In a contemporary review for The Village Voice, music critic Robert Christgau said that The Best Best of Fela Kuti is the essential album from Kuti and "a masterful piece of compilation for an artist who deserves the best." He applauded the decision to edit or "unceremoniously" reduce the exhaustive lengths of the original songs in half, adding that they feature "top-notch tirades, explosive horn blasts", and riffs Kuti could "never improve no matter how often he [tried]".[12] Christgau named it the fifth best album of 2000 in his list for the Pazz & Jop critics' poll.[13] Vibe magazine's Harry Allen said that it has Kuti's "finest work".[14] In 2005, Spin magazine ranked The Best Best of Fela Kuti the fourth best world music album of all time.[15]

Pitchfork critic Mike Powell wrote that, although it does not have "all of Fela's best material", the album "isn't just a good place for someone starting out, it's probably the only Fela album many will need to own."[8] In a less enthusiastic review, Will Hermes of Rolling Stone magazine said that the music is "killer", but criticized the lack of recording info in the liner notes: "The music speaks for itself, but presidential history deserves better."[11]

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There's a diner in central Virginia called the Blue Moon that used to play a Fela Kuti compilation what seemed like every Sunday morning for at least a couple of years-- something I mention because it's how I first heard his music and how I remember it best: Over and over again, at a decent volume. His recordings are defiantly samey, but his style is unmistakable: the horn-head/solo structure of American and European jazz applied to funk; 12-minute songs that seem to start somewhere in the middle; lots of congas, lots of honking. Something like the Nigerian James Brown, sure, but also a little like Monet's series of haystacks-- each iteration a little different but disciplined in their similarity, always some minor variation on an ideal.

So while two straight discs of Fela is exhausting, it's probably the most suitable way to digest him. I can't say that Black President (which is exactly the same as MCA's out-of-print The Best of Fela Kuti) contains all of Fela's best material-- he has too many records, and they've only been sporadically available on CD. (Knitting Factory, by the way, intends to reissue 45 of them over the next year and a half.) What I can say is that his music is so intense and consistent in mood that lesser tracks in his discography just make themselves obvious-- they don't appear hypnotized by the sprit; they lack energy. In 2006 I tried to listen to 20 Fela albums in a row and came to two conclusions: For the most part, his best songs had already made it on compilations, and that compilations best convey the full brunt of his music. There's also the issue of consumer value: Most of Fela's original albums featured only two tracks, each about 15 minutes, so a $20 compilation just gives you a lot more to chew on than a $12 album. Fela: The Best of the Black President isn't just a good place for someone starting out, it's probably the only Fela album many will need to own. True, some of the songs are edited, but if you need the full 15-minute version of "Gentlemen" instead of the 11-minute one, then the Best of is probably not for you in the first place.

The best album credited to Fela Kuti taking into account any aliases or variations is Zombie by Fela Kuti & Africa 70 which is ranked number 987 in the overall greatest album chart with a total rank score of 1,835.

Army Arrangement [Celluloid, 1985]

I've never had complete confidence in Fela's myth. By both African and Euro-American standards, his arrangements are repetitive, his singing and playing nothing special, and his political ideas ill-informed and grandiose. But as pop pros of any culture go, he's an original and a radical, and even if he weren't his music would deserve our attention and his imprisonment our abhorrence. Let's hope this Bill Laswell remix proves propitious. Rather than bedizening it with aural gee-gaws, Laswell imports sympatico cousins to beef up the groove--Bernie Worrell (on Hammond B-3!), Aiyb Dieng (on five different percussion devices), and, most spectacularly, Sly Dunbar, whose Simmons pulse could make a skinhead dance once foot at a time. Fela's best album--wonder if they'll let him hear it. A-

The Best Best of Fela Kuti [MCA, 2000]

There is one true Fela experience, and that experience is long. L-o-n-g. Unless qawwali counts, no one in pop has ever gone on so unceasingly for so long. Even Phish and such mix in song-type fragments to give folks a rest. Fela's practice was to release 30-minute albums with two cuts on them, or to dispense with this formality and designate the sides parts one and two. As a result, this 158-minute double-CD comprises all of 13 titles. But of these, more than half are edited or cut unceremoniously in half, which is great, because long can wear out fast. Most Fela albums, including the 20 MCA has arrayed across an overdue reissue blitz of 10 CDs that pass by such renowned releases as Zombie, Black President, and Army Arrangement, are listenable enough. Few, however, are the knockout punches his notices lead thrill seekers to expect--their attractions are more unfocused than an artist so militant requires. Here that's not a problem. Long though they still are, all are marked by top-notch tirades, explosive horn blasts, riffs he'll never improve no matter how often he tries. Certainly some original albums are of a quality that renders the usual duplication caveats moot. But this is the one you need, a masterful piece of compilation for an artist who deserves the best. A

Whatever the truth about Fela -- and there are plenty of different versions -- he was a musical giant. His Afrobeat is a political rally and dance party rolled into one. There are a number of double CD Fela collections out there (the Best Best is a repackaged and retitled from Music is the Weapon but adds a fascinating 50 minute DVD-doco from 1982 when he was trying to run for president of Nigeria). Most compilations cover the same essential tracks, but Best Best is the best.

From Fela albums - which could be a lifetime of collecting in itself -- there is the obvious thread to his son Femi Kuti who picked up the mantle after his father's death. Femi stalks the same territory without the gravitas and urgency but has brought remixers into the house to give himself a contemporary audience. The other obvious direction is to follow Fela drummer Tony Allen's career.

MASEKELA: Well, I think that the best advice you can give anybody is that if they love something and they want to be involved with it, the first thing they have to do is to be honest with themselves. How much do they like this and do they have a passion for it? And second, they have to be like honest about have they been told that they seem to be very talented in this field? Because whatever you go into you have to go in there to be the best. There's no formulas. It's all about passion and honesty and hard work. It might look glamorous but it takes a lot of hard work. The blessing with the arts is that you can do it forever until you drop dead. That's the blessing. And I'm 74 and I feel that I'm just beginning, so I think I'm very fortunate to have been like bedeviled by music.

The show, held at the Prudential Center in Newark, New Jersey, was Swift's from nearly the beginning. The night's first presenters were none other than NSYNC, who reunited to hand the best pop video award to Swift.

She also took home the award for best collaboration for "TQG," her song with Karol G. The duo gave their acceptance speech entirely in Spanish. "If collaborating with the legendary Shakira had been impressive, having an award with her is something from another planet," Karol G exclaimed. be457b7860

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