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Post by einstein on Aug 23, 2008 3:46:23 GMT 3
Franco TPOK jigs on video!! Check them out under Franco TPOK posts above!!
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Post by einstein on Aug 23, 2008 4:45:36 GMT 3
Now, if you know Josky Kiambukuta, then watch this vid 'Tribute to Madilu System - Mumune by Josky Kiambukuta' under the post 'Tribute to Madilu System' above!!
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Post by einstein on Aug 26, 2008 1:23:37 GMT 3
For adults only!!!
Nouvelle Generation - Orchestre Lipua Lipua
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Post by einstein on Aug 26, 2008 1:58:32 GMT 3
Unsuitable for the under aged!!
Sisili - Moni Mambo (Orchestre Shika Shika)
Inyo - Shika Shika
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Post by einstein on Aug 26, 2008 2:07:20 GMT 3
For adults only!!!
Ngali - Orchestre Les Kamale
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Post by einstein on Aug 26, 2008 2:21:57 GMT 3
For adults only!!!
Moni Afinda - Orchestre Kiam
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Post by einstein on Aug 26, 2008 22:43:29 GMT 3
Zanzibari Taarab Hotmix for your eyes only!!!
Music From Zanzibar Island
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Post by einstein on Aug 26, 2008 23:14:12 GMT 3
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Post by mzee on Aug 27, 2008 8:22:06 GMT 3
They are just great. GREAT
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Post by mzee on Aug 27, 2008 8:22:40 GMT 3
PAPA WEMBA IS DEAD. RIP
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Post by politicalmaniac on Aug 27, 2008 22:46:52 GMT 3
PM, this is for you. enjoy! What a great tract right there! I had a kayamba mix CD with several of the Kenyan languages sung, I need to dig it out from the crates! Thanks man I hadn t seen this!
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Post by einstein on Aug 27, 2008 23:55:07 GMT 3
They are just great. GREAT Mzee, Thanks for that! You and PM are the only ones who seem to appreaciate the music on this thread! Thanks to both of you!!
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Post by einstein on Aug 27, 2008 23:57:36 GMT 3
Mzee, When did this happen? I'm not informed at all!!! May God rest his soul in eternal peace!!!
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Post by einstein on Aug 28, 2008 4:44:46 GMT 3
PM, this is for you. enjoy! What a great tract right there! I had a kayamba mix CD with several of the Kenyan languages sung, I need to dig it out from the crates! Thanks man I hadn t seen this! PM, I like the guy with the gheto blaster!!! I will dig out and dedicate some Luhya stuff for our 'wana Mbere' folks in the house! Cheers.
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Post by mzee on Aug 30, 2008 21:45:21 GMT 3
They are just great. GREAT Mzee, Thanks for that! You and PM are the only ones who seem to appreaciate the music on this thread! Thanks to both of you!! Juzi juzi tuu
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Post by mzee on Aug 30, 2008 21:47:02 GMT 3
Papa Wemba: tribute to an African maestro Written by Ochereome Nnanna Thursday, 21 August 2008 I MET him for the first time in May 1999. Not in person, though – a pity because that would have been my eternal pleasure. I was in Abuja to cover the handover of power from the military government of General Abdulsalami Abubakar to an elected civilian, General Olusegun Obasanjo. It was history in the making because the military was going home for the second time from the Nigerian political scene after fourteen and half years of pure cankerworm misrule. I went into one of the corner shops in Area Eleven in Garki for lunch when I stopped to look at some CD’s on display. You see, I am a music lover. I don’t care what language it is rendered in. I believe good music has a special language of its own which is universal to those that have the power to appreciate it. My typical crowd, for instance, would not understand why I would flip over a Rokia Traore, the Malian crooner or Oliver Mtukudzi, the Zimbabwean minstrel. My wife does not understand what I see in a Papa Wemba brand of music because apart from a few gospel tunes, that is the only brand of music she has seen me actually dance to! I must confess I am an incompetent dancer, so I don’t do it too often, at least not in the public! But listen to music, I do all the time. I have over 5,000 carefully selected musical tracks in my PC hard disk, which is securely backed up in a 40 gigabyte I-pod, in case of virus attack. The first Wemba album I acquired was his Foridoles, which was released in 1994. I later found six more, and after consulting his website, I discovered that I have not even made a dent in his impressive repertoire, as