Congo Memories with Bumba Massa

Best-known for his work with the super-group Kékélé and last year's release Apostolo, the honey-voiced Bumba Massa is one of the great unsung heroes of '80s Congo/Zaïre music. Born in Kinshasa in 1945, in 1963 he founded Orchestre Cubana Jazz with Empopo Loway and Siongo Bavon Marie-Marie, the younger brother of Luambo Makiadi Franco. He then progressed to work alongside Johnny Bokelo in Conga '68 and with Vicky Longomba in Lovy du Zaïre, before joining Franco's TPOK Jazz in 1976.

Bumba Massa launched his career as a solo artist in 1978 with a tour of West Africa, ending with the release in 1981 of Gare à Toi Mon Ami in Ivory Coast. Despite a number of outstanding releases like l'Argent et la Femme and Dovi in subequent years, Massa was unable to really "break through" on the international scene (l'Argent et la Femme did receive some limited distribution by Brooklyn's African Record Centre) until 2001, when Kékélé's first recording Rumba Congo (Sterns STCD 1093) brought the sounds of classic Congo music to a new generation.

Listen to Bumba Massa's brilliant 1983 outing Dovi (Syllart SYL 8306) and understand why I consider the 1980s the last "Golden Age" of Congolese music. Recorded in Paris under the direction of the great producer Ibrahima Sylla, and with the participation of outstanding sidemen like Pablo Lubadika Porthos and Syran Mbenza, it stands as a pinnacle of the sound: smooth, seemingly effortless and sublime. If you like this one, in the future I will post 1982's l'Argent et la Femme, which is almost as good.

Bumba Massa - Sous-Marin

Bumba Massa - Dovi

Bumba Massa - Mariage Intermédiaire

Bumba Massa - Père Bouchez

Download Dovi as a zipped file here.

African Divas Vol. 4

Once again I'm forced to apologize for the infrequency of my posts lately. As usual, I have several projects in the hopper, but all kinds of personal business has intervened to prevent me from finishing them.

Fortunately, what should come over the transom but a fine new compilation by our friend Ken Abrams, who was responsible for a couple of installments in the fondly remembered African Serenades series a few years back. Ken calls this collection of tracks by female artists "African Woman is Boss" (a play on a calypso, "Woman is Boss") but with his permission I'm rechristening it African Divas Vol. 4, since I've been wanting to put together another installment in that series for some time.

Mostly off the World Music™ radar, these chanteuses are testimony to the talent and artistry of Africa's female singers. Enjoy!

1. Deka - Ade Liz (Cote d'Ivoire)

2. Fide (Le Repos) - N. Lauretta (Cameroun)

3. Mumi We Njo - Cella Stella (Benin)

4. Je Caime Larsey - Lady Talata (Ghana)

5. Oa - Betuel Enola (Cameroun)

6. Time - Sissy Dipoko (Cameroun)

7. Shameributi - Oyana Efiem Pelagie & Soukous Stars (Gabon)

8. Komeka Te - Pembey Sheiro (Congo)

9. Mu Mengu - Itsiembu-y-Mbin (Cameroun)

10. Mbo Ya? - Lolo (Cameroun)

11. Gbaunkalay - Afro National (Sierra Leone)

12. Gnon Sanhon - Rose Ba (Togo)

13. Djombo - Hadja Soumano (Mali)

14. Kanyama - Amayenge (Zambia)

15. Mesa Ko Noviwo O - Okyeame Kwame Bediako & his Messengers (Ghana)

16. Mede Yta - Yta Jourias (Togo)

17. Play Play - Wulomei (Ghana)

Download African Divas Vol 4 here (and you can get Vol. 1 here, Vol. 2 here, and Vol. 3 here). Be advised also that in addition to his musical interests, Ken Abrams is a talented artist. Check out his work here.

Shortwave Memories

More Congo classics via Nigeria here! Music From Zaïre Vol. 3 (Soundpoint SOP 041, 1977) opens with "Ngalula Marthe" by Orchestre Elegance Jazz, a song that provokes fond memories among West Africans of a certain age. A quick scan of the internet produces numerous comments about it, including these: ". . .I dreamed of my childhood in Sierra Leone. When I board a public transport like a taxi, private bus, pick trucks travelling to the countryside, this record was the music of the time in Sierra Leone in all these public transportations. . ." ". . . This song typified my happy childhood in the good old days in Nigeria. Late 70s and early 80s, I think. Remembered it being played on the state radio's ikwokilikwo hour in Anambra back them. The best of the classic Congolese music! It's soothing!" ". . . We used to organize dancing competitions with this song back then in Cote d'Ivoire. . ."

As regards the meaning of the lyrics, another listener writes, ". . . Ngalula is the name of a girl in the Kasai culture: Ngalula is special because of her genetic makeup. So is Ntumba from the cultural perispectives. These children were concieved without sex after mother has just had another child. . ."

There's no doubt that this 1972 classic had a broad influence on West African music. Compare the guitar work at around the 3:30 mark to Prince Nico Mbarga's "Sweet Mother," released in 1976:

Orchestre Elegance Jazz - Ngalula Marthe

Here's another song evoking the feeling of something you'd hear over a shortwave radio late at night. I'm not the only one who's looked high and low for part two of "Yokolo," but according to Alistair Johnston's discography of Docteur Nico it is avaliable only on two 45s (Editions Sukisa S.500 & Ngoma DNJ 5274) issued in the late '60s. To the best of my knowledge the only album Part 1 is available on is Music From Zaïre Vol. 3. A rarity indeed!

Docteur Nico & Orchestre African Fiesta Sukisa - Yokolo Pt. 1

Nyboma Mwan'dido made his musical debut in 1969 at the age of 16, and was recruited by the musician and promoter Kiamuangana Verckys to Orchestre Bella-Bella in 1971, and subsequently to Orchestre Lipua-Lipua. "Kamalé'" proved to be such a smash for Lipua-Lipua and its lead singer that in 1975 Nyboma split from Verckys to form his own band, Les Kamalé, which notched a series of hits, including the enduring classic "Doublé Doublé." You can hear a full-length version of "Kamalé" here.

