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Messages - MwanaMokili

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1
Congolese Music / Re: Wenge Musica 4x4 BCBG
« on: November 29, 2018, 18:23 »
When do you think we'll see the next wave of groups independent from Wenge and Koffi (Quartier Latin is technically no more since Danger de Mort)?

Unlike previous generations of the Wemba, Kester, and Kalle...you don't see Fally or Ferre really embrassing the youthful artist like their former leaders or older musicians.

At the moment there are no big groups that stand out beside the Wenge Clan, Most of the top musicians today are really solo acts (Ferre/Fally/Heritier) from that generation.

There will come a new crop of musicians that will bring something totally new and disrupt the current situation, taking the music to a new level. That will happen, but as of now most of the big acts are from the Clan Wenge, or offshoots of the Wenge style.

If you look back, Zaiko brought a new faster style to compete with the slower tempo of TPOK and Tabu Ley which was ruling the 60's and 70's, then the (mostly) solo stars from Zaiko( Papa Wemba, Evoloko, Bozi) went on to form their own groups and for a while there was nothing new.

Wenge 4X4 Was a breath of fresh air to disrupt the 4th Generation, and we are now experiencing the plateau. We are almost ripe for a new generation to come and disrupt with innovation to a new level.

That is why Congolese music is forever strong, because there is always a new generation ready to innovate and disrupt the older one, regenerating the music and keeping it alive.

2
https://www.facebook.com/madamelacoach2/videos/1146231712207594/

 He literally asks if kakol allows him given the reputation kakol has that if you touch his drums something will happen to you
lol the comments always extra

And here I was thinking it was something to do with acknowledgement and respect.

As a professional, there is normally a level of respect one offers to other professionals' tools. We see it a lot even in other trade areas like carpenters, where it is prudent for a carpenter to ask before he borrows or makes use of another carpenter's tool, especially if said tool belongs to a 'master'.

It shows respect and acknowledgement.

The other Kindoki stuff I simply do not believe in it.

3

Something I noticed about African (traditional ) Dances:

From the North, the focus is on the head, shaking the head and jumping, Arabian style.
In East Africa the focus is on the shoulders ( Nyatiti, Kilume, e.t.c)
As you go Lower down East Africa, the focus is on the Waist, and the gyrations of the same
down in south Africa the focus is on the feet, with the intricate footwork and jumps on toes.

Anybody notice this as well?

4

Cavaliare Solitaire ( duet with Papa Wemba) was for me the best in this Album, if you do not count the Ndombolo Generique
which everyone agrees was a sensation at the time.


5

This is vintage Koffi!

Back to the roots of his success, on Point and very danceable...

6
Why an instrumental version of Dose Unique?

The bass is so groovy and the drumming is exceptional. Mi-solo  and rhythm are also on point

Indeed the grove was fire!

Wazekwa has always been near the Top since he started doing his own singing. Curiously in this video he still
 has " Yo Nani? " on his Trouser, going back to the days....

This generique clearly was a hit even today it can still hold out against anything coming out.
Great Track


7
i jumped off my chair when he did his famous "ah yayaaaaa",thats a classic

Djouna, the animator's Animator!

He was a legend with  Pepe Kalle. Hope he planning to release something in this dry weather...

8
Congolese Music / Re: ANY NEWS ON ZAIKO LANGA LANGA?
« on: September 04, 2018, 12:55 »
Yeah, actually they’re heading to Los Angeles for a concert. I was kinda shocked when I found out... that’s very good for Ya Jossart for landing a venue like this still.

2 nights too, wish I could attend


Indeed!!

If they produce a show like th one below, I would definitely part withe 60 Dollars...



The Bass and that Traditional ryhme at the beginning is a Killer

9
Congolese Music / Re: This was Emeneya’s best concert ever
« on: August 28, 2018, 10:06 »
I’m partial to the mythical Zenith 2001.

I agree, Matebu.
The Zenith was way better and in my opinion was the best of Emeneya.

10

kiekie, the way our artists pay our musicians I figured the price could be lowered :D

Remeber the sensation Kilebu from Maison Mere? He did just that and put out a fire generique and few songs. He's a school teacher in the states. To me this better than all the generiques released this summer. Shout out to him

He's the drummer too:

He even tells the story here


I remember seeing this man in Nairobi when WMM played at the Carnivore. Just before the band took to the stage we were  having some drinks, Werrason came in to the pub area with his entourage, accompanied by this 'mzungu'  man who proceeded to converse in Lingala to the astonishment of all the other patrons around. Later during the performance he got on stage and proceeeded to dance to the beats like no white man has ever done....

This Generique was also very good.

Do you know who was the soloist in this?

