Soukous

Soukous, also known as Lingala, is a musical genre largely popular in Central Africa, particularly in countries like Congo, Gabon, Central African Republic, and Cameroon. It has its roots in Cuban music which was introduced in Africa during the pre-colonial era by merchants and traders who migrated from Caribbean countries. The birth of Soukous can be traced back to the 1940s, in Kinshasa, when a group known as La Croonia committed itself to experimenting with a range of Cuban rhythms such as rumba, son montuno, and cha-cha-cha, to create an entirely new sound. Soon enough, musicians like Franco Luambo Makiadi, who was deemed as the King of Soukous, emerged and introduced their own creative style to the genre. Soukous combines African rhythms with various Cuban and jazz influences to create a sound that’s characterized by a pulsating beat and guitar-driven melody. It’s this unique blend that distinguishes Soukous from other African genres such as Highlife and Juju. In the 1950s, Soukous rose in popularity, and through its songs, it addressed issues regarding independence, love, admiration, and social commentary. By the 1970s, Soukous had spread to other regions in Africa and started gaining international recognition. The genre's rise in popularity can partly be attributed to Franco's "TPOK Jazz" band, which dominated the music scene in Africa from the 1960s to the 1980s. Franco popularized Soukous in Africa and took it to new heights with his electrifying guitar solos and his songwriting abilities. Soukous has remained an important part of Central African pop culture. Musicians who have emerged from the genre such as Papa Wemba, Koffi Olomide, and Awilo Longomba, have taken Soukous to new heights, bringing their unique blend of personality and style to the genre. Papa Wemba, born Jules Shungu Wembadio Pene Kikumba, was a Congolese singer especially known for growing the Parisian scene. He was known for his flamboyant style and was regarded as the King of Rumba Rock. Koffi Olomide, another Congolese singer, is famous for bringing Soukous to a younger generation through his innovative use of electronic sounds in his music. Awilo Longomba also from Congo, is often credited with creating a fusion of techno and soukous in his music, making it more internationally appealing. Soukous has also remained popular among West African audiences, especially in Francophone countries like Ivory Coast and Mali. Artists such as Fode Baro and Africando have also contributed to the evolution of Soukous by infusing it with Mande, Cuban and Wolof influences resulting in new sounds like Manding Soukous and Wolof Soukous.

Franco: Franco Luambo Makiadi is considered the king of soukous. He was a Congolese guitarist and composer who created songs that addressed social issues and political commentary. He was known for his distinctive guitar sound and rhythmic style of dancing. Koffi Olomide: Koffi Olomide is a Congolese musician, dancer, and composer. He is known for his energetic and lively performances, using a mix of Congolese, Cuban, and Caribbean rhythms. He has been called the "quadra Kora Man" for his innovative use of electronic instruments. Papa Wemba: Papa Wemba was a Congolese musician and actor who blended traditional African styles with Western pop and rock music. He was known for his flamboyant fashion sense and his memorable performances, which often incorporated theatrical elements. Madilu System: Madilu System was a Congolese singer and songwriter who gained popularity in the 1980s and 1990s. He was known for his smooth voice and romantic lyrics. His music is characterized by a fusion of Congolese and Cuban rhythms. Tabu Ley Rochereau: Tabu Ley Rochereau was a Congolese musician and bandleader who was influential in the development of soukous music. He was known for his dynamic and energetic performances. He was also a political activist and used his music to voice his opinions about social and political issues. Pepe Kalle: Pepe Kalle was a Congolese musician who was known for his deep voice and his ability to blend Congolese and Caribbean rhythms. He was a talented multi-instrumentalist and was also a skilled dancer. Sam Mangwana: Sam Mangwana is a Congolese singer and songwriter who is known for his smooth voice and his ability to fuse Congolese and Cuban rhythms. He has been called the "King of Rumba Congolaise" and his music has influenced artists around the world. Mbilia Bel: Mbilia Bel is a Congolese singer who gained popularity in the 1980s and 1990s. She is known for her soulful voice and her ability to blend Congolese and Latin rhythms. She was also a skilled dancer and was known for her energetic stage performances. Werrason: Werrason is a Congolese musician who was part of the influential band Wenge Musica. He is known for his powerful voice and his ability to mix traditional and modern Congolese rhythms. He has also been a mentor to many up-and-coming musicians in the DRC. Lokua Kanza: Lokua Kanza is a Congolese singer and guitarist who blends African rhythms with acoustic guitar melodies. He has been called a "world music" artist and his unique blend of styles has made him popular among music lovers around the world. He has collaborated with a variety of artists, including Carlos Santana and Richard Bona.