Orchestre Lipua-Lipua - Kamalé Pt. 1

Docteur Nico & Orchestre African Fiesta Sukisa - Mokili Makambo

When Kiamuangana Verckys left OK Jazz in 1969, he soon developed a recording empire and a raucous sound to rival those of his mentor Franco and the other giant of Congo music at the time, Tabu Ley Rochereau. I've been unable to locate Part One of "Dona," the wild horns, biting guitar licks and over-the-top vocals of which showcase the "Verckys Sound" at its best:

Verckys & Orchestre Vévé - Dona Pt. 2

Part One of Bella-Bella's great "Mbuta" has also eluded me. You can hear Nyboma singing backup here:

Orchestre Bella-Bella - Mbuta Pt. 2

"Infidelité Mado," also known as "Mado," realeased in 1972, was a great hit for Franco and Orchestre TPOK Jazz. I apologize for the poor sound quality of the version here, indeed of the last four tracks on Music from Zaïre Vol. 3 (Side Two of the LP is slightly off-center). You can hear a better version of "Mado," courtesy of Worldservice, here:

Franco & l'Orchestre TPOK Jazz - Mado

Founded in 1953, Joseph Kabasele's African Jazz was the first "modern" Congolese orchestra:

Orchestre African Jazz - B.B. 69

Download Music From Zaïre Vol. 3 as a zipped file here.

More Desert Island Music

Given that he's one of the most illustrious Congolese musicians of his generation, information about Côme Moutouari, better known as Kosmos, is a bit hard to come by. I know that he's one of a trio of musical brothers (the others being Michel and Pierre Moutouari), that he got started in the '60s with the legendary Bantous de la Capitale in Brazzaville, that he left that congregation in the '70s with Pamelo Mounk'a and Celio to form Trio Ce.Pa.Kos and Orchestre le Peuple, and that in the '80s he recorded a series of solo LPs that are some of finest Congo recordings of that golden decade.

Of these, Ba Camarades (Safari Sound SAS 040, ca. 1983) is true "desert island music" that stands as a distillation of all that was great about '80s Congo music: the sweeping guitar filigrees, the understated horns and above all, Kosmos's lovely voice. They sure don't make records like this any more!

Kosmos - Ba Camarades

Kosmos - Madou Sesselesse

Kosmos - Tabali

Kosmos - Liberte

Download Ba Camarades as a zipped file here. Here are some earlier recordings by Kosmos that I took from the compilation CD Best of Kosmos Vol. 2 (Glenn Music GM 324008, 1995). The song translations are from the liner notes. "Miléna," recorded with Bantous de la Capitale, is one of Kosmos' best loved songs. In it the singer recounts the pain his love for Miléna is causing him: "They make me suffer for loving you. I didn't know that my mother-in-law was a merchant of children. She wants me to give her all of the money I make. Oh mother-in-law, please don't tell Miléna to give my child to a man richer than me":

Bantous de la Capitale - Miléna

In "Kamwiya" Kosmos and Pamelo Mounk'a sing, "You are losing your way. Bring your heart back to its place. I love you but don't come to me because of bad advice. Don't lose the light of my love. I'm fed up with that suffering":

Trio Ce.Pa.Kos - Kamwiya

"Milla, I've heard something horrible. Tomorrow you're flying to a foreign country. Where you are going there are a lot of men. I am afraid you will forget me. I am crying. You leave me with a wound that can only be healed by your return":

Le Peuple - Milla

Another Rockin' One-Off

Roaring out of Kinshasa by way of Paris with drum machine in tow, it's Rigo Star and Josky Kiambukuta with Jotongo (Mayala MA4005, 1986), a platter that can best be described as "soukous rock."

Josky Kiambukuta is the honey-voiced vocalist who joined Franco's legendary TPOK Jazz in 1973 and composed many of its greatest songs. Rigo Star made his mark in Papa Wemba's Viva la Musica before decamping to Paris and recording with the likes of Sam Mangwana and Kanda Bongo Man, later becoming a much-sought arranger and producer. Like Uhuru Aiye by Bob Ohiri and his Uhuru Sounds, posted in this space earlier, Jotongo is an apparent one-time studio collaboration that was never repeated. Similarly, its somewhat deracinated sound has a "hard rock" edge that sets it apart from some of the more mainstream sounds of the day. As no other musicians are credited on the sleeve, I suspect all of the musical contributions were provided by Kiambukuta and Star via overdubbing.

Rigo Star & Josky Kiambukuta - Jotongo

Rigo Star & Josky Kiambukuta - Bon Payeur

Rigo Star & Josky Kiambukuta - Promesse Ezali Niongo

Rigo Star & Josky Kiambukuta - Bilei Special

Rigo Star & Josky Kiambukuta - Malia

Download Jotongo as a zipped file here.

Still Another Re-Up

I've been unable to find out much about Congo's Bobongo Stars, but their unique blend of funk, rock & roll, Soukous and Mutuashi made them stand out in the crowded '80s Kinshasa music scene. They had their own night club, made commercial jingles, played backup for the Angolan singer Diana, and achieved a measure of renown in Europe before fading from sight.

Some time ago I posted the Bobongo Stars album Makasi (Celluloid CEL 6627, 1983) over on Uchenna Ikonne's blog With Comb & Razor, and as it's since gone offline, I thought now was a propitious moment to make it available again.

The above photograph of the Bobongo Stars was taken by Chris Stapleton and appeared in his article "Kinshasa Diary: Zaïre," which was in the Summer 1986 issue of Africa Beat (London). Here are the songs from Makasi, and you can download them as a zipped file here:

Bobongo Stars - Mbati

Bobongo Stars - Joyce

Bobongo Stars - La Vie Ya Lelo

Bobongo Stars - Nazangi Yo

Bobongo Stars - Koteja

Bobongo Stars - Simba Moto

From Congo via Nigeria

Priscilla tells me that in the 1970s, when she was a girl in Awo-Omamma, Nigeria, the family used to sit around the short-wave radio almost every night to catch the broadcasts from Radio Brazzaville. I imagine the music they heard sounded an awful lot like the contents of Music from Zaire Vol. 6 (Soundpoint SOP 044, 1978), today's featured recording.

Congo music, of course, was huge in the 1970s all over Africa, and especially in Eastern Nigeria, where it sparked the development of a whole new genre of guitar-based highlife music exemplified by Oliver de Coque, the Oriental Brothers and their many imitators and camp-followers. The numerous Nigerian pressings of Congo music that were made in the '70s feature the musicians that influenced this trend, in the case of Music From Zaire Vol. 6 the artists in Kiamuangana Verckys' stable like Orchestres Kiam, Lipua-Lipua and Cavacha. The music echoes down through the years. I was amazed, on viewing a video of my father-in-law's funeral, made in 1998, to hear an Igbo-language version of Lipua-Lipua's "Nouvelle Generation" played by one of the local bands. No doubt you could hear the same thing in Yaoundé or the backwoods of Kenya - truly it's one of the most influential African songs of all time.

