"Mec d'ici" known more for his buzoba-rie and his allegence to the combatant movement than his pure muscial talent. He can hit the highs with ease like Manda Chante
This generique with Apocalypse and Europe session artists is one of my favorites from recent years. Powerful and superb sound quality throughout the album:
I wonder if the late, great King Kester would've participated his past album had he known the N'djilois would become an ignorant combatant.
He went to from having a comfortable position in BCBG... to quickly blowing it up and dissing JB. Then self-overhyping a failed solo attmempt... getting stranded in Greece, and now he's back having $5 bbq concerts. He's trying to put together a band a start work on a new album.
Like JB and old African politicians love saying: «Il faut respecter les gars qui ont vécu »
This will go down as the best duo between big stars this decade. Other big artists have too much ego to collaborate on a 50/50 duo.
When the forum speaks negatively of him; at times justifiably, threads are 2-3 pages long easily... yet works like this are forgtten or ignored.
JB said himself he had goosebumps when Wemba asked him to participate, so he was very emotional when singing. The one artist who had biggest influence on him, M'zeé Papa Wemba (RIP) is unfortuately no longer with us.
Heard this at the barbershop of all places. Won't put him on full blast and say his name. He got together with a girl who was called on stage to dance during their U.S tour last November. The dancing footage of her is on YouTube.
He hit her with the usual "I'm coming back soon and we're going to get married" talk, but he has not returned any communication when she told him she was pregnant. Little does she know, he already has a wife and kids in Kinshasa....
This used to to happen so much much back in the day when Europe concerts were going on. Some artists kept their word, others would just disappear.
After what happened with Alvarito, Fally made sure everyone returned to Kin.
One of best rhumbas of the year. Tresor Tshimbalanga must be real happy. Now we await the clip.
Trésor Tshimbalanga tala cas na ngai, osimbeli ngai mbeli mpo na nini oh oh, nga na maboko na simbi lisala Ya soso, kombo na ngai diki diki, oya yo ezo bomisa Tshimbalanga
Trésor ko forcer te, porte oyo eza deja yako fongwama ohh, pardoonn place nawuti pota e kabuki te ohh, tika ko bakisa lisusu bâ nombre d'épingles ohh Tshimbalanga ohh
Nada ko Luka mosala na motema nayo, Lettre ya motivation ozo senga ngai, tala elongi na nga eza plus lisible que mon écriture ohh, Receveur Ya motema na ngai abeleli destination te ohh mais nayebi yango avant kutu a ganga ohhh, ata bâ kangi miso na ngai kitendi Ya mwindo ohhh!!! kasi motema eko koma te bolingo nayo trésor muzamba ohh
Chorus (Twice): Nakoya ko céder ehh, vie na nga na kufaaahh, na pumbwa neti uuhhh angelou atie ehhh uhhh natikala a terre, soki o revolter tresor Tshimbalanga ahh
Monoko na ngai yo oh, ebeti libakuebengi Kisangani Kingasani, pardon bolingo nayo ebunga te adresse ya motema na ngai, awa na beleli tala sima o tala Sila na nga Tresor kozala te lipasa Ya drakila ahhh
Est ce que obanzaka pe ngai ohh, To pe mabanzu mayo e boulaka nga Tresor, pardon ko boma te love oyo, tshimbalanga ohh, Na ndimi que likaku ayibaka bitabe te Pô alona ohhh, nzoto na ngai na monoko na Ya souci eza bonbon ohh. bâ choc Ya bolingo e nionga mingi Tshimbalanga
Receveur Ya motema na nga abeleli destination te oh, mais nayebi yango avant kutu, a ganga oh ata bâ kangi miso na nga na kitendi Ya mwindo ohhh, kasi motema na nga eko bunga te bolingo nayo ohhh
«Papa Wemba Musée Fula Ngenge Le petit poisson est déjà grand»
Chorus (Twice): Nakoya ko céder ehh, vie na nga na kufaaahh, na pumbwa neti uuhhh aangelou atie eeeh uhhh natikala a terre, soki o revolter tresor Tshimbalanga ahh
Ferre gola: Nakoya ko céder ehh, vie na nga na kufaaahh, na pumbwa neti uuhhh angelou atie ehhh uhhh natikala terr, soki o revolter Tresor Tshimbalanga ahh
Est ce que obanzaka pe ngai ohhhh, to pe mabanzo nayo e lulaka nga trésor, pardon ko boma te love, na ndimi que likaku ayibaka bitabe te Pô alona ohhh, nzoto na ngai na monoko na Ya souci eza bonbon ohh, bâ choc Ya bolingo e nionga mingi Tshimbalanga
To give context, Simolo Katondi was Quartier Latin’s first ever drummer in 1987; participating in Golden Stars Dans Stephie and very early QL concerts before settling in Europe and becoming the most prolific session drummer behind Djujuchet.
This is the first time we see on camera a former QL member coming to record a song for the upcoming Quartier Latin album. Simolo will release it as a single beforehand. More alumni will be arriving at KC studio soon.
I also hear vocals from the great Luciana Demingongo, who was friends with Koffi when they began their careers.
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.
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