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Messages - faithandwar

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So i'm not too well informed on the history of Zaiko because it seems pretty long/intimidating and i'm not where and which angle of their music I should move up from.
The only album that i've listened to in full is Nippon Banzai.

I'm hoping to get into different eras/ and know the their best line up as well as their best albums from their catalogue.
Any suggestions?

No comment on the side chick situation, but I commend Fally for definitely hustling by building a brand. Idk if it's his idea or he's surrounded by some smart people but he's making sure that he can be a jack of all trades by singing, dancing and acting which will broaden his appeal as an African superstar. He's making money moves! 

SN: Didn't Didier Ndenga direct a good chunk of the music videos back in the day? It looks like he'll get appropriate funding off this show which is great as well.

Wow, this sucks.... and i'm hoping that he's innocent. I hate the fact that I feel sad for him, even as a woman. Koffi's music and enigma meant the world to me during my childhood, it made my life when I got to speak to him when I was a kid. He's such a legend and his work pushed the culture to new heights but if he's declared guilty then the law will take it's course. If the Congolese government protects him, then the ought to be ashamed of themselves and it shows that they aren't  ready to leave corruption and nepotism behind. 
I wonder what impact this is going to have on other musicians if he's sentenced. 

Does Dadju count as a Congolese Musician or a French Based artist who's Congolese? I hear elements of Congolese music in his work but for the most part it sound Banku/Afrobeat. Anyways, I'll support  :).

« on: May 06, 2018, 02:52 »
Does anyone have a list I can refer to the latest slang in Lingala? Mostly from the perspective of a Kinois. I'm pretty interested in learning more slang when speaking lingala. I know that new slang is hard to keep up with considering Congolese people have a habit of being pretty inventive.   

Literally all I know is TOKOOS and Tshombo.   

Thanks, in advance!

Artists have to be accountable when they commit crimes or do anything that's immoral. Point. blank. period.This is a large conversation that's bigger than Koffi. The #metoo movement is supposed to get rid of and scare men who think sexual assault is okay and use it for their benefit and expose them.

 Weinstein, R. Kelly and Cosby's career's are going to suffer, BUT will I act as if R.Kelly didn't play a pivotal part on what R&B sounded like in the 1990's? Will I act like the Cosby show didn't change America's perception of Black people in the 80's-90's? No. The same could apply to Koffi, but that doesn't dispute the fact that his artistry has done A LOT of the Congolese culture. He's legendary.

These people are incredibly talented but are also incredibly f**ed up. Lots of people have attachments to artist's and their work and it's hard to separate the two.  There's no winning situation. You can simply like their art and keep it moving, and keep it at that. Or you can look for someone else's art you can support who isn't immoral who's just as good.       

Congolese Music / Re: SO J.COLE'S NEW ALBUM "KOD"
« on: April 23, 2018, 23:09 »
This song (his first huge hit) made me an instant fan. He sampled a Malian band (Balla et Ses Balladins) from the 70's my parent used to play way back. Blew my mind


My younger brother had Can't Get Enough on repeat and asked me what the sample was. For some reason I thought it was OK Jazz  Boma L'heure because they sound so similar, but later found out it was Paulette. If J Dilla was alive, I wish he could've sampled mid 70's OK Jazz or just any 70's Congolese Rumba. It would've been heavenly.

I should listen to the album, but I naturally gravitate towards Kendrick.

This would have been perfect lol

Also I remember this one when I was a kid

SN, I feel like the masses want really skeletal and simple music lately, I don't think they'll be able to handle our music. Despite the excessive borrowing from what I keep hearing. Sadly the quality of mainstream music is going down across the globe. 

On the real though... he could totally make a band like Funkadelic or Fishbone in the US and it could work. But that's far left from the Congolese audience lol.

Congolese Music / Re: History of our people.
« on: April 07, 2018, 01:24 »
Are there any books/journals that are in English detailing this kind of history? The ones that have been reccomended to me are in French. I don't know a lick of French.