As much of this music is already available through many reissues and postings on the internet, I was hesitant to tack it up here. But recently both Worldservice and Global Groove posted Stars From Zaire Vol. 4 (Soundpoint SOP 042), another installment in the series. That got me to thinking: Is there something about these particular Nigerian pressings that makes them unique? I think so. For one thing, as Worldservice points out, there is a tendency to not include the slower "A" sides of the various recordings and go directly to the big payoff: the "sebene," the faster, more improvisatory second half. This structure is typical of Igbo guitar highlife recordings of the '70s and '80s as well. Just listen to Oliver de Coque or Kabaka and compare them to Music From Zaire Vol. 6 and see what I mean!

The picture of the Yoruba drummers on the back of the record is also interesting:

Here, then, is the music. Just sit back and imagine you're listening to a shortwave radio in Awo-Omamma, Nigeria in the '70s . . .

Orchestre Kiam - Baya-Baya Pt. 2

Orchestre Lipua-Lipua - Mombasa Pt. 2

Orchestre Lipua-Lipua - Tika Kosaboter Motema

Orchestre Lipua-Lipua - Kuelo

Orchestre Lipua-Lipua - Nouvelle Generation Pts. 1 & 2

Orchestre Bella-Bella - Mwana Yoka Toli

Orchestre Cavacha - Shama Shama Pt. 2

I believe track 6, "Mwana Yoka Toli," was misattributed on the album sleeve. I'm following the liner notes of Jeunes Orchestres Zaïrois 1971/1973/1974/1975 (Sonodisc CD 36517, 1992) and crediting it to Orchestre Bella-Bella. To download Music from Zaire Vol. 6 as a zipped file go here, and following Worldservice's example, I'm making the "complete" versions of "Baya-Baya," "Mombasa" and "Shama Shama" available here. I'll probably be posting more of these Nigerian pressings of Congo music in the future.

Lovers' Soukous for Soukous Lovers

It's no secret I'm not thrilled about some of the Congo music that's been coming out lately, particularly from the Paris-based bunch. For those of us who got to know it in the '70s and '80s, "soukous" is synonymous with the mellow, hot-yet-cool sounds popularized by the great Franco and Rochereau, Kosmos Moutouari, Pamelo Mounk'a, and of course, Lipua-Lipua and its many offshoots. That was real cuisine. The new stuff? Well, it's just fast food.

Of this crew guitarist/composer Papa Noël has always held a special place in my heart, although he's labored in the shadows of better-known musicians for many years. Born Antoine Nedule Montswet in 1940 in Leopoldville (today Kinshasa), he was nicknamed "Noël," having taken his first breath on Christmas Day.

In 1957 Noël made his first record (backing Léon Bukasa) and joined the group Rock-a-Mambo, which crossed the river in 1960 to the newly-independent French Congo and became Orchestre Bantou (later Bantous de la Capitale), a major force in Congo music for decades. In 1963 he returned to Leopoldville, and was soon asked by the great bandleader Kabaselle to join his Orchestre African Jazz. Here he played for five years, leaving to lead his own Orchestre Bamboula for a few years, and then to play with a succession of combos. In 1978, Papa Noël was asked by Franco to join his Orchestre Tout Poussaint OK Jazz, where he stayed until the great man's death in 1989 (it was as a member of OK Jazz that Noël was jailed for 22 days in 1978 as punishment for Franco's notoriously filthy song "Jacky," a recording in which, ironically, he played no role).

During the years that Papa Noël toiled as a "musician's musician" in other people's projects, lending them his soft-spoken elegance and masterful guitar work, he occasionally made solo recordings to great acclaim. Two of these were Bon Samaritain (1984) and Haute Tension (1994), tracks from which are available on the CD Bel Ami (Sterns SDCD 3016, 2000).

In 1999 the family and I had the pleasure of hearing and meeting Papa Noël when he performed in Milwaukee as part of the backup group for Sam Mangwana, who had just released his CD Galo Negro and was touring the U.S. to promote it. Although Mangwana was the "star" of the show, these two great musicians were definitely co-equals in our eyes. I could tell Noël was pleased to have been recognized in his own right, and he seemed touched that I had brought two of his hard-to-find LPs for him to autograph. Here we are below:



Papa Noël's Allegria (Editions Provil PV 015, ca. 1987) is one of those "desert island" recordings, a masterpiece that I rank, along with Fela Anikulapo-Kuti's Zombie, Kiné Lam's Galass, and Kuku Sebesebe's Munaye, one of the ten greatest African recordings of all time. See if you don't agree:

Papa Noël - Allegria

Papa Noël - Sem-Sem

Papa Noël - Nzoto Pasi

Papa Noël - Sante Pepele

Download Allegria as a zipped file here. Much of the information in this post was mined from Ken Braun's very informative liner notes for Bel Ami.

From Congo to Kenya Pt. 2

As a follow-up to my earlier post From Congo to Kenya Pt. 1, here are some melodies courtesy of the Congolese diaspora in East Africa. Like that post, this one is focused on the early 1980s. In 1985, President Daniel Arap Moi ordered the expulsion of foreign workers, including musicians, from Kenya, and the Congolese/Zairean musical community there scattered to the four winds.

For some time I had wondered who possessed the soulful voice that featured on so many 45s issued during the '80s in Kenya by such disparate groups as the Kenya Blue Stars and Bana Ngenge. Was it the same person? Along comes Alastair Johnston to clear up the puzzle in his article Congolese/Zaïrean Musicians in East Africa. Turns out the mystery voice is Moreno Batamba (nee Batamba Wenda Morris), who was born in Kisangani in 1955 and joined Orchestre Maquis Sasa in 1971. In 1974 he hooked up with Fataki Lokassa and a number of other Congolese exiles in Uganda to form Bana Ngnege, which seems to have undergone a number of permutations and name changes over the years. Although Alastair writes that Bana Ngenge broke up in 1976, a group called Bana Ngenge Stars Popote, featuring Fataki Lokassa, released this record in Kenya (Universal Sounds USD 005) in the early '80s. Moreno is relegated to supporting vocals:

Bana Ngenge Stars Popote - Dunia Imelaniwa Pts. 1 & 2

After serving stints with Orchestra Shika-Shika, Les Noirs (both featured in From Congo to Kenya Pt. 1) and Orchestre Virunga, Moreno started Moja One in Nairobi in 1980 and recorded "Dunia si Yako si Yangu" (CBS/ACP 702) around 1983:

Moreno & Moja One - Dunia si Yako si Yangu Pts. 1 & 2Finally Moreno shows up as part of the pop/disco trio the Kenya Blue Stars, along with Margaret Safari & Sheila (pictured at the top of this post), who recorded this infectious little ditty (CBS/ACP 1201) in 1984:

