Author Topic: IT’S THE 10TH ANNIVERSARY OF MADILU SYSTEM’S PASSING  (Read 604 times)

Matebu on: August 12, 2017, 00:26

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May his soul continue to rest in peace. Nicknamed “the golden voice”, Madilu is most iconic voice ever in Congolese music history. Mario remains the biggest hit song ever from Central Africa.

And he was the one major artist who had close to a perfect career, in terms of producing hit after hit. "Le fils spirituel de Luambo Makiadi Franco"

So many wonderful songs to choose from. Makambo ezali bourreau, Mamou, Non, Pesa position na yo, Ya Jean, Colonisation, Juste Un Peu D'amour, Vieux Samy etc.





His death really came as a big shock to the African music community. At the time, he was in Kinshasa recording clips for Le Bonne Humeur despite being ill. His funeral was incredibly emotional; most notably when JB Mpiana & Werrason publically reconciled in church at Madilu's wake.

From the Independent
Quote
Jean de Dieu Makiese (Madilu System), singer and songwriter: born Léopoldville, Belgian Congo 28 May 1952; married (four children); died Kinshasa 11 August 2007.

His husky tenor blessed with a distinctively taught, tremulous vibrato, and the trademark chuckle that peppered his later work, the Congolese singer known as Madilu System was the brightest vocal talent of the legendary TPOK Jazz during his mid-1980s heyday. Arguably the most influential African band of the second half of the 20th century, TPOK Jazz were led by "Le Grand Maître" Luambo Makiadi "Franco", the formidable guitarist, singer and composer who spearheaded the craze for rumba Congolaise, which dominated African popular music in the 1960s, 1970s and 1980s.

At their peak, le Tout Pouissant Orchestre Kinois ("the All-Powerful Kinshasa Orchestra") really justified their grandiose name; they numbered around 40 musicians, half of whom would stay in Kinshasa holding sway at one of two venues Franco owned, while the other half went on tour – each with ranks of horns, guitars and vocalists.

As one of their several featured singers at the time, Madilu System made his mark on a series of stunning vocal duets with Franco, most notably the epic quarter-hour-long "Mario" (1985), their biggest hit ever. Following Franco's death in 1989, Madilu continued to lead TPOK Jazz until its eventual dissolution in 1993, after which he pursued a moderately successful solo career in Europe, finally achieving recognition as "Le fils spirituel de Luambo Makiadi Franco" ("Franco's spiritual heir").

He was born Jean de Dieu Makiese in 1952, in Léopoldville, the capital of the Belgian Congo, later Zaire (and now the Democratic Republic of Congo). During the late 1960s, when Jean came of age, the city had a vibrant and highly competitive music scene. In 1969, he joined a rumba band called Symba, and spent the next few years honing his vocal skills in Papa Noël's band Bamboula, Festival des Maquisards (with Sam Mangwana) and Fiesta Popular.

In 1973, newly christened "Bialu" under President Mobutu's "authenticité" programme, Madilu formed the band Bakuba Mayopi along with the guitarist Yossa Taluki and a singer called Pirès – "Mayopi" being a nonsense word derived from the first two letters of each of their names. Though never exactly major players, they scored a significant hit with the song "Pamba-Pamba" in 1976, after which Bialu left, forming his own group with Soki Vangu, which they called Orchestre Pamba-Pamba. However, they met with no success, and Bialu spent the last two years of the 1970s in relative obscurity as a member of Tabu Ley's band Afrisa.

In the wake of a humiliating career low-point, which saw him abandoned at Kinshasa's Ndjili airport as Tabu Ley and his entourage jetted off to Europe, Bialu joined Afrisa's main rival, TPOK Jazz in April 1980, and his luck soon turned. He became the first member of the band to be invited to introduce himself in the course of a song, trading verses and harmonising with Franco over the 18 minutes of the slow-burning classic "Non", which took up the whole side of the 1983 album Chez Fabrice A Bruxelles.

The following year, he cemented his position as their rising star on "Tu Vois?" (popularly known as "Mamou"), a conversational duet focusing on sexual mores, typical of Franco's oeuvre at the time. The upbeat "Pesa position na yo" ("State your position") and "Makambo ezali bourreau" were other 1984 hits featuring Bialu. TPOK also visited the US and the UK that year, with Bialu fronting the band at their gig at the Hammersmith Palais. In a 2003 interview, he claimed that it was during this time that Franco nicknamed him "Système" (or "System," as he came to be known outside Francophone Africa), explaining that the two had an almost father-and-son relationship, and that Franco had empowered him to lead the band in his absence.

With backing by Franco's hypnotic, cascading guitar riff, "Mario" was a soap opera-like narrative about a gigolo, which juxtaposed Franco's gruff spoken-word exhortations with Bialu's precise singing. It made him the group's most popular singer with the public, both in Zaire and on their frequent tours to other African countries such as Kenya, Tanzania and Rwanda. "La Vie des Hommes" (1986) continued his purple patch and the snappy "Tala merci bapesaka na mbua" from the same year showed that he could effortlessly go it alone with no need of Franco as a duet partner.

