Audio-Video Cues
AUDIO-VIDEO CUES BY CHAPTER
Please note that some cues on this page have been added since the publication of the book, and do not appear in the text.
This page is a work in progress, please check back from time to time for more up-to-date information.
Most recent update: December 1, 2011
Chapter 1: Popular Culture’s Politics
Insecticide Spraycan
P. 12: “Most atalaku prefer it over a myriad of other cans…primarily because of its sound, but also because the production of this instrument stands as a sign of resourcefulness.”
Chapter 2: The Zairian Sound
Musique moderne
P. 32: “This layering…gives a thick, lush sound to the music…”. In this excerpt (Koffi Olomide’s “Babou” from the album Effrakata, Sonodisc 2001), listen for layering in backup vocals, but also for counterpoint between rhythm guitar and bass guitar:
Musique folklorique
P. 35: “There is also the curious fact that so little of this music attempts to promote itself on the basis of a panethnic identity”. This excerpt is from Vincent Kenis’ tradi-moderne compilation Congotronics 2 (Crammed Records, 2006). Language, melodic patterns, rhythm, and the sounds of particular instruments mark this music as “traditional”, even though a group like this can be heard in any number of open air bars in Kinshasa’s vibrant live music scene. (Add Sundama?)
Musique religieuse
P. 37: “Religious music has also begun to compete with modern music for a position as the music of preference among Congolese communities living abroad.” This excerpt from Frère Patrice’s “Tribunal” retains several elements of old-style Congolese rumba (clave rhythm, wandering guitar, melodic patterns), a sound that is considered more respectable than the frenetic dance music of the fourth generation musicians (see below).
1st generation: Tango ya Bawendo
P. 40: “The first recordings in Leopoldville were rudimentary, usually not more than a singer and his guitar, though sometimes a clave instrument was included in the recording.” This song (“Marie Louise”, originally recorded in 1948 and re-issued on Ngoma: the Early Years) is Wendo Kolosoy’s biggest hit and has come to stand for an entire generation of musical production. Together with his musical partner in crime Henri Bowane, Wendo tells the story of how he will run off and secretly marry the girl of his dreams.
2nd generation: The Big Rumba Period
P. 42: “This was the golden age of rumba, the era of big band-style orchestras, led by the undisputed patriarch of the genre, Grand Kallé.” Kallé was in many ways a transitional figure between the first and second generation of musicians and his group African Jazz served as an training ground for some of the biggest stars of the second generation. The excerpt is from one of Kallé’s earlier recordings, “Para Fifi” (reissued on Congo: Rumba on the River, Syllart 2006).
Size and structure of groups
P. 43: “Musical groups…had considerably increased in size since Wendo’s day.” Here is a video from a relatively early OK Jazz lineup including some of the biggest stars of the OK Jazz family: Josky Kiambakuta Wuta Mayi, Sam Mangawana (far right). Franco (Luambo Makiadi) is seen playing his guitar and singing the song “Toyeba Yo” together with 15 other musicians:
3rd Generation: La Nouvelle Vague
P. 47: “Many of the groups that followed…would claim ties to Zaiko Langa Langa, and those with no direct links to the Zaiko family…considered themselves in competition with Zaiko.” Zaiko in many ways changed the generational map in Zairian popular dance music, but they were certainly not alone. Compare these two videos, one of Zaiko Langa Langa (“Lisapo” featuring Bimi Ombale, Likinga, Nyoka Longo and Felly Manwaku on the guitar) and Lita Bembo, Zaiko’s main competition during this period in the early 1970s.
4th Generation: Wenge
P. 50: “They might also argue that Wenge constitutes a fourth generation in musical terms (e.g. the guitar playing and the compositional skills of the Wenge cofounder Alain Makaba), but in my opinion Wenge’s contribution has to do with the development of a particular style of dance sequence and with the transition from a shouting to a singing atalaku…“. This excerpt from one of Wenge’s biggest early hits (“Kin é bouger”) is a good example of the clean, sophisticated sound that came to be associated with the sound of the 4th generation.