he had more than 39 albums under his belt by 2006. Wemba was an exceptional talent, but I think Foridoles is his number one achievement, with extremely well-orchestrated tracks such as Le dixieme Commandment, Foridoles, Reference and Aladji Djambo. Much later in 2003, he released his Somo Trop (I and II) in which he waxed very spiritual after his brief prison term. HE had been convicted of human trafficking as a result of helping many artistes in Zaire to emigrate to Europe through his adopted country, Belgium (and charging fees, alas!) Wemba’s music has uncommon rhythm in the rumba/pop hybrid tradition. It is exceptionally well rendered and dominated by his charismatic tenor rhythm guitar. You know about the Congolese and their mastery of drums and guitar work, and Wemba worked with nothing less than the best among them. What makes Wemba a fit and proper subject for this mainly political column is that he transcended music. In fact, his achievements as a musical artiste were only rivalled by his legacies as a leader and role model, a godfather of the Congolese soukous musical genre comparable only to the immortal Franco Luambo Makiadi (OK Jazz). He started his musical career with Zaiko Langa Langa formed in Kinshasa in 1969 and through him a large number of Congolese legends burst into prominence. Among these was Antoine Agbepa Koffi, who became known as Koffi Olomide (a Nigerian-sounding name) after Wemba nicknamed him “Oh l’homme idée!” (the ideal man) for his prolific songwriting capabilities. Others included Tabu Ley, Mbili’a Bel, Maika Munan, Bozi Boziana, Evoloko Lay Lay among so many others. He not only provided the platform for the take-off of the musical careers of some of these greats, he also enthusiastically collaborated with them to do albums and duets. He did not feel threatened by their rise to fame. Wemba was very fond of reeling out the names of his session or back-up artistes in his songs and thus giving them a sense of belonging. In fact, he allowed any of his artistes that composed any song to sing it while he came in as a support, and such songs were clearly credited to the composers. He even created additional bands to allow his artistes express their talents. One of them was Le Qautro Langa Langa, which he co-featured with Bozi Boziana, Evoloko and female singer/guitarist, Gina Wagina. And in 2004 when he and Brenda Fassy were voted the African musicians of the year, he joined Fassy in a duet album. Such was his spirit of teamwork, rather than the unhealthy rivalry or egomania that often exists between African artistes. Papa Wemba was a role model, an inspiration to generations of Congolese artistes. When I first saw the story about his passing in The Guardian on Sunday (August 17th 2008), I was virtually brain dead for a second. But I was quickly consoled by the fact that the report credited him to have aged 82. But a closer investigation actually disclosed that he died an untimely death at 59, having succumbed to that silent killer of corpulent people, diabetes. MALADIE has taken away another Congolese legend, cold on the heels of Franco who, twenty years ago died of AIDS. And coming so soon after the sad passages of Brenda Fassy, Lucky Dube and our own Fela, Sonny Okosun, Osita Osadebe, Nelly Uchendu, Mamman Shatta, Steve Rhodes, Ralph Amarabem of Peacocks International and Oliver de Coque, Africa is being gradually bled dry of her musical giants who dominated the scene from the 1970’s through 1990’s. Adieu, Jules Shungu Wembadio Pene Thabani Kikumba (Simolo!). www.vanguardngr.com/index.php?option=com_content&task=view&id=14800&Itemid=0
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Post by mzee on Aug 30, 2008 21:51:16 GMT 3
For adults only!!!
Ngali - Orchestre Les Kamale Really adult, yaani XXXXX rated. I love it
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Post by mzee on Aug 30, 2008 21:55:58 GMT 3
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Post by mzee on Aug 30, 2008 22:13:43 GMT 3
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Post by politicalmaniac on Aug 30, 2008 22:45:27 GMT 3
Papa Wemba: tribute to an African maestro Written by Ochereome Nnanna Thursday, 21 August 2008 I MET him for the first time in May 1999. Not in person, though – a pity because that would have been my eternal pleasure. I was in Abuja to cover the handover of power from the military government of General Abdulsalami Abubakar to an elected civilian, General Olusegun Obasanjo. It was history in the making because the military was going home for the second time from the Nigerian political scene after fourteen and half years of pure cankerworm misrule. I went into one of the corner shops in Area Eleven in Garki for lunch when I stopped to look at some CD’s on display. You see, I am a music lover. I don’t care what language it is rendered