http://www.fela.net

FRENCH VIDEO HERE

Fela Anikulapo Kuti (15 October 1938 - 2 August 1997), or simply Fela ([feˈlæ]) was a Nigerian multi-instrumentalist musician and composer, pioneer of Afrobeat music, human rights activist, and political maverick.^[1]

Biography

Early life and career

Fela was born Olufela Olusegun Oludotun Ransome-Kuti^[2] in Abeokuta, Ogun State, Nigeria^[3] into a middle-class family. His mother, Funmilayo Ransome-Kuti was a feminist activist in the anti-colonial movement and his father, Reverend Israel Oludotun Ransome-Kuti, a Protestant minister and school principal, was the first president of the Nigerian Union of Teachers.^[4] His brothers, Beko Ransome-Kuti and Olikoye Ransome-Kuti, both medical doctors, are well known in Nigeria. Fela was a first cousin to the Nigerian writer and Nobel laureate Wole Soyinka, the first African to win a Nobel Prize for Literature.

Fela was sent to London in 1958 to study medicine but decided to study music instead at the Trinity College of Music. While there, he formed the band Koola Lobitos, playing a fusion of jazz and highlife.^[5] In 1960, Fela married his first wife, Remilekun (Remi) Taylor, with whom he would have three children (Femi, Yeni, and Sola). In 1963, Fela moved back to Nigeria, re-formed Koola Lobitos and trained as a radio producer for the Nigerian Broadcasting Corporation. He played for some time with Victor Olaiya and his All Stars.^[6]

In 1967, he went to Ghana to think up a new musical direction.^[4] That was when Kuti first called his music Afrobeat.^[4] In 1969, Fela took the band to the United States. While there, Fela discovered the Black Power movement through Sandra Smith (now Izsadore)—a partisan of the Black Panther Party — which would heavily influence his music and political views and renamed the band Nigeria '70. Soon, the Immigration and Naturalization Service was tipped off by a promoter that Fela and his band were in the U.S. without work permits. The band then performed a quick recording session in Los Angeles that would later be released as The '69 Los Angeles Sessions.

1970s

After Fela and his band returned to Nigeria, the band was renamed The Africa '70, as lyrical themes changed from love to social issues.^[5] He then formed the Kalakuta Republic, a commune, a recording studio, and a home for many connected to the band that he later declared independent from the Nigerian state. Fela set up a nightclub in the Empire Hotel, named the Afro-Spot and then the Afrika Shrine, where he performed regularly. Fela also changed his middle name to Anikulapo (meaning "he who carries death in his pouch"),^[7] stating that his original middle name of Ransome was a slave name. The recordings continued, and the music became more politically motivated.^{[citation needed]}

Fela's music became very popular among the Nigerian public and Africans in general.^[8] In fact, he made the decision to sing in Pidgin English so that his music could be enjoyed by individuals all over Africa, where the local languages spoken are very diverse and numerous. As popular as Fela's music had become in Nigeria and elsewhere, it was also very unpopular with the ruling government, and raids on the Kalakuta Republic were frequent. During 1972, Ginger Baker recorded Stratavarious with Fela appearing alongside Bobby Gass.^[9] Around this time, Kuti was becoming more involved in Yoruba religion.^[10]

In 1977, Fela and the Afrika '70 released the album Zombie, a scathing attack on Nigerian soldiers using the zombie metaphor to describe the methods of the Nigerian military. The album was a smash hit and infuriated the government, setting off a vicious attack against the Kalakuta Republic, during which one thousand soldiers attacked the commune. Fela was severely beaten, and his elderly mother was thrown from a window, causing fatal injuries. The Kalakuta Republic was burned, and Fela's studio, instruments, and master tapes were destroyed. Fela claimed that he would have been killed had it not been for the intervention of a commanding officer as he was being beaten. Fela's response to the attack was to deliver his mother's coffin to the Dodan Barracks in Lagos, General Olusegun Obasanjo's residence, and to write two songs, "Coffin for Head of State" and "Unknown Soldier", referencing the official inquiry that claimed the commune had been destroyed by an unknown soldier.^[11]

Fela and his band then took residence in Crossroads Hotel as the Shrine had been destroyed along with his commune. In 1978, Fela married twenty-seven women, many of whom were his dancers, composers, and singers to mark the anniversary of the attack on the Kalakuta Republic. Later, he was to adopt a rotation system of keeping only twelve simultaneous wives.^[12] The year was also marked by two notorious concerts, the first in Accra in which riots broke out during the song "Zombie", which led to Fela being banned from entering Ghana. The second was at the Berlin Jazz Festival after which most of Fela's musicians deserted him, due to rumors that Fela was planning to use the entire proceeds to fund his presidential campaign.