Kenya Blue Stars - Shufa Pts. 1 & 2

Along with Jimmy Monimambo and Frantal Tabu (about whom more below), one of Moreno's colleagues in Shika-Shika was Lovy Mokolo Longomba, whose high-pitched voice was a perfect counterpoint to Moreno's. His father was Vicky Longomba, a founding member of OK Jazz, and his brother Awilo Longomba, is one of the biggest stars of contemporary Congo music. Lovy moved from Kinshasa to Nairobi in 1978 and joined Les Kinois, a predecessor of Orchestra Virunga. His sojourn there lasted only three months, after which he left for stints with Boma Liwanza and Super Mazembe. While a part of Orchestra Shika-Shika, he also helmed his own band, which recorded under the names Orchestre Super Lovy and Bana Likasi. Sadly, Lovy Longomba died in an auto accident in Tanzania in 1996. Here he is on Editions Lovy 01:

Orchestre Super Lovy - Elee Pts. 1 & 2

Frantal Tabu (picture below), like Moreno Batamba, hails from Kisangani, and also played a role in Orchestra Shika-Shika, as well as Boma Liwanza and other bands. He formed Orchestra Vundumuna in 1984, which also featured Ugandan Sammy Kasule on vocals. Here is a recording Frantal Tabu made with Orchestre Malekesa du Zaire on the Editions du Hudson label (EDH 01):

Frantal Tabu & Orchestre Malekesa du Zaire - Asali Pts. 1 & 2



Finally, here are a couple of sides in the style made famous by Verckys & Orchestre Veve, from a group I know nothing about. I don't know for sure that Python Mas's group Zaire Success was based in East Africa, although the name gives a clue (groups that were actually based in Congo/Zaire didn't usually include "Zaire" in the name), and this 45 (sides A & B of Africa AFR 7-36) was pressed in Kenya:

Python Mas & Orchestre Zaire Success - Sofia Motema

Python Mas & Orchestre Zaire Success - Mado

For more about these artists and many more I refer you once again to Alastair Johnston's essential article Congolese/Zaïrean Musicians in East Africa.

From Congo to Kenya Pt. 1

Have you seen Alastair Johnston's website Muzikifan? It's a must-go-to destination for anyone who's interested in African music or World Music™ in general. Alastair recently published A Discography of Docteur Nico (Poltroon Press, 2009), which is an outgrowth of the site. I haven't seen it yet, but it's an obvious labor of love, and a must-have for any African music fan. You can get it through the site. As of yet there doesn't seem to be any distribution through Amazon or Sterns, but hopefully there soon will be.

But that's not what this post is about. Some time ago, Alistair began a comprehensive study/discography of Congolese/Zaïrean musicians in East Africa, which over the years has grown into an impressive body of work. It turns out I have a fair number of tracks by some of these musicians, so I thought it would be worthwhile to give them a spin.

Political and economic turmoil sent Congolese/Zaïrean musicians east to Tanzania and Kenya beginning in the '60s, and the '70s through the mid '80s were the "Golden Age" of expatriate musicians in East Africa (in 1985 President Daniel Arap Moi of Kenya ordered the expulsion of foreign workers, including musicians). The well-known Samba Mapangala of Malako Disco fame is part of this generation, as are Mose "Fan Fan" Se Sengo and Remmy Ongala.

Probably the most influential of these artists was Baba Gaston (1936-1997), whose picture is at the top of this post, and who ended up in Dar-es-Salaam with his Orchestre Baba Nationale in 1971, moving to Nairobi four years later. Gaston's various orchestras comprised a veritable university of East African music owing to the numerous musicians who passed through before going on to join or establish other outfits, among them Les Mangalepa.

Here are some 45s from Gaston's career in East Africa. I suspect the first two tracks (from ASL ASL 7-1520) are from 1973 or thereabout, while "Kalai" (Yahoos YS 001) is probably from the early '80s:

Baba Nationale - Zala Reconnassant Fa Fan

Baba Nationale - F.C. Lupopo Bana Ya Tembe

Baba Gaston & Orchestre Tchondo National - Kalai Pts 1 & 2
You can download Baba Gaston's wonderful LP Condition Bi-Msum (ASL ASL 971) from Worldservice here.

Jimmy Monimambo, who features in "Amba," was one of three outstanding vocalists in Orchestra Shika-Shika, the others being Moreno Batamba and Vicky "Lovy" Longomba, who will be discussed in a future post. "Amba" (Daraja DJ 005) was one of the group's major hits:

Jimmy Monimambo & Orchestra Shika-Shika - Amba

"Shauri Yako" is a song that is well-known to many Likembe reader/listeners thanks to the version by Orchestre Super Mazembe, but it was written by Nguashi Ntimbo, a veteran of Baba Nationale for many years before starting his Orchestre Festivale du Zaire and later working for Franco's TPOK Jazz. In addition to Super Mazembe, "Shauri Yako" was recorded by Ugandan singer Sammy Kasule and Mbilia Bel, but Festival du Zaire's version (ASL ASL 3393) is arguably the best. You may have heard this one before as it's been on a couple of other blogs, but another go-round won't hurt you:

Orchestre Festival du Zaïre - Shauri Yako

"Madya" (ASL ASL 7-3351) was apparently recorded a year or two before "Shauri Yako":

Orchestre Festival du Zaïre - Madya

It's interesting how, once Congo musicians moved to East Africa, their sound opened up and became more rhythmically free and experimental. To get what I'm talking about, listen to the guitar and horn work in the next two tracks (ASL ASL 7-1145) by Les Noirs/City Five. Alastair doesn't say much about the origins of Les Noirs, but they seem to have been one of those groups that everyone was a member of at one point or another:

Les Noirs/City Five - Mungo Iko Helena

Les Noirs/City Five - Lwaki Oyomba Awatali Nsoka
Alastair Johnston's article "Congolese Bands in East Africa" was of inestimable help in preparing this post, and should be consulted for more information about these artists. I'll be discussing more Congo musicians in East Africa in a future post.

Some More Seldom-Heard Tracks by Remmy Ongala

Like Comb and Razor, I seem to be experiencing some difficulty managing to get a post up, not, as in Uchenna's case, because I'm terribly busy with anything else, but because of a general sense of ennui. Spring fever perhaps?

Anyway, I've got a few things in the works, but I just realized that it's been more than two weeks since I've posted, so here's something in the nature of a stop-gap.

In one of my first dispatches, I posted five tracks from Remmy Ongala's two 1988 albums On Stage With Remmy Ongala (Ahadi AHDLP 6007) and Nalilia Mwana (Womad WOMAD 010). Which leaves seven tunes that I didn't post, so here they are!

