Zaire and Congo music reviews

This album manages to sound familiar yet fresh at the same time. Mangwana has an amazing voice. His backup singers compliment him really well. And the arrangements sound eclectic. This may sound a bit too much like the label's own notes on the album, but they are absolutely true. The other reviewer's comment that his album is relaxing yet complex is also very true. An outstanding album.

I saw Sam Mangwana at Yoshi's in Oakland (Bay Area music fans, check that place out) and enjoyed his show so much that I bought Galo Negro the next day. I do not know much about Central African music, and the "Rumba Highlife" style is new to me, but this is an extremely appealing album even for the uninitiated. Mangwana's attraction is his ability to craft pleasant, relaxing songs that are not insipid; on the contrary, his songs are complex and skillfully performed, and subtly exciting if you pay attention. His use of the accordion and "backup" singers on Galo Negro (he gives them a prominent, complementary role supporting his own terrific multilingual vocals) is especially remarkable; the music reminds one of Cuba, Paris, and Kinshasha all at once. If you are looking for a cool, unusual disk to spin in the stereo after a long day, but easy-listening pop world music makes you nauseous, then Mangwana is for you. (PS--if you like this one, check out Mangwana's "No Me Digas No"--it may be even better.)

I agree with all the other reviews, too -- so this album unquestionably deserves 5 stars!

Really nice, complete, full-sounding work from Wemba, combining musicians from his three groups and, once again, culling influences from around the globe (references to Stevie Wonder and Fela in the same tune?!). Might be a little glossy for fans of Wemba's excellent mid-1990s work (Foridoles, Pole Position...), but a lot of sweet old-school rumba and soukous does reside here just the same. One nagging question, though: why a drum machine instead of a live drummer?

papa wemba in this whole album simply shows that he is the most mature and adaptive african musician todate. the man has his own style and never deviates from it. whereas it takes a very well informed listener to understand him,once you have understood him,you will enjoy his release whenever. this is simply music that will never fade away. iam actually 31 years old. papa wembas music is for mature guy sorry children shoul listen to koffi and wera son.

Sweet, hot, sexy: You can't beat this with a stick! With lots of new licks n' approaches, all skillfully executed, Wemba and group make love to the lucky listener. Listen, and hold still; if you're half past dead!

Infectious soukous with sweet harmonies, bubbly guitar riffs, and bouncy bass and drums. Light on synths and horns (thank goodness).

"Paradiso" that is exactly what this is. I first heard this album in 1998 when I was working in Malawi. This is soukous that is mellow from lush orchestrations that are hauntingly lovely. I hear most of these tunes playing in my head long after they have finished. Not your typical hotly infectious soukous, but easy to listen to and easy to enjoy.

"Paradiso" that is exactly what this is. I first heard this album in 1998 when I was working in Malawi. This is soukous that is mellow from lush orchestrations that are hauntingly lovely. I hear most of these tunes playing in my head long after they have finished. Not your typical hotly infectious soukous, but easy to listen to and easy to enjoy.

I was quite disappointed that Ryko would put out something that sounds like an amateur recorded it. With that in mind, maybe this was the only recording of this wonderful concert. The song selection is outstanding, however, highlighting Kanda's greatest hits. But again, the flat recording and lack of audience presence on the disk distracts from the harmonious event that happened that day in Central Park. If you are a fan, though, it is definitely worth a listen for its historical charm.

I don't know what the rest of these reviews are talking about, that the recording wasn't that good. The recording was excellent. I've listened to worse live performances.... Anyway, as far as i'm concerned, this is the best of all kanda's CD.

I came accross this cd in a second hand shop after only hearing one soucous compillation previously. I was gobsmacked by the never ending faultless virtuosity of the guitarist. More so because the emotional voltage was joyous and induced euphoria in listener and dancer.
My primary objective has become to create a band to play music like this.

This album, just like Swalati was also recorded and produced in South Africa with the help of South African musicians and engineers mostly. Perhaps that's why it just doesn't cut it unlike most of Kanda's previous works and leaves a whole lot to be desired. I would recommend Kanda's previous works or one of his 'Best Of' albums instead of this one.

I bought this during Kanda's most recent tour of the Bay Area. I bought this during Kanda's most recent tour of the Bay Area. The album is definitely fast and erupts instantly with pounding guitar riffs that lead into vocals and more riffs. Track 2, entitled Balobi, is my favorite, starting with a smooth vocal call and response between Kanda and a backup singer and then come the guitars. The audio quality is excellent. My main complaint is that the linear note lack any info about who is playing what in the band - and this is important for any true fan. Who plays guitar on this one?

All in all, this is not cheesy and is highly recommended if you wnat to dance.

This is an excellent album which I initially bought for $5 as a cut price cassette. This really catches the mood of top class Congolese rhumba from the classic 60's/70's era. Very popular among my African buddies, I recommend this for all fans of this genre along with Tabu Ley's fantastic 'Africa Worldwide' & Franco/TPOK Jazz's 1972/73/74 (Azda) & 1970/71/72 collections.

mbilia bel's vocal abilitiles and her smooth way ....are clearly shown on this CD...the title song Beyanga clearly expresses her desire to sing.

This is one of the earliest worldbeat albums recorded, originally released in 1983, and features the powerful vocals of Zairean Bony Bikaye and keyboard electronics by French-Algerian composer Hector Zazou. Zazou does a masterful job with synthesized sounds, incorporating synth washes and propulsive beats to create the perfect rhythmic textures and soundscaped environments for Bikaye's voice. Guesting on this album is American guitarist Fred Frith on one track and other, less well known musicians who play guitar, clarinet, sax, and percussion.

This is a companion piece to another, also (now) sadly unavailable CD, Guilty. If you can find either or both, and you are as avid a lover of worldbeat as I am, grab 'em both!

I just love the whole album...couldn't be better.

The music moves your soul and your body. It takes you back in-time. The so called "ZILIZOPENDWA" the classics.

We are also looking for music from the 70's and 80's by groups like Mangelepa, Super mazember, Le kinois, etc