Despite the massive setbacks, Fela was determined to come back. He formed his own political party, which he called Movement of the People. In 1979, he put himself forward for President in Nigeria's first elections for more than a decade, but his candidature was refused. At this time, Fela created a new band called Egypt '80 and continued to record albums and tour the country. He further infuriated the political establishment by dropping the names of ITT Corporation vice-president Moshood Abiola and then General Olusegun Obasanjo at the end of a hot-selling 25-minute political screed titled "I.T.T. (International Thief-Thief)".

1980s and beyond

In 1984, Muhammadu Buhari's government, of which Kuti was a vocal opponent, jailed him on a charge of currency smuggling which Amnesty International and others denounced as politically motivated.^[13] Amnesty designated him a prisoner of conscience,^[14] and his case was also taken up by other human rights groups. After 20 months, he was released from prison by General Ibrahim Babangida. On his release he divorced his twelve remaining wives, saying that "marriage brings jealousy and selfishness".^[12]

Once again, Fela continued to release albums with Egypt '80, made a number of successful tours of the United States and Europe and also continued to be politically active. In 1986, Fela performed in Giants Stadium in New Jersey as part of the Amnesty International A Conspiracy of Hope concert, sharing the bill with Bono, Carlos Santana, and The Neville Brothers. In 1989, Fela and Egypt '80 released the anti-apartheid Beasts of No Nation album that depicts on its cover U.S. President Ronald Reagan, UK Prime Minister Margaret Thatcher and South African Prime Minister Pieter Willem Botha.

His album output slowed in the 1990s, and eventually he stopped releasing albums altogether. In 1993, he and four members of the Afrika '70 organization were arrested for murder. The battle against military corruption in Nigeria was taking its toll, especially during the rise of dictator Sani Abacha. Rumors were also spreading that he was suffering from an illness for which he was refusing treatment.

Death

On 3 August 1997, Olikoye Ransome-Kuti, already a prominent AIDS activist and former Minister of Health, stunned the nation by announcing his younger brother's death a day earlier from Kaposi's sarcoma which was brought on by AIDS. More than a million people attended Fela's funeral at the site of the old Shrine compound. A new Africa Shrine has opened since Fela's death in a different section of Lagos under the supervision of his son Femi Kuti.

Music

The musical style performed by Fela Kuti is called Afrobeat, which is a complex fusion of Jazz, Funk, Ghanaian/Nigerian High-life, psychedelic rock, and traditional West African chants and rhythms. Afrobeat also borrows heavily from the native "tinker pan" African-style percussion that Kuti acquired while studying in Ghana with Hugh Masekela, under the uncanny Hedzoleh Soundz.^[15] The importance of the input of Tony Allen (Fela's drummer of twenty years) in the creation of Afrobeat cannot be overstated. Fela once famously stated that "without Tony Allen, there would be no Afrobeat".

Afrobeat is characterized by a fairly large band with many instruments, vocals, and a musical structure featuring jazzy, funky horn sections. The "endless groove" is used, in which a base rhythm of drums, shekere, muted West African-style guitar, and melodic bass guitar riffs are repeated throughout the song. Commonly, interlocking melodic riffs and rhythms are introduced one by one, building the groove bit-by-bit and layer-by-layer to an astonishing melodic and polyrhythmic complexity. The horn section then becomes prominent, introducing other riffs and main melodic themes.

Fela's band was notable for featuring two baritone saxophones, whereas most groups were using only one of this instrument. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip hop. Fela's bands at times even performed with two bassists at the same time both playing interlocking melodies and rhythms. There were always two or more guitarists. The electric West African style guitar in Afrobeat bands are paramount, but are used to give basic structure, playing a repeating chordal/melodic statement, riff, or groove.