11
It's crazy. It means that those who were and are very popular in these groups did those type of crazy shit. I saw the interview of Baby Ndombe with Eti Kimbukusu and he said he didn't do witchcraft i was like "come on man how can we believe you ?" It's impossible to be a star without doing witchcraft is it ?

Like Archos indicated, if you happen to come from a secure background financially, the pressure to succumb is much lower.
Baby Ndombe (being son of Pepe Ndombe ) would probably have contacts/relatives who would ensure he is well off and does not have to depend on donations and begging.

The Picture that Archos paints though is very dim for anyone who comes from a poor background to make it in music. It looks like talent alone is not enough. The Struggle is real for a musician in Kinshasa and to go back to the original question then I am beginning to agree that maybe it is better to advise that one should think twice.

Having said that, if one does not join a Big Band the chance of being noticed and getting the necessary exposure is almost nil....


12

You have to also consider the fact that most of the musicans that have come along came from poor background; their hard work and sacrifice improved their economic standing and that of their loved ones. Had music not been an option, many would be languishing in proverty.

You point to the single biggest reason right there. A lot of African musicians ( and Also to a large extent, Black American Musicians ) use music to raise themselves from poverty, and they become big stars making big bucks. Unfortunately, for most of them, the story ends there.

A very select few of them actually take music as a business. They focus on the glamour music offers, and leave the business end to managers or trusted  band members to handle, with disastrous results.  Tales abound of mega stars who made it big and squandered their fortune.

If my family member was to go into music, I would first ensure they understand that music is a business, it has to pay for their way of life, and like in any other business, it has a sell-by date. That means that there must be a plan B for how the family member is to continue life after his spot in the sun is gone. Talking investments, alternative skills to ensure they can do something else when music does not pay them, e.t.c.

The other issue I would caution them is to ensure they maintain a suitable lifestyle, taking care to handle themselves properly and taking care of their body. Musicians are constantly tempted by the trappings of life on the fast lane, be it women throwing themselves at them, drugs, peer pressure to conform, jealousy and polemics the list goes on.

I personally do not believe in the spiritual attacks stuff, mostly I put to Psychology and the insecurities of the musicians as well as the back stabbings that the members carry on each other to impress the boss. In Africa, nobody of note dies of natural causes; Either one is bewitched, sacrificed or some such explanation. There has to be someone to blame, it goes deep into our cultural belief system where death was this mysterious thing that befell someone wither at the behest of enemies or some supernatural powers we could not explain.


13


Yep, the man's still got the moves.

I would pay to see him perform Even now.

14
Thereafter we started seeing the same format from the likes of Arlus Mabele and Loketo, Kassav and other session musicians developing what was called internationally 'Soukouss'  ....

Quote
You mean to tell me Zaiko are the ones to blame for Kanda Bongo Man and his peers?? ;D



 ;D ;D ;D

Not really, but it is after the success of Nippon Bonzai that the international stations started paying attention to Lingala, and the short mostly instrumental song ( With little or no message) but danceable tunes started getting airplay.

For a beginner of Zaiko, the journey can very long and the number of albume defintely more than 5.

My journey of Zaiko started with the 1976 Ghana Festival ( Zaiko Wa Wa Wa signature tune).

Another landmark point of the Group was the split that gave us Nkolo Mboka and Familia Dei...
Depending on the followers, there are those who prefer Nkolo Mboka and those who prefer Familia Dei, although I do not hear of Familia dei much nowadays.

Any news of Familia Dei branch of Zaiko will be welcome, but Nyoka Longo seems to be the last man standing of the Zaiko Clan.



15

Quote

Nippon Banzai, though one of my faves as a kid, is my least favorite album.  The album was never live, there were no original songs and the fake applause tracks were annoying.  I get the concept, promote the playlist, shorten the songs for the Japanese audience and that formula along with the Japanese tour helped to spring up "soukous" bands in Japan, but again my least favorite.
Quote
That album though was perfect for Western audiences, particularly those who just learned about the band or even African music in general. I agree it takes out the soul of Zaiko, if that was what you were alluding to... it’s like a movie with non-stop action scenes rather than a slow intriguing buildup

The dilema most Lingala bands have with international audiences are
1. Language barrier where the audience does not really understand what the lyrics of the song are
2. For Radio, the average Lingala song is too long for airplay, so most have to be cut short.

Nippon Bonzai was the innovative solution to these two problems in that the songs were limited to just short renditions of their biggest hits, just to highlight the instrumental parts and short enough to fit the three/four minute airplay limit, they sounded complete.

From this developed a concept of short lingala songs contrary to the mainstream greats like  Franco and Tabu Ley whose songs would be as long as fifteen minutes. This led to international radio exposure and audiences acceptance.

Thereafter we started seeing the same format from the likes of Arlus Mabele and Loketo, Kassav and other session musicians developing what was called internationally 'Soukouss'  ....


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