Mauri Yambo: 06/05/2018

Saturday, May 12, 2018

MUSIC (LingalaPop): Incredible Yondo Sister's Mbuta Mutu

Incredible Yondo Sister is not so well known now outside the two Congos, as she once was. And even within them, her magnetic presence and appeal seem to have waned in recent years. Despite all that, she remains one of the very finest Congolese (nay, African) artistes, male or female, of any generation -- past and present. You just have to watch one of her video clips to know.

Among her best are Perdue de Vue, Madi, Maweke, Mwana Kenta, Wapi Yo, and Mbuta Mutu. But you must also see her inspired avant-garde piece titled Duniya, which she sings in Swahili. It is the second song (which runs from 6:10 to 11:14 minutes) in the 8-piece retrospective published in 1992, a link to which I provide at the bottom of this page.

I choose to comment briefly here on only one of the above-mentioned songs: Mbuta Mutu (2015 version). The clip is, for me, a superb example of Yondo Sister's daring and absolutely absorbing artistry. In it, she dances with no restraint at all, as if possessed by the very words she sings and the very tunes her ears and lithe body attend to. She goes, in the end, totally wild here. Congo wild. She, the Great Rainforest Queen, rules a 'wilderness' world of funky sight and sound! If you haven't seen Yondo Sister, I dare say, you haven't seen anyone.

Click here to watch the Mbuta Mutu clip (2015 version)

I can confidently say, as I conclude, that every ear and every eye that Yondo Sister -- this '80s/'90s Girl, this female sapeur -- 'touched' with her voice, and her beguiling dance moves, surely none such remained ever the same. We are all the richer, who have heard her, and seen what she could do with her supple body; indeed, what magic became it. She is, and will forever be, at the very heart of #LingalaPop.

WATCH: A 1992 8-Clip Retrospective on Yondo Sister's Life as a Performing Artist

WATCH: A 2013 version of Yondo Sister's Mbuta Mutu

READ: Yondo Sister: A Biographical Sketch

NOTE: Much of the material in the second paragraph above first featured in my blog post titled LingalaPop, Volume 7.

Friday, May 11, 2018

LingalaPop, Volume 7

This is Volume 7 of the Mauri Yambo Blog's series of #LingalaPop music. The point has been made in Volumes 1 and 2 that certain Congolese music productions have all the features -- and effects on audience (or fan) sensibilities -- which are typically found in pop music as broadly understood. The hashtag given above groups and highlights what I consider to be stand-out examples of that kind of music.

As previously indicated, Lingala is featured in that hashtag in order to give due respect to that expansive lingua franca of the Greater Congo, which serves (in word and/or tone) as the base for the songs referenced here. Most of the songs under the hashtag are sung by Congolese nationals at home or in the diaspora -- but, interestingly, not all. In Volume 3, for example, two Kenyan Queens (Victoria Kimani and Akothee) featured in two separate songs in a full-throttle sort of way.

Nor is Lingala the language that Congolese artistes, or those that they sing with, exclusively use in the included songs. In Tucheze, Ferre Gola sang a considerable chunk of the lyrics in 'heavy-accent' but recognizable Swahili, while Victoria Kimani sang her part almost entirely in English. Lingala joined them at the hip in terms of both tone and the synchronized flow of body texts.

Nigerian artiste J. Martins appears with Ferre Gola in Ekelebe, in Volume 4, with enough gravitational force to influence the latter's celestial orbit. The same Ferre Gola, that is, who in that piece sings not, shall I say, in lyrical Lingala but in bemusing English. Still, Lingala's tonal influence on both proceedings is not escaped, in whatever charming mix we may come upon the ingredients.

Volume 5, like the earlier four, showcases 10 video (or audio) clips steeped in #LingalaPop. Indeed, I think that the songs are among the leading ones. Here, too, not everything is pure Lingala. Barbara Kanam, for example, finely weaves her song, Reste, out of three language strands: French, Swahili and Lingala. She's as good in each just as she, herself, is. And Enemy Solo is sung in a 'volatile' mix of funky Lingala and lyrical 'pidgin' (that's English) by an irrepressible Awilo Longomba and super-charged P-Square!