Some elements often present in Fela's music are the call-and-response within the chorus and figurative but simple lyrics. Fela's songs were also very long, at least 10–15 minutes in length, and many reaching the 20 or even 30 minutes, while some unreleased tracks would last up to 45 minutes when performed live. This was one of many reasons that his music never reached a substantial degree of popularity outside Africa. His LP records frequently had one 30-minute track per side. Typically there is an instrumental "introduction" jam part of the song, perhaps 10-15 minutes long, before Fela starts singing the "main" part.

His songs were mostly sung in Nigerian pidgin, although he also performed a few songs in the Yoruba language. Fela's main instruments were the saxophone and the keyboards, but he also played the trumpet, electric guitar, and took the occasional drum solo. Fela refused to perform songs again after he had already recorded them, which also hindered his popularity outside Africa.

Fela was known for his showmanship, and his concerts were often quite outlandish and wild. He referred to his stage act as the Underground Spiritual Game. Fela attempted making a movie but lost all the materials to the fire that was set to his house by the military government in power. Kuti thought that art, and thus his own music, should have political meaning.^[10]

Political views

As a supporter of traditional religions and lifestyles, Kuti thought that the most important thing for Africans to fight is European cultural imperialism.^[10] The American Black Power movement also influenced Fela's political views; he was a supporter of Pan-Africanism and socialism, and called for a united, democratic African republic. He was a candid supporter of human rights, and many of his songs are direct attacks against dictatorships, specifically the militaristic governments of Nigeria in the 1970s and 1980s. He was also a social commentator, and he criticized his fellow Africans (especially the upper class) for betraying traditional African culture. The African culture he believed in also included having many wives (polygyny) and the Kalakuta Republic was formed in part as a polygamist colony. He defended his stance on polygyny with the words: "A man goes for many women in the first place. Like in Europe, when a man is married, when the wife is sleeping, he goes out and fucks around. He should bring the women in the house, man, to live with him, and stop running around the streets!"^[17] His views towards women are characterized by some as misogynist, with songs like "Mattress" typically cited as evidence^[18] In a more complex example, he mocks the aspiration of African women to European standards of ladyhood while extolling the values of the market woman in his song "Lady".

Bypassing editorial censorship in Nigeria's predominantly state controlled media, Kuti began in the 1970s buying advertising space in daily and weekly newspapers such as The Daily Times and The Punch in order to run outspoken political columns.^[19] Published throughout the 1970s and early 1980s under the title Chief Priest Say, these columns were essentially extensions of Kuti's famous Yabi Sessions—consciousness-raising word-sound rituals, with himself as chief priest, conducted at his Lagos nightclub. Organized around a militantly Afrocentric rendering of history and the essence of black beauty, Chief Priest Say focused on the role of cultural hegemony in the continuing subjugation of Africans. Kuti addressed a number of topics, from explosive denunciations of the Nigerian Government's criminal behavior; Islam and Christianity's exploitative nature, and evil multinational corporations; to deconstructions of Western medicine, Black Muslims, sex, pollution, and poverty. Chief Priest Say was cancelled, first by Daily Times then by Punch, ostensibly due to non-payment, but many commentators^[who?] have speculated that the paper's respective editors were placed under increasingly violent pressure to stop publication.

The Fela revival

In recent years there has been a revitalization of Fela's influence on music and popular culture, culminating in another re-release of his catalog controlled by Universal Music, off- and on-Broadway biopic shows, and new bands, such as Antibalas, who carry the Afrobeat banner to a new generation of listeners.

In 1999, Universal Music France, under the aegis of Francis Kertekian, remastered the 45 albums that it controlled and released them on twenty-six compact discs. These titles were licensed to other territories of the world with the exception of Nigeria and Japan, where Fela's music was controlled by other companies. In 2005, Universal Music USA licensed all of its world-music titles to the UK-based label Wrasse Records, which repackaged the same twenty-six CDs for distribution in the USA (replacing the MCA-issued titles there) and the UK. In 2009, Universal created a new deal for the USA with Knitting Factory Records and for Europe with PIAS, which included the release of the Fela! Broadway cast album.

Thomas McCarthy's 2008 film The Visitor depicted a disconnected professor (Oscar nominee Richard Jenkins) who wanted to play the djembe. He learns from a young Syrian (Haaz Sleiman) who tells the professor he will never truly understand African music unless he listens to Fela. The film features clips of Fela's "Open and Close" and "Je'nwi Temi (Don't Gag Me)".