"Tembea Ujionee," from Nalilia Mwana, means "Travel and See For Yourself." Remmy sings, "Travel and see for yourself. Don't wait to be told about it. There are many things to see in the world. Waiting for you. . ." By the way, although the liner notes of the LP credit this song to "Remmy Ongala & Orchestra Super Matimila," I suspect it, along with other songs on Nalilia Mwana, was recorded when Ongala was with Orchestra Makassy. That sounds an awful lot like Mose Fan Fan Se Sengo on lead guitar!

Remmy Ongala & Orchestra Super Matimila - Tembea Ujionee

In "Mnyonge Hana Haki" ("The Poor Have No Rights") Remmy deplores the plight of the unfortunate. "I have nothing to say. . . Remmy is a poor man, an ugly man. Remmy has nothing to say to his companions. A bicycle has nothing to say in front of a motorbike. A motorbike has nothing to say in front of a car. A car has nothing to say in front of a train. The poor have nothing to say in front of the rich. . . The poor have no rights."

Remmy Ongala & Orchestra Super Matimila - Mnyonge Hana Haki

The liner notes of Nalilia Mwana state that "Arusi ya Mwanza" is ". . . about a young woman who is married in Mwanza and goes to live with her husband in Dar es Salaam. After a few days he deserts her and she is too ashamed to return home to face the questions of her parents and neighbors. She warns other women that men are deceitful and will promise a house and car to make girls give up their studies. She herself only wanted to be happy and start a family like her friends. . ."

Remmy Ongala & Orchestra Super Matimila - Arusi ya Mwanza

On Stage With Remmy Ongala unfortunately doesn't provide song translations.

Remmy Ongala & Orchestra Super Matilmila - Sauti ya Mnyonge

Remmy Ongala & Orchestra Super Matimila - Asili ya Muziki

Remmy Ongala & Orchestra Super Matimila - Maisha

Remmy Ongala & Orchestra Super Matimila - Mama Mzazi

If you would like to recreate the original LPs using the other five tunes, the tracklistings are as follows:

Nalilia Mwana (Womad WOMAD 010, 1988)
1. Nalilia Mwana
2. Sika ya Kufa
3. Tembea Ujionee
4. Ndumila Kuwili
5. Mnyonge Hana Haki
6. Arusi ya Mwanza

On Stage With Remmy Ongala (Ahadi AHDLP 6007, 1988)
1. Sauti ya Mnyonge
2. Asili ya Muziki
3. Maisha
4. Kifo
5. Mama Mzazi
6. Narudi Nyumbani

The picture at the top of this post is from this site.

Merry Christmas!

A glorious Christmas to our readers and listeners who follow the Christian faith! To commemorate this joyous occasion I present Oliver de Coque's "Omumu Onye Nzoputa (Jesu Kristi)/Olu Ebube Nke Onye Nweayi," an account of the Christmas story from his 1983 LP of the same name (Ogene OGRLPS 03):

Oliver de Coque & his Expo '76 Ogene Sound Super of Africa - Omumu Onye Nzoputa (Jesu Kristi)/Olu Ebube Nke Onye Nweayi

This is one of my favorite de Coque songs, thanks to his eloquent guitar work and the interplay of traditional Igbo percussion. Some listeners may notice something oddly familiar about the melody, however. Take a listen to this song, by Congolese orchestra Minzoto Wella-Wella from their LP Malembé Kidiba Chant (K-Dance/Eddy'son 4219):

Minzoto Wella-Wella - Nanu Lubutu

It's obvious that somebody copied someone else. The Minzoto LP is not dated, but I suspect that it was issued sometime before the de Coque record. Oliver no doubt, then, lifted the melody and distinctive guitar work from the Minzoto record and not the other way around. But who cares? They're both great records!

Speaking of lifting, I purloined the image at the top of this post from the BBC's site. It is from a series of Christmas cards drawn by students at Swanland School in Nairobi. Follow the link and consider buying a set of the cards. Proceeds go toward rebuilding the school.

The Dawn of the Age of the Medley

In the last twenty years or so there has emerged a trend in the African music scene toward "Greatest Hits" compilations rerecorded "Megamix" style in 15-20 minute continuous medleys. This tendency was kick-started around 1990 with the release of the Soukous Stars' smash CD, entitled, appropriately enough, Megamix Vol. 1 (Syllart 38779-2, below left). Not only is the Soukous Stars' success pegged on mixes like this, another group, Soukous Vibration, has arisen that specializes exclusively in this sort of thing, and there have been mix albums released from all over Africa: Madagascar, Mali, Nigeria, even Chad.

I'm a bit distressed at this fad (which, truth be told, has already faded considerably). One would like to see African musicians stretching themselves and developing new syntheses, not just rehashing the old glories. Still, in a way it's a good thing, because it brings the classic sounds to new generations.

Before Megamix Vol. 1, there was another great megamix-style album, probably the first of the genre. I'm talking about Syran Mbenza's Africa: The Golden Years (AMG 007), released sometime in the late '80s by the DC-based label African Music Gallery. Although it's arguably the best of all of the megamixes and probably directly inspired the trend, it's faded completely from sight.

Mbenza, a native of the Congo, is well-known to African music fans, having been a stalwart of the Kinshasa-, West African- and Paris-based African music scenes since 1968. He's been involved with numerous groups including Sam Mangwana's African All-Stars, Le Quatre Etoiles and the supergroup Kekele. Africa: The Golden Years is notable for its synthesis of classic Congolese rumba with West African highlife. I'm sure it had been done before, but probably not to such great effect.

Here's the album. For more information on the songs and the musicians, click on the picture at the bottom of this post:

Syran Mbenza - Adjoa-Sawale-Mbanda Kazaka

Syran Mbenza - Mabele Ya Paulo-Bottom Belly-Super Combo

Happy Halloween!

Whoa! I just realized today is Halloween, and to mark the occasion, here's the only thing I could come up with that approaches being an "African Halloween song." From the Congo via Nairobi, here's Orchestre Les Mangalepa (above) and "Dracula" (ASL 2250N, circa 1983):

Orchestre Les Mangalepa - Dracula Pts. 1 & 2

African Divas Vol. 1

With the kids back in school and monopolizing the computer, and me swamped under a ton of overtime, I just haven't been able to give this blog the attention it deserves. As usual, I have several posts in progress, which I'm putting the finishing touches on, but I haven't wrapped things up yet.

Still, I want to put something up, so here goes:

You're probably familiar with Matt Temple's blog Matsuli Music. Last year, shortly before I started Likembe, I compiled an installment in his great "African Serenades" series. It was Volume 47 in two parts, subtitled African Divas 1 and African Divas 2, a selection of great female vocalists from across the continent.