in. I believe good music has a special language of its own which is universal to those that have the power to appreciate it. My typical crowd, for instance, would not understand why I would flip over a Rokia Traore, the Malian crooner or Oliver Mtukudzi, the Zimbabwean minstrel. My wife does not understand what I see in a Papa Wemba brand of music because apart from a few gospel tunes, that is the only brand of music she has seen me actually dance to! I must confess I am an incompetent dancer, so I don’t do it too often, at least not in the public! But listen to music, I do all the time. I have over 5,000 carefully selected musical tracks in my PC hard disk, which is securely backed up in a 40 gigabyte I-pod, in case of virus attack. The first Wemba album I acquired was his Foridoles, which was released in 1994. I later found six more, and after consulting his website, I discovered that I have not even made a dent in his impressive repertoire, as he had more than 39 albums under his belt by 2006. Wemba was an exceptional talent, but I think Foridoles is his number one achievement, with extremely well-orchestrated tracks such as Le dixieme Commandment, Foridoles, Reference and Aladji Djambo. Much later in 2003, he released his Somo Trop (I and II) in which he waxed very spiritual after his brief prison term. HE had been convicted of human trafficking as a result of helping many artistes in Zaire to emigrate to Europe through his adopted country, Belgium (and charging fees, alas!) Wemba’s music has uncommon rhythm in the rumba/pop hybrid tradition. It is exceptionally well rendered and dominated by his charismatic tenor rhythm guitar. You know about the Congolese and their mastery of drums and guitar work, and Wemba worked with nothing less than the best among them. What makes Wemba a fit and proper subject for this mainly political column is that he transcended music. In fact, his achievements as a musical artiste were only rivalled by his legacies as a leader and role model, a godfather of the Congolese soukous musical genre comparable only to the immortal Franco Luambo Makiadi (OK Jazz). He started his musical career with Zaiko Langa Langa formed in Kinshasa in 1969 and through him a large number of Congolese legends burst into prominence. Among these was Antoine Agbepa Koffi, who became known as Koffi Olomide (a Nigerian-sounding name) after Wemba nicknamed him “Oh l’homme idée!” (the ideal man) for his prolific songwriting capabilities. Others included Tabu Ley, Mbili’a Bel, Maika Munan, Bozi Boziana, Evoloko Lay Lay among so many others. He not only provided the platform for the take-off of the musical careers of some of these greats, he also enthusiastically collaborated with them to do albums and duets. He did not feel threatened by their rise to fame. Wemba was very fond of reeling out the names of his session or back-up artistes in his songs and thus giving them a sense of belonging. In fact, he allowed any of his artistes that composed any song to sing it while he came in as a support, and such songs were clearly credited to the composers. He even created additional bands to allow his artistes express their talents. One of them was Le Qautro Langa Langa, which he co-featured with Bozi Boziana, Evoloko and female singer/guitarist, Gina Wagina. And in 2004 when he and Brenda Fassy were voted the African musicians of the year, he joined Fassy in a duet album. Such was his spirit of teamwork, rather than the unhealthy rivalry or egomania that often exists between African artistes. Papa Wemba was a role model, an inspiration to generations of Congolese artistes. When I first saw the story about his passing in The Guardian on Sunday (August 17th 2008), I was virtually brain dead for a second. But I was quickly consoled by the fact that the report credited him to have aged 82. But a closer investigation actually disclosed that he died an untimely death at 59, having succumbed to that silent killer of corpulent people, diabetes. MALADIE has taken away another Congolese legend, cold on the heels of Franco who, twenty years ago died of AIDS. And coming so soon after the sad passages of Brenda Fassy, Lucky Dube and our own Fela, Sonny Okosun, Osita Osadebe, Nelly Uchendu, Mamman Shatta, Steve Rhodes, Ralph Amarabem of Peacocks International and Oliver de Coque, Africa is being gradually bled dry of her musical giants who dominated the scene from the 1970’s through 1990’s. Adieu, Jules Shungu Wembadio Pene Thabani Kikumba (Simolo!). www.vanguardngr.com/index.php?option=com_content&task=view&id=14800&Itemid=0 Mzee the news of Papa Wemba death are premature and exergerated! He is ALIVE! Its Papa Wendo (Wendo Kolosoy) who died, he was older than kina franco, older than Joseph Kabaselleh! The Grand Kalle! Obviously this dude who wrote this sh!t knows nothing about African music.
