Congo Vibes
Music => Congolese Music => Topic started by: archos on November 25, 2017, 22:38
-
https://youtu.be/BMd-cduCOMs
This album marked the last full tour of extra in europe(unless i am mistaken) and the difference can easily be seen with all the albums after that one,the fact they recorded in europe always gave a huge boost in motivation of artists
-
When it comes to acoustic quality, this album is top 5 easy for the genre. I'm stunned everytime I listen to it
That elusive 2002 Zenith concert just before the exodus with guests Koffi & Wemba, I hope somebody has the footage, even it's amateur
-
Arafat 2500 Volts is my favorite atalaku from Clan Extra. He made a big mistake to leave Extra Musica. I heard that he wanted to rejoin Extra Musica this year, but they rejected his request.
This team should have done min. 2 albums more for me. I can't get enough of this album. You can feel the energy they put in this album. Sonor always showed in that era that he wasn't only an excellent rhythm-player, but also a good solist (N'julie, Complainte, Honorablement, Eternite d'Amour & Parfum Mondial). I had alot of faith in him when he became the main solist of Extra Musica. But he disappointed my alot on Contenieux and Sorcellerie Kindoki. He sounds so monotonous these days and it's always predictable they way Extra Musica will play their generics or sebenes with him on the lead. It look like he isn't hungry anymore to play good sebenes.
The style of playing sebenes in Trop c'est Trop (N'julie, 12 Balles, Moselekete, Zangul, Gambala & Karen Amour) is very different compared to the sebens played in other Extra Musica-albums. Sometimes I ask myself if they didn't invite other solists to participate in that album. I like Extra's unique way of playing the rhythm-guitare. The rhythm guitare is always good audible in their albums. I felt in love the way the mi-solo guitare was played in this album, far better then Shalai, were you can't hear it always so well. Shalai & Trop c'est Trop were they only albums where the mi-solo guitare was played from the begin to the end. The mi-solo is so well played, which is quite rare for bands of the 4th generation. Because only bands of the 2nd generation (Afrisa, African Fiesta, TP OK Jazz, Bantou de la Capitale, etc.) master it well. I always wonder why they didn't continue to play it on Obligatoire and La Main Noire from the begin to the end. Obligatoire would be very different if they didn't denied the visa's to them in 2002.
Papy Jah had to stay in Extra Musica. He killed his career by staying in Europe. Papy Bastin could have followed the same path, if Oxygene didn't caught him in the metro of Paris, after that Extra Musica returned to Brazzaville for the Fespam-festival.
-
When it comes to acoustic quality, this album is top 5 easy for the genre. I'm stunned everytime I listen to it
That elusive 2002 Zenith concert just before the exodus with guests Koffi & Wemba, I hope somebody has the footage, even it's amateur
Where were the JPS Production albums of 2000 & 2001 recorded ? Because they had all an excellent acoustic quality (Trop c'est Trop, Pouvoir, Nessy de London, Dossier X, Bonheur & Le Quatro +1).
-
trop c'est trop and bonheur recorded and mixed at studio harryson,the rest between marcadet,davout and PLUS XXX
-
Why don't brazza artists play in Europe they have their own zobatantts or what?
-
Why don't brazza artists play in Europe they have their own zobatantts or what?
Brazza people aren't nearly as passionate about music compared to DRC. Their music industry reached it's height with Extra and a lot of their fanbase was from West Africa, and outside Brazza
-
jdog yes they also have combattants and like in drc at some point roga roga had it hard toeven just come and see his children who are here
-
jdog yes they also have combattants and like in drc at some point roga roga had it hard toeven just come and see his children who are here
Being from the same tribe and freemasonry group as the Sassou family certainly doesn't make it easy for him
-
I had a bunch of behind-the-scene studio pictures from when they were recording this album and the album cover shoot photos, but I seem to have lost all except one unfortunately
(https://s7.postimg.org/xmgn28op7/46_01_01_01.jpg) (https://postimages.org/)
-
Arafat 2500 Volts is my favorite atalaku from Clan Extra. He made a big mistake to leave Extra Musica. I heard that he wanted to rejoin Extra Musica this year, but they rejected his request.
This team should have done min. 2 albums more for me. I can't get enough of this album. You can feel the energy they put in this album. Sonor always showed in that era that he wasn't only an excellent rhythm-player, but also a good solist (N'julie, Complainte, Honorablement, Eternite d'Amour & Parfum Mondial). I had alot of faith in him when he became the main solist of Extra Musica. But he disappointed my alot on Contenieux and Sorcellerie Kindoki. He sounds so monotonous these days and it's always predictable they way Extra Musica will play their generics or sebenes with him on the lead. It look like he isn't hungry anymore to play good sebenes.
The style of playing sebenes in Trop c'est Trop (N'julie, 12 Balles, Moselekete, Zangul, Gambala & Karen Amour) is very different compared to the sebens played in other Extra Musica-albums. Sometimes I ask myself if they didn't invite other solists to participate in that album. I like Extra's unique way of playing the rhythm-guitare. The rhythm guitare is always good audible in their albums. I felt in love the way the mi-solo guitare was played in this album, far better then Shalai, were you can't hear it always so well. Shalai & Trop c'est Trop were they only albums where the mi-solo guitare was played from the begin to the end. The mi-solo is so well played, which is quite rare for bands of the 4th generation. Because only bands of the 2nd generation (Afrisa, African Fiesta, TP OK Jazz, Bantou de la Capitale, etc.) master it well. I always wonder why they didn't continue to play it on Obligatoire and La Main Noire from the begin to the end. Obligatoire would be very different if they didn't denied the visa's to them in 2002.
Papy Jah had to stay in Extra Musica. He killed his career by staying in Europe. Papy Bastin could have followed the same path, if Oxygene didn't caught him in the metro of Paris, after that Extra Musica returned to Brazzaville for the Fespam-festival.
O.O the solo part in N'Julie was of Sonkr I thought it was Roga Roga's in fact I have always asked why Sonor ne'er played solo, but evidently I was mistakenly thinking, anyway for Arafat, I thoughts he was heading to a good solo career, but Brazza is way different than Kin and yes Brazzaville's music is way loved by Western Africans especially people from Cote D'Ivoire
-
This album was supposed to be Nkila mbongo and Arafat, but Arafat was having throat issues. I'm glad it was just Arafat because Nkila Mbongo's voice sounded too fake at times, concerts especially.
At that point in time, no tenors were touching Arafat and CNN, in my opinion. They were pure