I'm really proud of the work I did on this collection, but it was only online for a week or two on Matsuli Music. So I'm bringing it back into the light of day here. Here's the tracklist for Volume One:

1. E Beh Kiyah Kooney – Princess Fatu Gayflor (Liberia)
2. Haya – Khadja Nin (Burundi)
3. Ndare – Cécile Kayirebwa (Rwanda)
4. Du Balai – Angèle Assélé (Gabon)
5. Kalkidan – Hamelmal Abate (Ethiopia)
6. Ezi Gbo Dim - Nelly Uchendu (Nigeria)
7. Odo (Love) – Sunsum Band featuring Becky B (Ghana)
8. Dikom Lam La Moto – Charlotte Mbango (Cameroun)
9. Kuteleza Si Kwanguka – Lady Isa (Kenya)
10. Vis à Vis – Monique Seka (Côte d’Ivoire)
11. Femme Commerçante – M’pongo Love (Congo-Kinshasa)
12. Fe, Fe, Fe – Tina Dakoury (Côte d’Ivoire)
13. Koumba – Tshala Muana (Congo-Kinshasa)
14. Fote – Djanka Diabate (Guinea)

There are a few tracks you will recognize if you've been following Likembe for a while, but most may be new to you. In a departure from my usual practice, I'm posting this as a zipped file (108 MB) rather than as individual tracks, as it was meant to be listened to as a unit. An inlay card has been included as a Word file if you want to make your own CD. Volume 2 will follow shortly:

African Divas Vol. 1

African Divas Vol. 2

As promised, here is African Divas Vol. 2, originally posted last year as African Serenades Vol. 47b at Matsuli Music.

I apologize for the brevity of this post. Perhaps in the future when I have more time I will update it to include background information about these wonderful singers:

1. Abidjan Adja - Antoinette Konan (Côte d'Ivoire)
2. Barika Barika - Djeneba Seck (Mali)
3. Meta Meta - Martha Ashagari (Ethiopia)
4. Ami - Bebe Manga (Cameroun)
5. Ekwe - Onyeka Onwenu (Nigeria)
6. Medim Me Yom - Tity Edima (Cameroun)
7. La Paille et la Poutre - Nimon Toki Lala (Togo)
8. Mundeke - Afrigo Band featuring Rachael Magoola (Uganda)
9. Takko Wade - Kiné Lam (Senegal)
10. Keffa - Abonesh Adnew (Ethiopia)
11. Nyu Madin - Marthe Zambo (Cameroun)
12. Don't Let Me Go - Hindirah (Côte d'Ivoire)
13. Pare Chocs - Vonga Aye (Congo)
14. Dieleul-Dieuleul - Aby Ngana Diop (Senegal)

African Divas Vol. 2

Some Somo-Somo

Guitarist Mose Se Sengo "Fan Fan" was a crucial member of Franco's Orchestre TPOK Jazz from 1967 to 1972. In that year he left, and after some time in Orchestre Lovy, founded the first of several orchestras called Somo-Somo in 1974. This band was short-lived, and Fan Fan soon made his way south and east, first to Zambia and then Tanzania, where he played with the legendary Orchestra Makassy, composing some of its greatest hits, notably "Ciska," "Mosese" and "Molema." Moving on to Nairobi in the early '80s , he founded another iteration of Somo-Somo, recording two LPs and several singles with the group.

In the mid-'80s Fan Fan ended up in London where he formed a new Somo-Somo band, which recorded a wonderful LP entitled, of course, Somo-Somo (Sterns 1007, 1985, left). What set this London version of the band apart from the earlier incarnations was that, apart from Fan Fan, fellow Congolese N'Simba Foquis and South African vocalist Doreen Thobekile Webster, it was composed entirely of British session musicians.

I suppose the line-up of the UK Somo-Somo was more a product of necessity than design (Unlike, say, Paris, there is a dearth of Congolese musicians in London), but the tracks on Somo-Somo, mainly reworks of songs Fan Fan recorded earlier in Africa, have a punchiness and vitality lacking in many of the more formulaic Paris productions. The extensive use of saxophones really sets it apart - talk about making lemonade from lemons!

Somo-Somo has long been out of print. For some time I've wanted to digitize it and make it available here, but wouldn't you know? Moos, over at the blog Global Groove, has beat me to it! You can download it here.

However, I have two more hard-to-find Fan Fan tracks for you, apparently recorded around 1983 during his sojourn in Kenya. I have no idea what the lyrics of "Kimoze-Moze" (Editions FrancAfrique EFA 015) are about but the chorus does seem to share a theme with Fela Anikulapo-Kuti's classic recording "Lady." Musically, of course, the songs have nothing in common:

Mose Fan Fan et son Orchestre T.P. Somo-Somo - Kimoze-Moze Pts. 1 & 2

And here's Fan Fan's cover of Pamelo Mounk'a's classic tune "l'Argent Appelle l'Argent" (Editions FrancAfrique EFA 013):

Mose Fan Fan et son Orchestre T.P. Somo-Somo - l'Argent Appelle l'Argent Pts. 1 & 2

You can get Pamelo's original here.

An excellent overview of Fan Fan's career is available on the CD Belle Epoque (RetroAfric RETRO 7CD), issued in 1994 and available here. Several recent recordings by this consummate professional are available from Sterns.

Franco in the Age of Authenticité

It's hard to believe that the great Franco, l'Okanga la Ndju Pene Luambo Makiadi, has been gone almost 20 years now (he passed on October 12, 1989). In his day he strode the scene like an elephant, or more like a Brontosaurus, really - pretty much defining modern African music, not only in his native Congo, but throughout the continent.

It just so happens that among the many hours of African 45s on tape reels that I recently digitized are thirteen tracks that le Grand Maitre recorded with his band le Tout Puissant OK Jazz in 1972-73. This era is interesting for several reasons. In October 1971 President Mobutu Sese-Seko proclaimed his policy of Authenticité, which had a number of implications. For one thing, the name of the Democratic Republic of Congo was changed to the Republic of Zaïre (it was changed back following Mobutu's overthrow in 1997). The cultural dimensions of authenticité are described by Graeme Ewens, in his essential biography Congo Colossus: the Life and Legacy of Franco & OK Jazz (Buku Press, UK, 1994):

. . . Authenticite coloured every aspect of Zaïrean culture, and Mobutu started by renaming all those places without African names, before imposing the same indigenisation on the people themselves. . . Women were prohibited from wearing miniskirts or trousers, on pain of arrest, while the approved wear was the pagne, or cloth wrapper. Taking further inspiration from the French Revolution the people were obliged to call each other 'citoyen' and 'citoyenne.'. . . Although there were no written laws on the production of music, there were constant reminders that this too should meet the criteria of Authenticity. . . (pp. 135, 137)

Mobutu, of course, was the archetype of the African kleptocratic ruler (he is said to have embezzled over $5 billion from his country), and one could argue that Authenticité was a cynical diversion meant to occupy the masses while they were being fleeced by their rulers. Perfectly reasonable, but there is a lot to be said that it had a salutary effect on the development of music in Congo/Zaïre. Musician Sam Mangwana said:

. . . I am not a politician or a fan of politics, but you can honestly say that when Mobutu spoke of the need for Authenticity it gave the musicians many ideas. Authenticity never blocked musicians from playing other music, like soul or funk if they wanted. But Zaïrean musicians are very proud of their music. They play as they feel, and they don't feel the need to change for any other people. . . (Congo Colossus, p. 140)

The songs presented here, then, show Franco at a major turning point in his career, when short, catchy melodies gave way to lengthy, more complex compositions. In a few years his style would mutate even further, toward baroque, almost orchestral pieces like "Proprietaire," "Tres Impoli" and "Attention na SIDA." While some of these tunes have been reissued on CD in recent years, I'm not sure that any of them are in print now. Others have never been reissued to my knowledge. All of these are Kenyan pressings.

