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Messages - Bohemian Rhapsody

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Congolese Music / Twanga Pepeta: Povu
« on: February 07, 2019, 13:36 »
Twanga Pepeta, who's hails from Tanzania, just celebrated their 20th year anniversary last year. Miaka 20 Ya Twanga Pepeta.

Here's their soloist, Miraji Shakashia

Their latest track, Povu. Ndombolo mixed with Afrobeat.

Wait a minute, Petit Poisson only plays on Amando and Sois Sage. That's what some dude on Youtube told me while Daniel 6000 played on 77x7, Linya, and Perserver.

Not really a big deal, I was just speculating fr.

Niggaz is hillarious b. Deportation is no joke lmaoo


What is the Clave you say?

The clave is a rhythmic pattern used as a tool for temporal organization in Afro-Cuban music. It is present in a variety of genres such as Abakuá music, rumba, conga, son, mambo, salsa, songo, timba and Afro-Cuban jazz. The five-stroke clave pattern represents the structural core of many Afro-Cuban rhythms. It's also present in other variants of Afro music.

The clave pattern originated in sub-Saharan African music traditions, where it serves essentially the same function as it does in Cuba.The clave pattern is also found in the African diaspora musics of Haitian Vodou drumming, Afro-Brazilian music, African American music which is known as Hambone and also found in Louisiana Voodoo drumming as well as Afro-Uruguayan music (candombe). The clave pattern (or hambone, as it is known in the United States) is used in North American popular music as a rhythmic motif or simply a form of rhythmic decoration.

The historical roots of the clave are linked to transnational musical exchanges within the African diaspora. For instance, influences of the African “bomba” rhythm are reflected in the clave. In addition to this, the emphasis and role of the drum within the rhythmic patterns speaks further to these diasporic roots.[9] Thus, black music is the heart of the rhythmic centrality of the clave.

The clave is the foundation of reggae, reggaeton, and dancehall. In this sense, it is the “heartbeat” that underlies the essence of these genres.[9] The rhythms and vibrations are universalized in that they demonstrate a shared cultural experience and knowledge of these roots. Ultimately, this embodies the diasporic transnational exchange.

In considering the clave as this basis of cultural understanding, relation, and exchange, this speaks to the transnational influence and interconnectedness of various communities. This musical fusion is essentially what constitutes the flow and foundational “heartbeat” of a variety of genres.

The two main clave patterns used in Afro-Cuban music are known in North America as son clave and the rumba clave. Both are used as bell patterns across much of Africa. Son and rumba clave can be played in either a triple-pulse (12/8 or 6
8) or duple-pulse (4/4, 2/4 or 2/2) structure. The contemporary Cuban practice is to write the duple-pulse clave in a single measure of 4
4. It is also written in a single measure in ethnomusicological writings about African music.

Although they subdivide the beats differently, the 12
8 and 4/4 versions of each clave share the same pulse names. The correlation between the triple-pulse and duple-pulse forms of clave, as well as other patterns, is an important dynamic of sub-Saharan-based rhythm. Every triple-pulse pattern has its duple-pulse correlative.

It was brought over to the Caribbean & United States from the slaves that were taken away from the Kongo Kingdom (Congo, Angola, Mozambique) and Upper West Africa (Senegal, Ghana, Nigeria, etc).

Example of Cuba

In the United States, musician named Bo Diddley popularized the clave rhythm into R&B & Rock and Roll in the 1940's. The Bo Diddley beat is essentially a 3-2 clave rhythm. This beat is one of the most common bell patterns found in Afro-Cuban music and can be traced as far back as African music traditions.

Rock & Roll

^^ You can notice how the guitarist (Bo Diddley) and the drummer is playing the same beat as "Cavacha".

Hip Hop



^^ Play close attention to the clave percussion in the background



1:17 is where the clave rhythm takes over. Cavachaaaa

Congo Brazza

Ivory Coast

Congolese Music / Re: Congolese theory
« on: January 25, 2019, 08:28 »
Like guitarist Beniko Popolipo said, a lot of bands don't last long because of money problems, administration problems and coming to Europe. The other reasons was illness, this is how Zaiko Famila Dei died.