In 2008, an off-Broadway production of Fela Kuti's life entitled Fela!, inspired by Carlos Moore's 1982 book Fela, Fela! This Bitch of a Life,^[20][21] began with a collaborative workshop between the Afrobeat band Antibalas and Tony award-winner Bill T. Jones. The show was a massive success, selling out shows during its run, and garnering much critical acclaim. On November 22, 2009, Fela! began a run on Broadway at the Eugene O'Neill Theatre. Jim Lewis helped co-write the play (along with Bill T. Jones), and obtained producer backing from Jay-Z and Will Smith, among others. On May 4, 2010, Fela! was nominated for 11 Tony Awards, including Best Musical, Best Book of a Musical, Best Direction of a Musical for Bill T. Jones, Best Leading Actor in a Musical for Sahr Ngaujah, and Best Featured Actress in a Musical for Lillias White.^[22] On June 11, 2012, it was announced that FELA! would return to Broadway for 32 performances.^[23]

On August 18, 2009, award-winning DJ J.Period released a free mixtape to the general public via his website that was a collaboration with Somali-born hip-hop artist K'naan paying tribute to Fela, Bob Marley and Bob Dylan, entitled The Messengers.

In October 2009, Knitting Factory Records began the process of re-releasing the 45 titles that Universal Music controls, starting with yet another re-release of the compilation The Best of the Black President in the USA. The rest is expected to be released in 2010.^{[dated info]}

In addition, a movie by Focus Features, directed by Steve McQueen and written by Biyi Bandele about the life of Fela Kuti went into production in 2010. It was announced in 2010 that Chiwetel Ejiofor would play the lead role.^[24]

Discography

Filmography

• Fela in Concert, 1981, (VIEW)
• Music is the Weapon, 1982, Stéphane Tchal-Gadjieff and Jean Jacques Flori (Universal Music)
• Fela Live! Fela Anikulapo-Kuti and the Egypt ’80 Band, 1984, Recorded Live At Glastonbury, England (Yazoo)
• Femi Kuti—Live at the Shrine, 2005, recorded Live At Lagos, Nigeria (Palm Pictures)

Notes

References

External links

• Official website
• Fela Kuti at Find a Grave
• 'He was in a godlike state' - Guardian feature by Alex Hannaford, 25 July 2007.
• The Shrine Unofficial website for Fela Kuti and Afrobeat Music with news, bio's, tour dates, gig reviews, interviews, and lyrics.
• Fela Kuti discography at Discogs
• Fela Kuti article from the New Official Ginger Baker Archive and Drummers forum launched by the Baker family September 2010
• Fela Kuti biography at World Music Central, includes biography, discography and bibliography

This is a discography for Fela Anikulapo Kuti, or simply Fela, a Nigerian multi-instrumentalist musician and composer, pioneer of afrobeat music, human rights activist, and political maverick.^[1]

https://www.myspace.com/abayomyorquestra

Origine du Groupe : Brazil
Style : Afrobeat

Tracklist :
1 - Eru 7.00
2 - Malunguinho 7.38
3 - Obatala 6.52
4 - Emi Yaba 5.58
5 - Afrodisíaco 6.45
6 - No Shit 9.11

http://www.almaafrobeat.com

http://www.myspace.com/almaafrobeatensemble

Origine du Groupe : Spain

Style : Afrobeat

Sortie : 2010

Pour http://alternativesound.musicblog.fr



Encore du gratuit aujourd'hui avec les "stolen sessions" du collectif Alma Afrobeat Ensemble. Comme beaucoup de formations d'afro beat, ils ont commencé sous le forme d'un tribute band au Black
President, Fela Kuti. Puis petit à petit ils ont composé leurs propres morceaux et introduit de nouveaux éléments dans leur afro beat. Ainsi on peut retrouver de fines touches de hip hop ("live
on yeye", "nu school" ), de la musique malienne ("mali"), des petits solos de guitare bluesy ("taskmaster"), ou encore des accentuations jazzy ("own world").



Au final, rien de bouleversant, mais un très bon disque d'afro beat ensoleillé et réjouissant au rapport qualité/prix imbattable.