Franco's death in 1989 – most probably from an Aids-related condition – was a body blow from which TPOK Jazz never recovered, although they continued to perform to considerable acclaim, appearing in London the same year. Under pressure from Franco's family to relinquish the name, the poet Simaro formed Bana OK ("Children of OK Jazz") in Kinshasa at the start of 1994, taking most members of TPOK Jazz with him – except Madilu System, who resolved to start a solo career.

Basing himself in Geneva, (he had married a Swiss woman in 1985 under controversial circumstances) Madilu System divided his time between there, Paris and Kinshasa, working mostly with expatriot Congolese musicians to perpetuate Franco's classic "odemba" style of rumba on a series of solo albums, backed variously by the bands Multi-Système, OK Système and Tout Puissant Système. These began in 1994 with the zouk-flavoured Sans Commentaire. Subsequent solo releases included Album '95 (1995), L'eau (1999), Pouvoir (2000), Tenant du Titre (2003), Bonheur (2004) and most recently Le Bonne Humeur (2007).

During this solo phase, he collaborated on albums with other Congolese musicians, including former Choc Stars' singer Debaba Mbaki, Nyboma (of Kékélé), Benz-Petrole, Ndombe Opetum, Lokassa ya Mbongo, Rigo Star and Josky. He also occasionally participated in Dizzy Mandjeku's long-running homage project Odemba OK Jazz All Stars, although commitments in Kinshasa meant he was unable to make their UK début in May this year.

In 2006, he recorded a reprise of "Mario" on the album Ketukuba by the Afro-salsa supergroup Africando, and at the time of his death, was in the process of making another album with the producer Ibrahima Sylla.
http://www.independent.co.uk/news/obituaries/madilu-system-403130.html

CM PRINCE #1 on: August 12, 2017, 01:08

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Matebu #2 on: August 12, 2017, 01:15

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Rip vieux madilu what did he die of?

Complications from a long battle with diabetes

mvulusi96 #3 on: August 12, 2017, 11:18

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Rest In Peace.

If i listen to this song then a think about the relationship of French president Emmanuel Macron with Brigitte Trogneux. Kiekiekiekie



Madilu was singing about a guy of 1983 who felt in love with a woman of 1952.

Madilu made beautifel songs like Assistant Social, Frere Edouard & Manuele Samuele who also were about subjects we see in the daily life.





Frere Edouard was a song about a woman who was fed up with the relationship she got with her hypocrite husband Edouard who was a so called "Brother in Christ". Assitance Social is about a man being angry how ungrateful hos ex'wife is, after bringing her to Europe. With after getting everything  the wife chasing the him away and him being homeless sleeping everynight in a Subway station. Samuele Manuele about a woman who was complaining about the ungratefulness of her late husband family, who seized all inheritance away. Leaving her and the kids with nothing and being chased away from her own home. With the kids becoming streetchildren "Chegues". While her late husband Samuele Manuele always helped his family.

One of my favorite generiques. With Jeannot Ngidingongi on the animation



Madilu loved to attack Lutumba Simaro in his songs "Yo, yo ozo meka Ngai, oyebi que Pouvoir ezalaka na ba kolo nango", "Yo, oye lisusu...? Yo oyokaka te tat'oyo. ", "Tonton sala effort oyekola kobanga ngai...", etc. I think he hurted him alot that Lutumba Simaro didn't accept him in Bana OK.With Lutumba not being the way he was attacking him in interviews and being succesful with his solo albiums. The crazy thing is that his sister Nkelani was Lutumba's wife.



Cavalier Solitaire #4 on: August 12, 2017, 18:41

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Listening to Faute ya visa. I like the bass in this track. "Kokufa ezali kolala te. Kolala pe ezali liwa te"

Liwa eza moyibi.

Matebu #5 on: August 13, 2017, 01:33

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The acoustic quality on his albums recorded 2000-on is incredible (Pouvoir, Bonheur, Le tenant du titre, La Bonne Humeur). They were all recorded at Stuido XXX in Paris.

Haha, Vice Versa was a direct descendant of Mario. It's a same current artists don't really do social commentary songs. Assistant Sociale is one of those songs I've replayed at few hundred times.

"Kokufa ezali kolala te. Kolala pe ezali liwa te"

Liwa eza moyibi.

So true

archos #6 on: August 13, 2017, 10:48

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studio plus XXX which was then the best french studio where the french biggest stars recorded albums "gave" us some great albums those albums of madilu,feux de l'amour,V12,some tshala muana albums ....then they decided to not to accept congolese artists anymore because of how crowded studios are when we record and how they were leaving studios in a big mess afterwards