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Post by politicalmaniac on Aug 30, 2008 22:47:14 GMT 3
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Post by einstein on Aug 30, 2008 23:27:49 GMT 3
Papa Wemba: tribute to an African maestro Written by Ochereome Nnanna Thursday, 21 August 2008 I MET him for the first time in May 1999. Not in person, though – a pity because that would have been my eternal pleasure. I was in Abuja to cover the handover of power from the military government of General Abdulsalami Abubakar to an elected civilian, General Olusegun Obasanjo. It was history in the making because the military was going home for the second time from the Nigerian political scene after fourteen and half years of pure cankerworm misrule. I went into one of the corner shops in Area Eleven in Garki for lunch when I stopped to look at some CD’s on display. You see, I am a music lover. I don’t care what language it is rendered in. I believe good music has a special language of its own which is universal to those that have the power to appreciate it. My typical crowd, for instance, would not understand why I would flip over a Rokia Traore, the Malian crooner or Oliver Mtukudzi, the Zimbabwean minstrel. My wife does not understand what I see in a Papa Wemba brand of music because apart from a few gospel tunes, that is the only brand of music she has seen me actually dance to! I must confess I am an incompetent dancer, so I don’t do it too often, at least not in the public! But listen to music, I do all the time. I have over 5,000 carefully selected musical tracks in my PC hard disk, which is securely backed up in a 40 gigabyte I-pod, in case of virus attack. The first Wemba album I acquired was his Foridoles, which was released in 1994. I later found six more, and after consulting his website, I discovered that I have not even made a dent in his impressive repertoire, as he had more than 39 albums under his belt by 2006. Wemba was an exceptional talent, but I think Foridoles is his number one achievement, with extremely well-orchestrated tracks such as Le dixieme Commandment, Foridoles, Reference and Aladji Djambo. Much later in 2003, he released his Somo Trop (I and II) in which he waxed very spiritual after his brief prison term. HE had been convicted of human trafficking as a result of helping many artistes in Zaire to emigrate to Europe through his adopted country, Belgium (and charging fees, alas!) Wemba’s music has uncommon rhythm in the rumba/pop hybrid tradition. It is exceptionally well rendered and dominated by his charismatic tenor rhythm guitar. You know about the Congolese and their mastery of drums and guitar work, and Wemba worked with nothing less than the best among them. What makes Wemba a fit and proper subject for this mainly political column is that he transcended music. In fact, his achievements as a musical artiste were only rivalled by his legacies as a leader and role model, a godfather of the Congolese soukous musical genre comparable only to the immortal Franco Luambo Makiadi (OK Jazz). He started his musical career with Zaiko Langa Langa formed in Kinshasa in 1969 and through him a large number of Congolese legends burst into prominence. Among these was Antoine Agbepa Koffi, who became known as Koffi Olomide (a Nigerian-sounding name) after Wemba nicknamed him “Oh l’homme idée!” (the ideal man) for his prolific songwriting capabilities. Others included Tabu Ley, Mbili’a Bel, Maika Munan, Bozi Boziana, Evoloko Lay Lay among so many others. He not only provided the platform for the take-off of the musical careers of some of these greats, he also enthusiastically collaborated with them to do albums and duets. He did not feel threatened by their rise to fame. Wemba was very fond of reeling out the names of his session or back-up artistes in his songs and thus giving them a sense of belonging. In fact, he allowed any of his artistes that composed any song to sing it while he came in as a support, and such songs were clearly credited to the composers. He even created additional bands to allow his artistes express their talents. One of them was Le Qautro Langa Langa, which he co-featured with Bozi Boziana, Evoloko and female singer/guitarist, Gina Wagina. And in 2004 when he and Brenda Fassy were voted the African musicians of the year, he joined Fassy in a duet album. Such was his spirit of teamwork, rather than the unhealthy rivalry or egomania that often exists between African artistes. Papa Wemba was a role model, an inspiration to generations of Congolese artistes. When I first saw the story about his passing in The Guardian on Sunday (August 17th 2008), I was virtually brain dead for a second. But I was quickly consoled by the fact that the report credited him to have aged 82. But a closer investigation actually disclosed that he died an untimely death at 59, having succumbed to that silent killer of corpulent people, diabetes. MALADIE has taken away another Congolese legend, cold on the heels of Franco who, twenty years ago died of AIDS. And coming so soon after the sad passages of Brenda Fassy, Lucky Dube and our own Fela, Sonny Okosun, Osita Osadebe, Nelly Uchendu, Mamman Shatta, Steve Rhodes, Ralph Amarabem of Peacocks International and Oliver de Coque, Africa is being gradually bled dry of her musical giants who dominated the scene from the 1970’s through 1990’s. Adieu, Jules Shungu Wembadio Pene Thabani Kikumba (Simolo!). www.vanguardngr.com/index.php?option=com_content&task=view&id=14800&Itemid=0 Mzee the news of Papa Wemba death are premature and exergerated! He is ALIVE! Its Papa Wendo (Wendo Kolosoy) who died, he was older than kina franco, older than Joseph Kabaselleh! The Grand Kalle! Obviously this dude who wrote this sh!t knows nothing about African music. PM, So Papa Wemba is still alive and kicking? Thank Christ!!!
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Post by einstein on Aug 30, 2008 23:32:48 GMT 3
Mzee, Thanks for this! You've saved my weekend! I will play it over and over again!! The sexaphonist is just wow!!! Yaani, those are the days of my life I still miss upto date. I sometimes wish I could turn back the hands of time!!!!
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Post by mzee on Aug 30, 2008 23:59:39 GMT 3
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Post by mzee on Aug 31, 2008 16:16:14 GMT 3
Well, I was really wrong. Wemba is not dead. The newspapers are wrong.
The dead man is Papa Wendoh (a musician of Francos time and age)
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