"Siluvangi Wapi Accordeon" and "Casier Judiciare" are Sides A and B of ASL Records ASL 3245. Accordionist Camille Ferruzzi, featured in "Siluvangi Wapi Accordeon," was a contemporary of Antoine Wendo Kolosy and was one of the first Congolese musician to be professionally recorded in the early 1950s. This song and "Casier Judiciare" present Franco and the band in a more sensitive light than many associate them with:

Camille Ferruzzi & l'Orchestre TPOK Jazz - Siluvangi Wapi Accordeon

Luambo Lwanzo Makiadi (Franco) & l'Orchestre TPOK Jazz - Casier Judiciare

"Mbanda Nazali Nini" and its flip side "Likambo Ya Ngana" (ASL 7-3244) also feature Camille Ferruzzi:

Camille Ferruzzi & l'Orchestre TPOK Jazz - Mbanda Nazali Nini

Luambo Lwanza Makiadi (Franco) & L'Orchestre TPOK Jazz - Likambo Ya Ngana

In the early 1980s TPOK Jazz was actually two orchestras, one based in Brussels and led by Franco and a second team helmed by Lutumba Ndomamuendo, or "Simarro," which stayed in Kinshasa. I've been unable to find any mention of "Exodus" (ASL 2271) in Congo Colossus or in Naotaka Doi's extensive Franco discography. I suspect that it has been released under another title. It's just too good a song to dwell in obscurity! Note: See update below.

Lutumba Ndomamuendo (Simarro) & l'Orchestre TPOK Jazz - Exodus Pts. 1 & 2

Likewise, I've been unable to find any mention of "Tangela Ngai Mboka Bakabaka Mobali" (ASL 7-3274, side A) in any of the literature. Check out the extended instrumental break that kicks in around the 3:30 mark! The B side, "Envoutement," features Michel Boyibanda, a talented vocalist from Congo-Brazzaville who joined TPOK Jazz around 1963:

l'Orchestre TPOK Jazz - Tangela Ngai Mboka Bakabaka Mobali

Boyibanda & l'Orchestre TPOK Jazz - Envoutement

"Lezi," written by Simarro, is from the Editions Populaires pressing EP 151:

Lutumba & l'Orchestre TPOK Jazz - Lezi Pts. 1 & 2

Bassist Celi Bitshoumanou ("Bitshou"), who wrote "Mokolo ya Mpasi" (Fiesta 51.086B), joined OK Jazz around 1965 when the band was temporarily in exile in Brazzaville following a run-in with the newly-installed Mobutu regime. He was responsible for a number of OK Jazz hits, including the classic "Infidelité Mado." Bitshou left the band around 1974 with Mosese "Fan Fan" Sesengo and Youlou Mabiala to form the first incarnation of Orchestre Somo Somo. "Fifi Nazali Innocent" is the B side.

Bitshou & l'Orchestre TPOK Jazz - Mokolo ya Mpasi

Simarro & l'Orchestre TPOK Jazz - Fifi Nazali Innocent

Armando Antoine aka "Brazzos," who wrote "Sukola Motema Olinga" (Fiesta 51.125B), was a founding member of OK Jazz in the mid-1950s. "Andu wa Andura," another Michel Boyibanda composition, is the flip side:

Brazzos & l'Orchestre TPOK Jazz - Sukola Motema Olinga

l'Orchestre TPOK Jazz - Andu wa Andura

About "AZDA" (Editions Populaires EP 140), Graeme Ewens writes in Congo Colossus, "As if to show just how good a commercial song could be, in 1973 Franco released what proved to be one of his biggest hits outside Zaïre, AZDA.' This was the advent of the full-blown big band sound which would be the trade mark of the latter-day OK Jazz. While many outsiders thought it must have a heavily romantic lyric it was, in fact, an advertisement for the national Volkswagon dealership, whose acronym made up the title. The refrain 'Veway, Veway, Veway, Veway' is the local pronunciation of 'VW.'"

Luambo Makiadi (Franco) & l'Orchestre TPOK Jazz - AZDA Pts. 1 & 2

Update: Reader Peter writes, ". . . As for 'Exodus,' I don't think it was written by Simaro & performed by OK Jazz. I think it's a Youlou Mabiala track from the late 1970s." Which could very well be true, although I transcribed the recording information on the label correctly. Consulting Tim Clifford's new Kenya-Tanzania 45s, it appears that "Exodus" was issued in the late '70s-early '80s, rather than in the early '7os as I had earlier thought.

Update 2: I should have mentioned this earlier but didn't. The background information in this post came from Congo Colossus, cited above. It's a great book! You can get it from Sterns or Amazon.

Those Were the Days

I mentioned a while back that I recently digitized a number of 10" tape reels that I've had lying around for many years. I've been working through this material ever since, organizing it and processing the sound, and the result has been a number of recent posts. Today I'm putting up several 45s of classic music from the Congo (then known as Zaïre). These were all issued in Kenya in the early '80s.

