Government Chicken Boy- Musical Analysis 1

The 1960s and 1970s marked a remarkable shift in the social landscape, particularly in music, culture, and politics. The period witnessed a transformational change in the socio-political arrangements, cultural ethos, and musical expressions, which profoundly impacted the society of the time. The era was characterized by the emergence of new forms of music, revolutionary cultural movements, and significant political upheavals that reshaped the social order and challenged the existing power structures. During political turmoil and government corruption in Nigeria, Fela Kuti, a renowned musician, rose to prominence as a significant and influential figure. Fela's music was a form of entertainment and a powerful tool he used to combat systemic injustices and corruption perpetrated by the government. His musical compositions were utilized as a tool for resistance, effectively subverting the period's prevailing social and political norms.

            Fela Kuti was born into a family with a solid educational background. His mother was a prominent figure in Nigeria's anti-colonial movement, while his father was instrumental in creating the education system for English-speaking West Africa. From an early age, Fela was urged to pursue piano lessons, which resulted in him becoming the leader of his school choir and eventually studying classical music in London. However, he soon discovered his passion for jazz and began playing the trumpet. Fela returned to Nigeria and founded a new kind of music, a mixture of traditional Nigerian music, highlife, American funk, complex jazz, chanted vocals, and soul influences, called Afrobeat. He used this music as a weapon to speak out and criticize the corruption of Nigerian government officials and the mistreatment of Nigerian citizens, for which he was repeatedly arrested and beaten. Fela Kuti introduced a pioneering style of transgressive behavior in Nigeria that included publicly smoking marijuana, challenging prevailing societal norms, and becoming the first countercultural icon in sub-Saharan Africa.

 

Fela Kuti, "Government Chicken Boy" Army Arrangement, Knitting Factory Records 1985  written by Fela Kuti and produced by Fela Kuti and Bill Laswell, is by far not the most renowned as some of his other works, but the album holds a significant value to me due to the nostalgia it evokes. It's a reminder of my formative years and the music I grew up listening to. I also believe that the complex rhythms played for an extended period are underrated and show the level of musicianship and how each member of the band is the cream of the crop and at the top of their game.

Lyrics

"It's time to put our heads together." When Fela addresses his fellow Nigerians, he emphasizes the need for collective action against the government's oppressive policies. A dissonant guitar and trumpet melody underscores Fela's defiant message to his political opponents. He asserts that he will not be silenced even if they imprison him. Fela not only spoke out against the Nigerian government, but I believe he also showed us that our right to protest is being threatened. This period also marked a time when Fela's residence was subjected to several violent attacks. Given Fela's strong inclination towards challenging norms and advocating against inequalities, it is unsurprising that he has written a song addressing the issue of blind conformity. Fela criticized the actions of individuals who unthinkingly followed authority without questioning it. 

Kukuru uku

It’s time to put our heads together

Meetin’oh

Kukuru uku
It’s time to put our heads together
Meetin’oh
Meetin’oh

Meetin’oh
Make our life go dey better
Meetin’oh
Better life make dey fine go
Mugu oh oh
Make nobody go dey fool us

Mugu oh oh
Make nobody make us fools
Meetin’oh
Make our life go dey better
Meetin’oh
Better life make dey fine go
Mugu oh oh
Make nobody go dey fool us
Mugu oh oh
Make nobody make us fools

Mugu mugu mugu mugu mugu mugu mugu
Kukuru uku
Everybody wake up in time to see
Kukuru uku
It’s time to put our heads together
Meetin’oh
Meetin’oh
Kukuru uku
It’s time to put our heads together
Meetin’oh

Da mi lowun, da mi lowun
Da mi lowun, ah, ah, ah
As you wear your watch
And look the time
6 P.M. chicken quench
Kukuru uku
Crooked life, crooked show
Gata gata way, na chicken style
Kukuru uku
Since the time dem born am
Na back him hand him dey dey
Kukuru uku
The only time wey him hand dey for side
Na when him dey run from fear
Kukuru uku
Try to fly na wahala for am
Na mouth him go take him land
Kukuru uku
Show am plenty chop, na small sens he gets
Na one by one him go chop
Kukuru uku
As he will chop am one by one
Somebody go sweep am from him mouth
Kukuru uku
Now the picture of chicken na begs for you to see
Kukuru uku
My friend tell me ... all over... offices dey

 Melody

 At the head of the song, all the instruments come together in perfect harmony, creating a synchronized burst of sound. The shekere, talking drums, rhythm guitar, horns, and tinkling cowbell embellished the melody, which blended seamlessly to produce a melodious tune. As the song progresses, the organ and keyboards add rich tones to accompany the melody. Frequent solos from the organ and alto saxophone carry the melody forward. In contrast, the saxophone and trumpet players introduce a call-and-response technique that brings a new dimension to the piece. The instruments converse back and forth, adding complexity to the music. When the much-anticipated lyrics finally arrive, the horns return with a bright, attention-grabbing blast highlighting Fela Kuti's intention to urgently expose injustices. Eventually, the drums, percussion, and bass all work together to create a pulsating beat that is impossible to ignore. A polyrhythmic groove sets in, gradually adding layers of complexity to the harmony, and finally, the vocals start about fourteen minutes into the song.

 Tempo

The "Government Chicken Boy" musical composition employs complex and sustained rhythmic patterns to achieve an upbeat tempo reminiscent of house or techno music. Despite the song's dramatic and weighty melody, it maintains a certain nimbleness to fit the liturgical lyrics and chants. The composition is structured on a 3-2 rhythm clave, which involves alternating patterns of three and two beats. This type of clave is known for its dance-friendly quality. Who knew the organ and cowbell could be used to create such an infectious groove suitable for dancing. Their unique timbres and rhythmic interplay can produce compelling polyrhythmic patterns.

Stewart, Alexander. “Make It Funky: Fela Kuti, James Brown and the Invention of Afrobeat.” American Studies, vol. 52, no. 4, 2013, pp. 99–118. JSTOR, http://www.jstor.org/stable/24589271. Accessed 18 Feb. 2024.

 Ilesanmi, Alaba . "Fela Anikulapo-Kuti". In obo in Music. 18 Feb. 2024. <https://www.oxfordbibliographies.com/view/document/obo-9780199757824/obo-9780199757824-0287.xml>. 

"Fela Kuti." Wikipedia, Wikimedia Foundation, 13 Feb. 2024, en.wikipedia.org/wiki/Fela_Kuti. Accessed 17 Feb. 2024.

"Army Arrangement." Wikipedia, Wikimedia Foundation, 30 Jul. 2023, en.wikipedia.org/wiki/Army_Arrangement. Accessed 17 Feb. 2024.

Britannica, The Editors of Encyclopaedia. "Fela Kuti". Encyclopedia Britannica, 19 Jan. 2024, https://www.britannica.com/biography/Fela-Kuti. Accessed 17 February 2024.

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