In Volume 6, Linah (who is Tanzanian) and Christian Bella (Congolese) team up to deliver an exceptionally tuneful and colourful song: Hellow. Linah sings almost entirely in Swahili. The song as a whole is mostly in Swahili as well. However, Christian Bella renders his portion of the 'purely' Swahili lyrics with a decidedly Lingala accent. Arguably, this tilts the overall weight of the song's tonality toward Lingala, Christian Bella having already 'state captured' a significant portion of Lina's intonation in the first half of the song.

In Olla as well, Christian Bella sings in Swahili with the same Lingala-accentuated verve. One should expect the same result, but Khaligraph Jones, the Kenyan Rapper King, blends, and so tempers, all that with his signature "stream of Consciousness" rapping style. And yet the Lingala imprimatur doesn't lose enough force to disappear. This is a win-win, in the end. We can declare a similar result in Nagharamia (sung by Tanzania's Alikiba and Christian Bella). Alikiba succeeds in creating a context in which Swahili (infused in a subtle and measured fashion with Taarab 'elements') cedes as much ground as it gains from Christian Bella's Lingala.

The songs in Volume 7 are sung mostly in Lingala, though four have French (or partly French) titles, and two English. They are all sung by Congolese artistes. Six of the individuals or groups featured here are appearing for the very first time in the #LingalaPop series. They are mostly men.

Three women sing four of the ten songs offered, all in video form. We have seen Claudia Bakisa and Mpongo Love before, but not Yondo Sister. She, Yondo Sister, is, I find, the finest of the bunch of artistes, male or female, gathered in Volume 7. She is among the very top in all the other volumes that we've seen as well. She dances with no restraint at all, as if possessed by the very words she sings and the tunes her ears and lithe body attend to. She goes, in the end, totally wild. Congo wild. Great funk! If you haven't seen Yondo Sister, I dare say, you haven't seen anyone.

Among the male singers, Cedric Embangu -- the lead singer in Cherie Enlevee Djino Kezipama (Song Number 4) -- is the most impassioned interpreter of the mood and all else that his song packs. He's really, really "intoit" -- body and 'soul'! And so it goes. READ MORE.

But Sam Mangwana, with his fast-paced Fati Mata, makes an important point as well. It is that Rumba has changed, and is no longer necessarily slow-motion music and low-energy dance. He is not alone in this view, as artistes like Ferre Gola, Claudia Bakisa, Cedric Embangu, Fally Ipupa, Heritier Watanabe and Fabregas Le Metis, among others, amply demonstrate.

My growing selection of #LingalaPop titles includes a number about which I have made 'substantive' comments already or, alternatively, ranked in #TheYamboSelection series -- over the stretch of a few years. And I have restricted my commentary essentially to songs that have "reached my ears" in one way or another -- or, let's say it, via smart algorithms. It has not been a total scouring of the Great Lakes and Rivers (etc) universe -- which would have been an exercise in futility for one man.

The urge to share exemplary or exciting 'finds' on a particular list (scheduled or not) may prompt -- indeed already has (in #TheYamboSelection series), and in some instances perhaps should -- the publication of the list before the narratives related to particular titles are ready for release, or even 'fully' drafted. The fact is that there's just so much Lingala music from the past, leave alone the numbers being produced these days -- and increasingly "all over". The urge to share must keep reasonable pace with the volume and accelerating velocity of creative productions.

The lister's and commentator's work is never done, experience teaches! Such comments as I have already made are available on this blog, but the links I give below take you only to the clips associated with the songs listed in Volume 7. Links to any comments that I will make in the days ahead about particular titles on the list below will be added to an updated version of this post as soon as those comments are ready to share.

