Afrobeat is a genre created by Nigerian multi-instrumentalist and singer Fela Kuti in the late 1960s. It is a distinctly neotraditional style that merges the traditional Yoruba percussion and call-and-response structure with the general principles of Highlife (Fela played in Bobby Benson's and Dr. Victor Olaiya's bands in the 1950s), Jazz (a genre that Fela explored during the 1960s in London and back in Lagos) and Funk (influenced by local Nigerian star Geraldo Pino, an imitator of James Brown). This combination proved very successful, earning Fela critical acclaim and spawning a whole movement of afrobeat bands that still continues today.
Afrobeat songs were originally sung by Fela in either pidgin English or Yoruba; he combined love songs ("Lover") with songs based on traditional Yoruba tales ("Alujon jon ki jon"), but by the mid-1970s political themes became the center of Fela's lyrical output, with albums such as Expensive Shit, Zombie and Coffin for Head of State criticizing the police, the military and the government. This consolidated his audience, as his popularity and the popularity of afrobeat grew overseas. However, local sales of afrobeat have always been lower than those of Fuji and Jùjú, genres that were in fact influenced by afrobeat to a great extent.
The standard afrobeat ensemble was established by Fela's band, The Africa '70, featuring drums, congas, percussion sticks, sekere, electric bass, electric guitar and a horn section. Fela's drummer, Tony Allen, left the band in 1979 to pursue a successful career that would see him expand the afrobeat sound. In the 1980s, Fela's band became The Egypt '80, being larger than his previous ensemble and playing longer, more complex pieces. Until his death in 1997, no other musician (except his oldest son, Femi Kuti) competed against Fela's success in afrobeat. Ever since, the number of bands, especially in North America, has increased notably, with groups such as Antibalas and The Souljazz Orchestra keeping Fela's legacy alive. Fela's youngest son, Seun Kuti spearheads the new Egypt '80.
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Originally Posted by Rye-Ergot
I expect studios were in place in both Nigeria and South Africa (at least) at about the same time (early 20th century) as they would have arrived at the height of colonial expansion in Africa. Just off the top of my head, Solomon Linda’s ‘Mbube’, a classic South African track that Pete Seeger drew from for ‘Wimoweh’ (and which Disney then used in The Lion King), was recorded at Gallo Records in Johannesburg in 1939. But I confess, this entry isn’t about recording studios or the merits of Ginger Baker; it just a thinly disguised excuse for me to post the said Solomon Linda’s amazing ‘Mbube’ (and I look forward to following up those Nigerian links). 
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