. I ain't worried about nothing. Everything will workout in time....

  • Worldwide Concert for Our Culture: Jazz at Lincoln Centers 2020 Virtual Gala

    1:29:20

    Join Wynton Marsalis and very special guests for Jazz at Lincoln Center's Worldwide Concert for our Culture, our 2020 online gala.

    Honorees:
    Clarence Otis and Jacqueline L. Bradley
    Ed Bradley Award for Leadership in Jazz
    Phil Schaap
    Jazz at Lincoln Center Award for Artistic Excellence

    Featuring
    Jazz at Lincoln Center Orchestra with Wynton Marsalis
    with special performances by:
    Baqir Abbas | Brussels Jazz Orchestra | Cécile McLorin Salvant and Sullivan Fortner | Chano Dominguez | Chucho Valdés | Dianne Reeves | Hamilton de Holanda | Igor Butman | Makoto Ozone | Nduduzo Makhathini | Richard Galliano | Stefano DiBattista | WDR Big Band

    Like all of the public-facing arts, we are challenged to serve our community beyond the reach of this pandemic and its wake of cancelled performances, shutdown of gathering places, and restrictions on travel.

    In responding to this crisis and the new world we now find ourselves inhabiting, Jazz at Lincoln Center's annual Spring Gala on April 15th will now be freely broadcast digitally to audiences around the world on this page, as well as on Youtube and Facebook.

    Culture-defining artists from Japan, Brazil, Russia, Pakistan, South Africa, Germany, Belgium, Spain, Italy, and the United States will join the Jazz at Lincoln Center Orchestra with Wynton Marsalis for a “first of its kind” high-quality global experience.

    This concert will bring us all together to uplift and encourage us with the wisdom and insights of major artists who have represented and elevated their respective cultures for decades. Each will play the song that made them fall in love with jazz, and we are sure it will lift us from the isolation of this moment to the collective memory of a greater future.

    We ask you to support this concert with a donation as you are able. Our entire ecosystem has sustained devastating losses, but this concert is a very important way to stay alive and sustain our ability to fulfill and further our mission. The hundreds of artists that perform in Rose Theater, The Appel Room, Dizzy's Club and our dedicated JALC staff humbly thank you for your consideration and your generosity in this trying time for all.

    About our Honorees:

    We are proud to present the Ed Bradley Award for Leadership in Jazz to Jazz at Lincoln Center Board Member Clarence Otis and Jacqueline L. Bradley, who are leaders in both business and philanthropy. Clarence and Jacqueline have been staunch supporters of JALC and our youth education programs, particularly Let Freedom Swing, that bring live jazz and lessons in democracy to low-income students, and Clarence has served in a number of leadership capacities, including his current role as chair of JALC’s Finance Committee. Clarence also sits on the boards of Verizon and VF Corporation.

    We could not be more excited to present this year’s Jazz at Lincoln Center Award for Artistic Excellence to Jazz at Lincoln Center's own Phil Schaap, a true inspiration to all of us working to keep jazz alive. Through a career of broadcasting jazz on the radio for over 44 years, winning him Grammy Awards for Historical Writing, Producing, and Audio Engineering, Schaap is one of our most passionate and dedicated scholars and a staple in the world of jazz preservation.

    Proceeds from this evening help make possible the thousands of unique performances, education programs, and resources produced annually by Jazz at Lincoln Center, which reach more than two million people all over the world.

    Subscribe to our channel:

    To learn more about Jazz at Lincoln Center, visit us at

  • Born with the Beat #8 - How did you join Felas band?

    2:27

    Chief Udoh recalls how Fela Kuti’s reputation made him unsure about going to an audition to play with Fela’s Afrobeat band.
    Born with the Beat” is a 25-part Video Blog series about the life and music of Nigerian artist Chief Udoh Essiet.


    Conception, photography, editing, post-production, sound mixing, and way toomuch time at the computer: Sherry Margolin

    Opening title Music: “Mma Akadia Ata” ©SACEM Chief Udoh Essiet and Sherry Margolin, from the album “Afrobeat Highlife Crossing” by Chief Udoh Essiet

    French translation: Mathilde Amouroux

    Video at Fela’s house: from “FELA – Music is the Weapon” ©FKO Music, 1982

    Photo: collection of Chief Udoh

  • Tunji Oyelana - A Nigerian Retrospective 1966-79

    2:4:02

    Available here:

    During the golden age of Nigerian music in the 1970s, as thousands of records were produced in a wide spectrum of styles and marketed to an immense audience of ardent consumers, very few people—including the producers of the music themselves—seriously entertained the possibility that any of these popular entertainments could be considered as “Art.”

    Enter the multifaceted artist Tunji Oyelana. Equal parts singer-songwriter, actor, bandleader, dramatist, comedian and academic, Oyelana elevated the realm of pop music by infusing it with the poetic storytelling of Yoruba folklore. Backed by his crack backing group, The Benders (named for their ability to traverse--and blend a variety of styles) Oyelana blended the fashionable sounds of highlife, afrobeat, afrorock, funk, calypso, juju and reggae and transformed them into something timeless and utterly unique.

    Tunji’s first records came out in 1969 but it wasn’t until two years later that the first record credited to Tunji Oyelana & The Benders, ‘Agba Lo De’ b/w ‘Koriko Nde’, was released. The record turned out to be the smash that put the name Tunji Oyelana & The Benders on the national map. More significantly, the record’s unique sound—along with that of Fela Ransome-Kuti’s ‘Jeun K’oku’ (‘chop and quench’), which arrived mere weeks before it—signaled the emergence of a new era and a new genre in Nigerian music.


    Oyelana himself attributes his life as a professional artist to meeting Wole Soyinka, one of the unimpeachable doyens of Nigerian arts. They met in 1960 at the age of twenty-one, commencing a partnership that endured for more than five decades. In 1983, Soyinka joined The Benders for the album Unlimited Liability Company, which proved to be wildly popular with audiences across the country but angered Nigeria’s civilian government with its satirical critique of political corruption. Years later, Soyinka and Oyelana would run afoul of military dictator Sani Abacha while touring internationally with Soyinka’s play The Beatification Of Area Boy in 1996 and find themselves charged with treason, forcing them into exile until Abacha’s death in 1998.

    For Oyelana himself, the golden age continues as he lives with his family in London and continues to perform several nights a week at Emukay, the restaurant and cultural centre that he runs with his wife, which has become a mecca for fans eager for the privilege of beholding a living legend at work.

  • Burna Boy - Hallelujah Official Video

    5:00

    Watch the official music video for Hallelujah performed by Burna Boy

    Music video by Burna Boy performing Hallelujah [Official Video]. Spaceship Entertainment

    Curated by



    #BurnaBoy #Hallelujah #Vevo #World #OfficialMusicVideo

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