“Tony Allen is a fascinating insider’s view of how a musician and a musical style developed over time. Allen is a compelling storyteller and sharp observer whose memories bring forth a stream of ideas, anecdotes, humor, and life lessons that add up to an insightful auto-ethnography. Well-organized and concise, the book flows as a story of one of the most important West African musicians of the past 50 years, a narrative of creativity in post-colonial African popular music, and sound advice on how to have a long and productive career in music.”

- Thomas Brett, Popular Music and Society

“Anyone who knows their Afrobeat will tell you how pivotal the kit drummer Tony Allen was to the genre’s development. Indeed, as . . . Michael Veal points out in this important, deftly crafted book, the pairing of Allen and the late great Fela Anikulapo Kuti could be likened to partnerships between such jazz supernovas as Coltrane and Elvin Jones; Miles and Philly Joe Jones; Ornette and Billy Higgins.”

- Jane Cornwel, Jazzwise

“[D]rummers are going to love this book. With so few autobiographies of drummers in print, the publication of <i>Tony Allen: An Autobiography of the Master Drummer of Afrobeat</i> is a cause for celebration. . . . Most importantly, the book is a hell of a lot of fun to read, although Allen's first-hand accounts of his struggles with shamanistic bandleader and Nigeria's adopted ‘black president’ Fela Anikulapo-Kuti will piss off any musician who has had to fight to get paid for playing a gig."

- Chris Becker, All About Jazz

“This is not a slice of dry academia, what we get in this incredibly fruitful collaboration is 160 pages of rich revealing narrative that is so engrossing that I missed my stop on the tube. . . . Basically, I couldn’t put the book down and it had me sifting through the records to provide a soundtrack to the narrative.”

- Paul Brad, Ancient to Future

"There is much to enjoy from his account of growing up and becoming part of 'swinging Lagos' pre 1978, before it was unsafe to venture out at night. The part describing his musical influences and relationship with Fela Kuti is illuminating. Tony, one of the originators of Afrobeat, still plays to sellout crowds in his seventies  . . .  demonstrating that age is just a number. Allen's autobiography is a gem."

The Voice

“This is a much needed, truly fascinating book. . . . Allen spins the tale of his life, and of the evolution of one of the great popular musical styles of the 20th century, like the great storyteller he is. It’s a narrative filled with tasty anecdotes and twinkling details, which just add to its momentum. You can almost see the wry smile on his face as he challenges you to make up his own mind . . . Allen’s totally absorbing narrative was edited and shaped by Michael E. Veal. . . . In his introduction he treats us to an unbeatably succinct, lucidly accurate contextual analysis of Allen as a ‘Yoruba modernist’. He also gets to grips with how the Allen technique works. . . . This is highly readable and highly recommended.”

- Max Reinhardt, Songlines

“There’s a sentence in the introduction where Veal, a Yale professor, uses the phrase ‘indigenization of jazz drumming’, but don’t let that put you off. The academic is present primarily to transcribe and edit, while Allen reflects on 50 years at the coalface. . . One of the great sidemen, Allen here cuts mercilessly through the bullshit.”

- David Hutcheon, Mojo