A lot of Congolese band-leaders operate the same as colonizers, they make their musicians work, sell them a dream of false hope but don't actually grant the wishes that they promise. Not only that, they use polemique (gossip) as a trojan horse to spread negativity and hire middle man to make the aspiring artists career crumble (Koffi vs Felix, Koffi vs Do Akongo, etc). Crab in the bucket mentality.

Unfortunately, this have effected Congolese Music as a whole because the polemique has taken the music off the continental level it once was from 1960's - 2004.

This track was very popular during the Coupe Decale wave

Alvarito and Kabuya were one of the major pillars of F Vic Team. You can see this with Original, especially with Libre Parcours being a colossal success in concerts.

Alvarito in a interview last month pleaded Fally to take him back. Fally should answer his calls.

Sound quality was cool 8)  Finally got to see how Felly did those folklore partition riffs.

Fally's vocals were very soulful.

To continue with CM Prince, the other Koffi what if's are:

How would Monde Arabe sounded if Koffi didn't take Tabu Ley's advice about having more sebenes than rumba? Killing sebene is one of the major reasons why Congolese music isn't as continental as it once was (1960's - 2004).

What if Koffi didn't leave Beniko and Do Akongo behind for Bercy?

How would the actual "Ultimatum" 96 track sound with Babia and Willy Bula on vocals?


This guy is such a legend. He contributed towards popularizing Congolese music in the 1980s and 1990s. Not only was he an excellent dancer but also a composer with fun catchy compositions. Also great drummer

He sold an estimate of 10 million records but unfortunately, a lot of the riches has been taken by his wife. It's devastating to see him in such condition, hope he gets the help he needs.

For nostalgic reasons, here's a concert when Loketo toured Congo Brazza.
Featuring Dally Kimoko on solo guitar and Remy Sahlomon on bass

Extra Musica had colossal success from 1996-2005 due to the hits of "Etat Major", "Freddy Nelson", "Success Extra", "Losambo", "Shalai", "Trop C'est Trop", etc. Funny how people call them a Wenge copy, it's just music lmaooo.

Unfortunately, Roga Roga kicked out members of the band came back to hurt him.

The replacement atalaku, Zaparro, sounds very similar to Arafat. They even had an atalaku and drum battle!

« on: January 24, 2019, 08:32 »
Colombia, Ecuador, Brasil and many many other South American countries have a lot of Acrican American people that would love to see their own ancestor especially in music, Rosalina by BM has been on the number 1 charts in Barranquilla in Colombia, and Brasil, Argentina (even though are very racist countries) Uruguay, Cile are grest for music, in fact Reggaeton despite not being talked like Rock is waaay more bigger than Rock in South America, I don't think things will change becuase as usual Leaders do not like to learn, do not like to know outside of their comprehension.

This is very true, ba ndeko. Congolese Music is very popular in the coastal cities of Cartagena and Barranquilla of Colombia. In fact, the genre "Champeta" is basically the Colombian version of Soukous lol. Also, Congolese music is very popular in the the Caribbean (West Indies) as well. It can also blow up in Brazil and co since there's a lot of Black people in South America than North America.

Instead of just focusing on Europe due to the combatants, musicians can tour in areas where there's large populations of Afro descent people. People that live in tropical energy gravitate towards high energy music (seben), this won't only increase their following but them on the map.

Somebody should contact Fally, Koffi, Werrason, JB and co to South America and the Caribbean. It's never too late!

Congolese Music / Re: RIP Oliver Mtukudzi
« on: January 24, 2019, 08:14 »
Rest in Peace

Mimiche Basse shows some "Lofombo" tricks in one of the sebenes. Talented guy.

« on: January 13, 2019, 04:37 »
R.I.P. Sunda Bass :'(

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