The songs appearing below are not arranged in any particular order of rank. I really love all of them, and think you will do so too. Let me also add that the 'burst' of incoming evidence that I have encountered as I have continued with my (re)search on songs that deserve inclusion means, alas/happily, that even Volume 7 will not be the last. Opportunity and ambition -- which are good and energizing to have -- suggest that there's going to be a Volume 10, sometime. No one knows when.

About the video/audio clips included in Volume 7:
Click (you may have to Right Click) the song of your choice on the list below, and then (if you have Right Clicked) choose the "Open link in new tab" option in order to watch or listen to the clip.

1. Fati Mata by Sam Mangwana (Audio 2009)
2. Aminata by Madilu System (Audio July 2017?)
3. Bizu Bizu by Claudia Bakisa (2018)
4. Cherie Enlevee Djino Kezipama by Cedric Embangu x JB Mpiana (2011)
5. Double Double by Nyboma (2014?)
6. Faute ya Commercat by (Poet) Simaro Massiya Lutamba (Audio 1974/2009)
7. Cheri Enleve Integrale by Claudia Bakisa (2012)
8. Bakake by Mpongo Love (video 2014)
9. Mbuta Mutu by Yondo Sister (2015)
10. Double Face by Fabregas Le Metis (2018)

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Find below links to previous Volumes ~ 1, 2, 3, 4, 5 and 6:
1. LingalaPop, Volume 1
2. LingalaPop, Volume 2
3. LingalaPop, Volume 3
4. LingalaPop, Volume 4
6. LingalaPop, Volume 5
7. LingalaPop, Volume 6

MUSIC (AfroBeats): Nesly and Chidinma are All-Conquering in "All Right"

Two African Queens, Nesly and Chidinma, have teamed up in this magnificent song, All Right, to give us their very own and aurally gilded definition of a 'smashing' wimbo. We're all invited here, all of us, to a tonal fest; to an absolutely bewitching blend of visual and aural "tunes". The supporting cast of dancing ladies keep everything absolutely upbeat and on an evenly high keel.

The vocal harmony and the melody that we come upon -- and spiced they are with electrifying verve and pure joy -- are deeply immersing and all-conquering. The trailing and cascading echoes with which the singers' voices fill the air, and the universe, are so deeply entrancing and so indescribably African. They reinforce our sunny sense of place, and make us proud -- of us. They remind us of the depth and the beauty and the oft hidden strengths and settings of this vast continent that we call home.

Click here to watch the All Right clip

NOTE: All Right, a song supposedly published on January 26, 2017, came to my attention only a quarter of an hour to midnight (GMT+3) yesterday, May 10th, 2018. Due 'credit' to YouTube algorithms.

Tuesday, May 08, 2018

MUSIC (AfroBeats): Yanje by Ommy Dimpoz ft. Seyi Shay

It is a 'season' of invisible tears here, in Yanje, which flow copiously in detectable emotional directions. A riveting melody marks the start of this conflicted and deeply moving reunion. It stays with it to the end, and tempers the pervasive brooding.

A troubled reconnecting of lovers is what the song is all about. Remembered and still raw feelings of betrayal make it all painfully tentative and defensive. Through all the hurt and heartbreak, and clumsy apologies, love struggles still to find a firm footing and the clarity to roll back time and erase all the bad stuff that still lingers. Like all the days through which she was alone and stir-crazy, even, and beside herself with anguish.

Sexy Seyi Shay now joins, via Yanje, a small group of Nigerian artistes who've begun to add Swahili lines to their lyrics. I'm thinking of Yemi Alade and Tiwa Savage, in particular. She does so with surprising finesse, and frankly to greater effect than I've heard in earlier attempts by other artistes. Hers (as the artiste) is truly funky -- it's acScented Swahili.

The clip's blurb informs us that the song has a third language -- besides Swahili and English. It is Kinyarwanda, which presumably gives us the song's title as well.

How the two singers, he from Tanzania and she from Nigeria, found each other -- so improbably, it seems -- for this amazing clip will be a mini-thrilla in itself when the tale is told. It's a glorious aural and visual match. The voices, and the instrumentation, are an unceasing delight.

Click here to watch the clip