Thanks for the well informed response, I appreciate it. Papa Wemba might have not reached the notoriety of Bob Marley, but he's definitely respected as world class musician. American news outlets covered his death, so he was close. The world was definitely in mourning when we lost him.   

But back to the question on Congolese people wanting to see their music consummated like Hip Hop and Rock, why is it so hard for it to be that way? That's why I don't get how Emotion can be well received as a world album but if Wemba wanted to promote an album like Nouvelle Ecriture to white and black people it would be difficult. Or considered  "low" like that journalist you mentioned said of it. That would be backwards to dilute the music into something else because then it's not really Congolese music anymore, it's just World Music. It kind of defeats the purpose of being widely consummated as a genre.   


Papa Wemba brought our music to Japan (he performed there many times 1986-1993)  and to the white audience. So sad that he didn't continue on that way after Emotion. He could have been a bigger legend than Youssou N'dour. Imagine that Youssou N'Dour said that he wanted to be like Papa Wemba, before he started his international carreer. So sad. All because the people around him who were didn't want to lose him and himself being scared seeing the Congolese music-scène being dominanted by Wenge Musica and Koffi Olomide. With him making an comeback with Foridoles & Pole Position and settling with the Nouvelle Ecriture-album. I remember Francis Kakonde asking him "why coming from a high level of Emotion and sincking very low to Kaokokokorobo" with Wemba feeling uncomfortable.

The phenomenon is interesting in itself, Wemba dealing with World Music v.s deep Congolese music. It's kind of like if a deep R&B musician wanted to go Pop in order to sell more records but then they don't want to abandon their true fan base, so instead they revert back.I think that's what Fally is doing with his upcoming rumba album, but i'm pretty sure he's going to find a way to do both. It's like Papa Wemba's world music/Emotion was made digestible for white ears, which I don't get.... but at the same time I do.   

 I think  you and BrazzaBoy had a discussion awhile ago about Wemba's discography not being strong pre 1994 and that his World Albums were not reaching Kin at the time.

Aside from time format and self sabotage...why can't Congolese musicians do their music at it's purest form without diluting it to please white ears? Kaokokokorobo is a rich song, it's not any lower than any song on Emotion. But also that's my opinion. 

This is my first time hearing about Kanda Bongo, never heard of him.

As far as Awilo, I've always heard "Karolina" but I didn't know who he was until a friend from middle school asked me if I knew him. Despite living here in the US, for me Congolese music was always funneled through France. So that's why I didn't see him as big as Wemba/Koffi/Werra/JB. But also I would always equate the big four as African stars rather than national ones. Especially Wemba and Koffi being more international.   

But also for the Globalization question, what can be said about OK JAZZ, Afrisa International and Zaiko? There's also that documentary coming up....

Be it Conge Brazza or Congo Kinsasha, Congolese music has transcended through many levels and is now part of world music. I remember living in Niamey, Niger in 80-85 and from listening to the international radio station Africa Numero 1, I came to know music from artists like Kanda Bongo Man (JT), Pierre Moutuouari (Missenge) and Zaiko Langa Langa ( Live au Japon), Aurlus Mabele Rosine. The genre generally called soukous then conquered West Africa and eventually most of Africa. By the late 80s, I knew The Papa Wembas and the Koffi Olomides. For Non Congolese folks on this board, I'm sure they can remember probably the same artists as well. But all this is not complete without mentioning Awilo Longomba. He was the true conqueror of the world. People like Ferre and Werrason would not have played in Nigeria if it wasn't for Awilo who brought Congolese music/Soukous to Anglophone Africa.

I'm a bit on the fence about the the bolded statement, but almost every Nigerian I know has that Mondongo album. Those artist's you mentioned like Koffi and Wemba already broke through those Anglophone countries before Awilo didn't they?   


"But a sapeur moves as little as possible, just enough to show off his trousers or his shoes. If your wearing a nice outfit, you obviously don't wan't to break into a sweat."

This quote should be put on a plaque lol, it sums up why 90% Congolese men dance real constricted at parties  ;D

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