Two schools? Fiesta vs. Ondemba
P. 52: “Even after several months of regular listening it is difficult to distinguish between the fiesta and ondemba schools. Most experienced listeners will explain that the difference rests most clearly on the lead guitars.” African Jazz guitarist Nico played with a clean, pure cosmopolitan sound and a light touch (listen to “Aruna“). Franco’s OK Jazz sound was characterized by a more aggressive and raw sound which many people characterize as sounding more “traditional” (listen to “AyaLaMode“). While Nico’s solos sound more measured and virtuoso, Franco’s sound more gutsy and more improvised. These two sounds came to be associated not only with the personalities of the two artists, but also with their musical dynasties.
L’animation and seben
P. 55: “Near the end of a series of choruses, the snare drum and the lead guitar signal a transition that announces the change to the seben (or animation), which will be filled with shouts…and choreographed dancing that will continue until the end of the song.” This song from Zaiko Langa Langa (“Zizita”, featuring J.P. Busé, Nyoka Longo, Ya Lengos, and Dindo Yogo) is a good example of the song structure that emerged during the Zairian new wave. The verses go until about 1:00 when there is a transition to a series of choruses that last until about 2:40, then the rhythm changes and the two musicians on the left of the stage (Bébé Atalaku and Nono, the first professional atalaku) begin to shout while the singers step away from the microphone to dance until the end of the song.
Seben before the atalaku
Here is a good example of how the seben was performed before the arrival of the atalaku. In this clip, notice that the percussionist is playing the maracas (which will later be taken up by the atalaku) and that the singers seem unsure about who is responsible for the shouts and what to do with the microphone during the seben (beginning at 5:50). Also notice that this song has a two part song-structure (verse-seben, common in the early new wave), but does not return to verse after the seben as was generally the case with the music of the 2nd generation.
Cavacha rhythm
P. 57: “The next morning they woke up and decided that this would be their new musical signature.” Here is an early version of Zaiko Langa Langa’s cavacha rhythm played by Meridjo in the song “Onassis” and a later version played by Ilo Pablo in “Fièvre Mondo”.
Cavacha variations
Here are a few examples of more recent variations on the cavacha rhythm: “Kala ya Boeingi” (Wenga Musica ?, “Kaokokokorobo” (Viva La Musica ?), “Effrakata” (Koffi Olomide, Effrakata, Sonodisc 2006)(enter specific times). Notice (especially between the second and third examples) how the hits of the snare drum heighten the tension and add to the suspense leading up to the seben. Each drummer (or bandleader) has his own signature rhythm with important nuances, but what stands out about this rhythm is the degree to which it is standardized across repertoires and across groups.
Bass guitar as drum
P. 58: “The bass guitar plays heavily on the octave and the fifth of the tonic and is often compared to a conga drum (mbonda) because of the percussive way in which certain notes are struck.” In this excerpt from “Loin des Yeux” (Empire Bakuba, ?), you can hear the virtuoso percussive style of Lofombo, who together with Soukouss Stars bassist Ngouma Lokito, turned the bass guitar into a much more aggressive instrument. Listen also for the interplay between the bass and the vocal stylings of the legendary atalaku Djuna Mumbafu.
Evolution of shouts
P. 59: “Since the early 1980s, shouts have evolved from being merely shouted to being both shouted and sung to being completely sung, finally culminating in the practice of some lead singers…to croon shouts with care (“atalaku ya soin”) or charm (“atalaku ya charme”). The artistry of animation is constantly changing.” This excerpt features a mix of several different periods and styles: “Liwa ya moyibi” (Zaiko Langa Langa ?), “La tempete du desert” (Wenge Musica, ?), “Titanic” (Wenge Musica BCBG, ?), “Andrada” (Koffi Olomide), et “Ligne 11″ (Wenge Musica Maison Mère)(enter specific times).
Chapter 3: Made in Zaire
Chapter 4: Live Time
Chapter 5: Musicians and Mobility
Chapter 6: Live Texts
Chapter 7: The Political Life of Dance Bands
Chapter 8: In the Skin of a Chief