Our first selection is by Mayaula Mayoni (above). Mayoni, formerly of Congo's Vita Club football team, was a member on and off of Franco's TPOK Jazz, played in other bands, and put out a number of solo recordings in the TPOK Jazz vein. "Ba Chagrins" was issued in Kenya as ASL Records ASL 3390:

Mayaula Mayoni et son Ensemble - Ba Chagrins Pts. 1 & 2

Speaking of Franco, if you're a devoted fan, I'm sure you've heard this one. "Tangawusi" is one of TPOK Jazz's most popular songs, and has appeared on a number of compilations and reissues. Naotaka Doi's excellent Franco discography at Forest Beat credits the song to Papa Nöel (right), which would lead one to think that he sings lead as well (an extra bonus, Papa Noël being one of my fave African musicians of all time). Here's the Kenya pressing (ASL records ASL 2318):

Franco & l'Orchestre TPOK Jazz - Tangawusi Pts. 1 & 2

Souzy Kasseya is best known as a backup musician, particularly on the recordings of Tshala Muana, but he has had a number of solo outings, particularly "Le Telephone Sonne" (left), which I understand actually "crossed over" in Europe and got some mainstream radio play. He was born in Lubumbashi in 1949 and bounced around among various orchestras including Vox Africa, the African Team and Mpongo Love's group. "Sulia Tantine" was issued in Kenya as ASL Records ASL 2328:

Souzy Kasseya - Sulia Tantine Pts. 1 & 2

Doug Paterson wrote in the British magazine Africa Beat in 1986: ". . . In 1984 the biggest selling single in Kenya was 'Amour Cherche Amour’ by Manana Antoine, a record with a French title and Lingala lyrics sung by a Zairean working in Cote D'Ivoire. It sold 30,000 and got universal radio airplay while the biggest vernacular record got heard only on its local district radio and sold 8,000. . ." Antoine, known as "Papa Disco," was a well-known musician in Côte d'Ivoire for a time, with his own record label, but he seems to have dropped from view in the years since. Here is "Amour Cherchez Amour" itself, from the Kenyan pressing (ASL Records ASL 2329):

Manana Antoine (Papa Disco): Amour Cherchez Amour Pts. 1 & 2

Lipua-Lipua was one of the many innovative new bands that arose in Zaïre in the early 1970s. While the label of this 45 (Editions Sakumuna SN 018) credits "Anifa" to Lipua-Lipua, the very informative Bolingo website lists a version by Les Kamale (on the LP Sonafric SAF 50087, right). Of course, Nyboma Mwan'dido was a member of Lipua-Lipua before splitting to form Les Kamale, sings on this version (although not lead), and on SAF 50087 is credited as composer. I've been unable to dig up another citation of "Anifa," and not having the Kamale LP, I can't say if there are actually two versions of this song or one version issued under two different names. Can someone clarify?

Orchestre Lipua-Lipua - Anifa Pts. 1 & 2

Update: Several reader/listeners have confirmed that there are two different versions of "Anifa," one by Lipua-Lipua and the other by Les Kamale. Thanks also to Ronald, who informs us that the lead vocalist on "Tangawusi" is Ntesa Dalienst, not Papa Noël (although Papa Noël did compose it).

Points of Light

In my last post I described the last twenty years as the "Dark Ages" of Congolese music. I'll admit that this isn't my main area of interest or expertise, and the stuff I have heard is mostly from Paris-based Congo musicians, but I stand by my judgment for the most part. What has the Paris-Congo axis produced in the last two decades? Mainly endless posturing and rehashing of past glories (cf. Soukous Vibration!). Please prove me wrong!

I do concede that there have been a few bright spots in Congo music lately. Of course, I loved the two Congotronics releases on CramWorld. Another artist who redeems Congo music for me is the great Bozi Boziana.

Bozi got his start in Zaïko Langa-Langa, the first and most influential of the "New Wave" bands that burst onto the Kinshasa scene toward the end of the '60s. From there he journeyed through a veritable "Who's Who" of the Congo music world: Isifi Lokolé, Yoka Lokolé, Langa-Langa Stars and the Choc Stars, finally establishing his own Anti-Choc about twenty years ago.

Anti-Choc's first releases were decent enough party music but I think Boziana realized something was missing because around '88 he started teaming up with a series of spunky female vocalists - notably Joly (or Jolie) Detta (with Bozi Boziana, above) and Déesse (or Deyess) Mukangi, and the results were nothing less than sublime. The best of his recordings with these two stellar singers were gathered in two compilations issued around 1997 by Ngoyarto, now sadly out of print.

Here are two recordings from Anti-Choc's early work, enjoyable if rather formulaic examples of the Kinshasa/Paris sound as it existed in the late '80s, featuring light-fingered guitar playing and noteworthy vocals marred by rather irritating synthesizer work. "Adieu l'Ami" is from Anti-Choc (Sterns 1022, 1988):

Anti-Choc - Adieu l'Ami

"Pot Pourri 18 Ans de Succes," from 18 Ans de Succes (Mualaba Lukusa SIC 003, 1988) is a medley of tunes Bozi Boziana recorded with various groups throughout the Seventies and Eighties. The complete playlist is as follows:

1. Tshala (Choc-Stars)
2. Touou Muana CFA (Zaïko Langa-Langa)
3. Diana Ya Mama (Zaïko Langa-Langa)
4. La-Mignone (Langa-Langa Stars)
5. Alena (Choc-Stars)
6. Sandu Kotti (Choc-Stars)
7. Sisina (Choc-Stars)
8. Expplication Sisi (Anti-Choc)

Bozi Boziana & Anti-Choc - Pot Pourri 18 Ans de Succes

Now here's where I prove my point that the collaboration of Bozi Boziana, Déesse Mukangi and Joly Detta marked a quantum leap forward for Anti-Choc and Congo music in general. Bozi Boziana has one of the sweetest, most plaintive voices in African music. Of course, I don't understand Lingala, but he usually sounds like he's hurtin'! But listen to Bozi when he teams up with those two sassy ladies, Joly and Déesse. Talk about synergy! The interplay between the voices, guitar and synthesizer in these tracks is unequaled. The first three tunes here are taken from The Collection Bozi Boziana Vol. 1 featuring Jolly Detta & Déesse (Ngoyarto NG 020), the last two from The Collection Bozi Boziana Vol. 2 featuring Déesse, Scola Miel (Nza Wissa) & Betty (Ngoyarto NG 021):

Bozi Boziana & Anti-Choc w. Joly Detta - La Reine de Sabah

Bozi Boziana & Anti-Choc w. Joly Detta - Evelyne

Bozi Boziana & Anti-Choc w. Déesse - Ba Bokilo

Bozi Boziana & Anti-Choc w. Déesse - Fleur de Lys

Bozi Boziana & Anti-Choc w. Déesse - Lelo Makambo Lobi Makambo

It makes you wonder why more African bands don't make use of female vocalists. Of course, Tabu Ley and Afrisa International had M'Bilia Bel (before their rancorous falling-out), and Franco and TPOK Jazz made use of Joly Detta herself on one memorable recording, but this great cultural resource has generally been underutilized.

Déesse has made a couple of solo recordings (Little Goddess on Sterns [STCD 1040, 1992] was a standout), while providing backup vocals on a number of recordings. Joly Detta, sadly, has kept under the radar, but you can view her in a wonderful recording with TPOK Jazz here.



Discography of Bozi Boziana & Anti-Choc