The King Meets the President in Africa— Fela Ransome Kuti and Michael Joseph Jackson mash in thematic, musical and spiritual unity in ten vibrant instances, with results that deliver pure mind/body juju. At first glance that conclusion rings counterintuitive, if only because the very idea of wrenching the distinct compositions of these two masters into a singular, workable groove seems improbable —if not outright impossible. Michael is, well, Michael. And as anyone who’s ever mixed or danced to a Fela record can attest, his songs are highly organic, ever evolving, ever changing records, the complete antitheses of modern beat-machine music—not exactly prime candidates for blending. Yet, blend they do. The outcome? Mental and dance-floor dynamite! - Selwyn Seyfu Hinds
9th year anniversary of the original afro beat experience
http://mrx.mn/mjfela Atop a hypnotic music bed mashed from both tunes—with a particularly effective use of the horns from Fela’s “I No Get Eye…” as a refrain—Jackson floats his gentle yet insistent probes about human nature: “Why, why…do they do me that way?” But the probing takes on a more disturbing context when mashed up. For not only is Fela’s “I No Get Eye For Back” a metaphoric lament about betrayal, it also evolved from a lyric in another Fela tune, “Alagabon Close,” which targeted the ...
Get the whole experience at ;mrx.mn/mjfelaDon’t Stop Till You Get Enough (Who Are You?), which uses the instrumental percussion of Fela’s “Who’re You?” to downshift Jackson’s Off The Wall scorcher to an afro-smooth tempo."Don't Stop 'Til You Get Enough" Lyrics[1st Verse]Lovely Is The Feelin' NowFever, Temperatures Risin' NowPower (Ah Power) Is The Force The Vow
Sometimes there’s nothing more revolutionary than a good time and a dope-ass groove. And for all that Fela also represents those two elements, they often run second to his political dimensions. Jackson, however, is the fuel that pushes the fun into the red zone, as on “Thriller Zombie,” which takes Jackson’s shout-out to the b-boying undead, mates it with Fela’s caustic takedown of soldiers who refuse to think for themselves, and births a dance-floor monster. The connective glue even works vis...
The seamless—and unexpected—unions of theme, groove, and spirit pepper the entirety of The King Meets the President in Africa. In Billie Jean Is Shakara, the young woman who’s become the bane of Jackson’s existence—with looming paternity suits and all—sounds a heck of a lot like the Shakara Woman in Fela’s “Shakara,” who deploys a hard-to-get attitude as the opening gambit in an arsenal ultimately aimed at getting what she’s being so coy about. ;The video takes the mashup concept further by pl...
Remember The Time (Roforofo Remix), from "THE KING MEETS THE PRESIDENT IN AFRICA" introduces Jackson’s “Remember The Time” to Fela’s “Roforofo Fight.” Jackson’s tune is an urgent reminisce to an old lover, delivered with his usual searing vocal performance atop an infectious dance groove. But with the instrumental percussive thunder of “Roforofo Fight” as a platform, it achieves an earthy afrobeat identity, particularly with the pitch-perfect use of the “Roforofo…” horn refrains over Teddy Ril...
The King Meets the President in Africa— Fela Ransome Kuti and Michael Joseph Jackson mash in thematic, musical and spiritual unity in ten vibrant instances, with results that deliver pure mind/body juju. At first glance that conclusion rings counterintuitive, if only because the very idea of wrenching the distinct compositions of these two masters into a singular, workable groove seems improbable —if not outright impossible. Michael is, well, Michael. And as anyone who’s ever mixed or danced t...