Back catalogue:

Review: Rather bizarrely, Fela's London Scene was recorded at Abbey Road Studios in 1971, but didn't get a UK release until the mid 1990s. This is the first time it has appeared on wax since. While the legendary Afrobeat pioneer and his equally revered backing band, Africa '70, may have been in unusual surroundings, the music showcased on the album was pure Nigerian Afrobeat gold. With Fela in fine form on the mic, and Africa '70 providing typically punchy, horn-heavy backing, tracks such as "E Gbe Mi O", "Buy Africa", and "Fight To The Finish" are every bit as good as anything they recorded in their Lagos studio. "Who're You", with its' changes of intensity and gentle progressions, is particularly good.

Review: There are a bunch of reissues of classic Fela Kuti albums dropping right now which is always going to be good news for collectors and Afrobeat lovers a like. As was often the case with his music, this album Kalakuta Show from 1976 was a way of him taking revenge on the military regime that attacked and brutalized him two years prior when the police mounted a large scale raid on Kalakuta Republic incoming Fela's own heavily guarded compound. They were the second raids in eight months and left Fela with scalp wounds and a broken arm, and us with this most remarkable musical retort.

Review: Why Black Man Dey Suffer was a major turning point early in Fela Kuti's career. On his first tour of the US the Afrobeat pioneer was turned to a more political, critical mindset thanks to the guidance of Black-rights activist Sandra Izsadore. When he returned home, he took aim at the injustice and inequality he saw throughout post-colonial Africa, and wrote and recorded this mightily potent album as a result. In some ways it's more measured than he would grow to become, but the power of the music is undeniable. Recorded in 1970, when Tony Allen was still being joined by unlikely collaborator Ginger Baker on the drums, this is a landmark part of a true musical legend, now repressed on translucent yellow vinyl courtesy of Knitting Factory.

Review: Like so much of his often faultless work, Original Sufferhead by Fela Kuti is a powerful and politically charged album that embodies the essence of Afrobeat. For that reason, it is well deserving of this reissue as it remains relevant in more ways than one all these years after its original release in 1981 with its signature blend of funk, jazz, and traditional African rhythms, coupled with biting social commentary. The album confronts issues of oppression, corruption, and inequality, with Fela's impassioned vocals leading the charge. Each track is a call to action, urging listeners to rise against injustice and oppression. With its infectious grooves and thought-provoking lyrics, this is a timeless listen that continues to inspire and resonate with audiences around the world.

Review: Knitting Factory and Partisan Records share the sixth instalment of the much-anticipated vinyl reissue box-sets from the Fela Kuti catalog. Box #6 is curated by actor, producer, DJ, rapper and singer, Idris Elba (aka. DJ Big Driis). Limited to an edition of 5,000 worldwide, this one includes a 24-page booklet with lyrics, commentaries by Afrobeat historian Chris May, together with some never-before-seen photos, not to mention a 16x24" poster designed by Lemi Ghariokwu, the creative force behind many of Fela's greatest album covers. Previous curators include Chris Martin, Erykah Badu, Ginger Baker, Brian Eno, and Questlove.

Review: Fela Kuti's Alagbon Close, released in 1974, stands as one of his most powerful Afrobeat statements, criticising police brutality in Nigeria. The title track was inspired by two raids on Fela's home, where police searched for marijuana. After swallowing a planted joint, Fela was detained at Alagbon Close, the headquarters of Nigeria's Criminal Investigation Department, for three days while police waited for evidence. His cellmates, in what became known as the Kalakuta Republic, helped Fela escape prosecution. Fela's lyrics denounce the arrogance of the police, declaring that wearing a uniform doesn't place one above the law. The album also marked the beginning of his collaboration with artist Ghariokwu Lemi, whose iconic cover art became synonymous with Afrobeat. Recorded at the A.R.C. Studios, the album is fueled by tight polyrhythms and fiery organ and horn sections, with Fela's sharp political commentary at the forefront. On Side-2, 'I No Get Eye For Back', offers a more groove-driven, mostly instrumental track, showing the collective talents of Africa 70. Together, these tracks solidify Alagbon Close as a timeless work of rebellion and musical innovation.