omorrow, his third album in as many years, now featuring Onyeabor in a velvety double-breasted suit, begins to move away from the solid groove of Afrobeat towards something more diaphanous. The drums and bass loosely twine about Onyeabor and his female backup singers, their vocals unhurried, the organ squirreling in, out, above and around the rhythm. “Why Go to War” has what sounds like a Slinky threaded through an electric guitar and then nervously plucked, continuing Onyeabor’s mind being on both the smallest of affairs between man and woman and the mutually assured destruction of the world. The album also features what some 35 years later might be Onyeabor’s greatest pop "hit," the preening funk of “Fantastic Man” (which you can now hear on ads for It’s Always Sunny in Philadelphia). And no wonder—it’s a doozy, Onyeabor peacocking before a group of females even as he steps on a disco duck and has a UFO crash land on his fly threads.