Tracklist :

1. Live Na Yeye

2. Taskmaster

3. Mali

4. Nu School

5. Own World

6. South Africa

FREE DOWNLOAD

http://www.myspace.com/theshaolinafronauts

Origine du Groupe : Australia

Style : Afrobeat , World Music , Alternative

Sortie : 2011

Pour http://www.mowno.com



Que ceux qui pensaient que seuls les héritiers de la famille Kuti étaient capables de nous faire groover avec des rythmes afrobeat remplis de modernité revoient leur jugement. Peu de nouveaux
groupes sont capables d’atteindre le niveau de transe de leurs maîtres, mais les Shaolin Afronauts font ici de remarquables efforts pour reproduire l’authenticité et la chaleur du continent
africain, même si ces imposteurs nous viennent d’Australie. Largement inspirés par les sons ouest-africains et son avant-garde jazz des années 70, les Shaolin proposent huit titres instrumentaux
tellement criants de vérité que l’on pourrait hurler au plagiat de Fela et Mulatu Astatke réunis. Prenons donc ce disque comme un hommage aux anciens, en nous passant sans scrupule la rythmique
passionnée de “Journey Through Time” ou les cuivres font bien leur boulot. Mais la bande aime aussi le jazz - nous le fait savoir sur “Flight Of The Anciens” où plane évidemment l’ombre de Tony
Allen - et semble également vouer une passion pour le funk lorsqu’elle se trahie avec un “Rise With The Blind” en velours, ou avec les caresses lascives de “Shaolin Theme”. Son secret réside
essentiellement dans un line-up comptant un trio de cuivres et une section rythmique de cinq personnes (dont trois percussionistes), et qui fait clairement la différence avec ses concurrents
directs. Cette longueur d’avance bien acquise, les Shaolin Afronauts ne se privent pas non plus de faire chauffer le parquet avec leurs textures multi-couches souvent dancefloor (”Kilimanjaro”,
le convaincant “Shira”), et pour s’offrir quelques moments de méditation (le soulful “The Scarab”)…

Tracklist :

1. Journey Through Time

2. Rise With The Blind

3. Flight Of The Ancients

4. Shaolin Theme

5. Kilimanjaro

6. Shira

7. The Quiet Lion

8. The Scarab

Origine du Groupe : Ghana

Style : Highlife, Afrobeat , World Music

Sortie : 1977

Tracklist :

1 Nya asem hwe

2 Nko nngya m'akyir

3 Osu a meresu

4 Ofie nipa see wo a

5 Akutiabo

6 Ankwanoma dede

7 Baabi dehyee

8 Nko besie

http://www.myspace.com/femikuti

Origine du Groupe : Nigeria

Style : Afrobrat , World Music

Sortie : 2011

Par Bertrand Bouard pour http://www.mondomix.com



Après une absence de quatre années, Femi était revenu par un coup de maître en 2008 avec Day by Day. Africa for Africa lui ressemble comme deux gouttes d'eau, à une importante différence près :
Day by Day avait été conçu à Paris, celui-ci l'a été à Lagos, dans l'historique studio Decca où Fela grava quelques œuvres immortelles et où Femi débuta sa carrière. Et la tension de la
mégalopole nigériane innerve chacun des grooves de ce disque, certains parmi les plus frénétiques enfantés par Femi, comme "Politics in Africa" ou "Now i See", où l'enchevêtrement clavier/guitare
et les riffs des cuivres libèrent des déflagrations semblables à celles de bombes incendiaires. Ses attaques contre la classe politique africaine, son absence de légitimité et la conséquence de
son inanité sur le peuple ("Nobody Beg", "Bad Governement"), n'en ont que plus que d'urgence, même sur les morceaux lents, qui se consument d'un feu inextinguible (l'explicite morceau-titre). Un
léger bémol : la présence de trois morceaux qui figuraient déjà sur le live Africa Shrine.

Tracklist :       

1. Dem Bobo

2. Nobody Beg You

3. Politics In Africa

4. Bad Government

5. Can't Buy Me

6. Africa For Africa

7. Make We Remember

8. Obasanjo Don Play You Wayo

9. Boys Dey Hungry For Town

10. Now You See

11. No Blame Them

12. Yeparipa

13. E No Good

14. It Don't Mean

http://zozoafrobeat.com

http://www.myspace.com/zozoafrobeat

Origine du Groupe : North America , Nigeria

Style : Afrobeat

Sortie : 2008

"ZOZO"Taken from the goun or fon dialects in the republic of Benin west Africa meaning something steaming hot truly keeps the Afrobeat fire burning.13 piece ensemble led by Kaleta real name Leon
Ligan-Majek is a renown world music/afrobeat producer,arranger,guitarist,percussionist and singer born in the republic of benin but lived all his adolescent life in Lagos Nigeria,a city STONE
THROW from his native country Benin,where the culture is similar in terms of language and music to that of Nigeria where he grew up.with ZOZO AFROBEAT,Kaleta music pays homage to the greats and
yet still maintains his distinctive sound and energy.

He had performed,toured and recorded albums with legendary FELA KUTI,king SUNNY ADE,SHINA PETERS,and lately went on world tour with Lauryn Hill ...to mention but a few.



by http://www.cdbaby.com

Tracklist :

1. Country of Guns

2. Shake Your Nyansh

3. Gete (Dancing Lambs)

4. Baba Nla Iya (Intense Hardship)

5. Get Up

6. Fimile (Live and Let Live)

7. Peace No Dey (No Peace)

http://www.ladistritofonica.com

http://www.myspace.com/palancamusica

Origine du Groupe : Colombia

Style : World Music , Afrobeat , Alternative

Sortie : 2010

News !!! Desktopify this player HERE

From Official Myspace :

Lo que por años fue conocido como CieloMama ahora se ha transformado en PALANCA, escuadrón sonoro de 9 músicos que, procedentes de diferentes estilos le dan un sonido explosivo y fiestero donde
ritmos tradicionales como la cumbia, el porro y la salsa adquieren colores urbanos a travéz del funk, el hiphop, el rock y por encima de todo el AfroBeat. PALANCA trabaja un repertorio donde el
AfroBeat es asumido no sólo desde el punto de vista musical sino también desde el contenido ideológico, ya que la intención es poner al descubierto drámaticos tópicos de la realidad. Es rumba,
pero a la vez pone a pensar al oyente con cáusticas reflexiones sobre el desplazamiento forzado, sobre el consumismo, sobre como la ciencia está siendo utilizada en contra de la Madre Tierra o
sobre la manera como los medios de comunicación idiotizan a la gente. PALANCA es una propuesta que busca evocar el beat del funk de los años setentas pero con un mensaje sobre la cotidianidad
tercermundista. Saxos, clarinete, trombón, percusión, batería, guitarra eléctrica, coros y un bajo cadencioso le dan a Palanca su sonido único.

Tracklist :

1. Bacaniao Ojeda (5:03)

2. Cumbia Reggae Funky (6:53)

3. Suelta (5:33)

4. Desobediencia (4:39)

5. Sonichévere (5:08)

6. No Me Pidas (7:19)

7. Pa´la Mente (5:10)

8. La Mentira (5:35)

9. No Más (3:37)

10. La Casa Propia (5:50)

Note :

http://www.myspace.com/cacique97

Origine du Groupe : Portugal , Mozambic

Style : Afrobeat , World Music

Sortie : 2009

From Official Myspace :

Lisbon has always been a stage for the meeting of several cultures, mostly due to the past of the city as the capital of a colonial empire in Africa and Latin America. Nowadays it is a huge pot
of creativity which attracts artists from all over the world and it is a privileged space where musicians find each other, share ideas and mix rhythms. It is from this mixture that, in 2005,
afrobeat collective Cacique..97 was born.



With musicians with Mozambican and Portuguese origins, this collective incorporates members from groups such as Cool Hipnoise, Philharmonic Weed and The Most Wanted, well known projects in the
areas of funk, reggae and the afro sound.



The passion for the music of Fela Kuti and Tony Allen has united these musicians for the pursuance of a common goal: to create a collective that mirrored the Lisbon mixture, by crossing the
characteristic urban Nigerian rhythm which is afrobeat, with the musical tradition of the Portuguese-speaking African countries and of Brazil, whom has always been very present in the Portuguese
capital.



Cacique..97 intend to give birth to a global soundtrack of the new times without losing the activist approach and the promotion of social awareness so fond to afrobeat.

Tracklist :

01. Jorge da Capadócia 5:55

02. Eu Quero Tudo 4:16

03. Mifolo 5:05

04. Sr.Diplomata 5:07

05. Get No Stronger 5:25

06. Come From Nigeria 6:23

07. 13 4:32

08. Dragão 6:06

09. Kodé 5:28