1. "Zaïko Langa Langa - Mwana Wabi" 2. "Pepe Kalle - Roger Milla" 3. "Kanda Bongo Man - Monie" 4. "Awilo Longomba - Karolina" 5. "Madilu System - Ya Jean" 6. "Tabu Ley Rochereau - Maze" 7. "Wenge Musica - Voyage" 8. "Fally Ipupa - Hustler is Back" 9. "Nyoka Longo - Zonga Zonga" 10. "Loketo - Soukous Trouble" 11. "Papa Wemba - M'Zée Fula-Ngenge" 12. "Rochereau & l'Afrisa - Toli Ya Kolela" 13. "Zaïko Langa Langa - Bokulaka" 14. "Koffi Olomide - Loi" 15. "Kanda Bongo Man - Sai" 16. "Awilo Longomba - Coupé Bibamba" 17. "Empire Bakuba - Showman must go on" 18. "Papa Wemba - Maria Valencia" 19. "Madilu System - Si Je Savais Ça" 20. "Wenge Musica - Aile Paris" 21. "Pepe Kalle - Divise par deux" 22. "Koffi Olomide - Selfie" 23. "Zaïko Langa Langa - Osali Mabe" 24. "Kanda Bongo Man - Naloti" 25. "Papa Wemba - Esclave"

One of the most significant books written on Soukous is "The Music of the Congo: Experiencing the Rumba, the Congolese Way" written by Banning Eyre. This book explores the roots of Soukous and rumba and offers insights into the evolution of the genre. In his book, Eyre writes, "Soukous is a dance music that leaves nothing out - not even the great sadness of life. It's complicated and multi-faceted, the rhythm of Congoian life in one song, just as the city's streets tell a larger story of urban African experience." Another book, "Rumba on the River: A History of the Popular Music of the Two Congos" by Gary Stewart, delves deep into the history of Soukous. In his book, Stewart writes, "Soukous is how Africans made sense of their world. It is the most democratic of musics because everyone can participate, from the richest to the poorest." Soukous has not only captivated the hearts of music lovers globally but has received accolades from renowned artists. American musician Herbie Hancock, after attending a Soukous performance, said, "I've never heard anything quite like Soukous. It's so rhythmic and infectious - when you hear it, you just have to move to it." In his memoir, "Soukous Guitarist," renowned musician Diblo Dibala, often referred to as the "Machine Gun," shares his love for the music. He writes, "Soukous is the best music to dance to. It has a pulse that never dies. It's happy, joyful, and can change your mood in an instant." British journalist, David Attenborough, describes the music in his documentary, "The Rhythm of Life": "The music is joyous, and the beat is insistent. The dancers become part of the music; they're not separate from it." Journalist and music critic, Ben Ratliff, describes Soukous in his work, "Every Song Ever: Twenty Ways to Listen to Music Now," as "the sound of a unified space, of a collectively held mood, and of feelings." He writes, "Soukous is a social music that creates a landscape of sound in which everyone can live."

The social and cultural context of Soukous is intimately tied to the historical circumstances that shaped the development of music in Congo. After WWII, Congo experienced an economic boom due to the high demand for its natural resources, particularly copper and diamonds. Congolese musicians found themselves in an environment in which there was a great deal of money to be made, as well as a vibrant nightlife scene in which to perform. This dynamic created the perfect conditions for the emergence of Soukous. One of the major record labels associated with Soukous is the Kinshasa-based Ngoma label. This label was started in the early 1960s by musicians and producers who wanted to create a new form of popular music that incorporated traditional Congolese rhythms. Ngoma’s roster included artists such as Joseph Kabasele, Orchestre African Jazz, and Franco Luambo Makiadi – all considered pioneers of Soukous. Ngoma was highly influential in shaping the production and distribution of Soukous music, and the label went on to produce some of the most iconic Soukous albums of the 1960s and 1970s. In addition to Ngoma, Congolese musicians also made use of the strong independent label market in Europe to distribute their music. Many iconic Soukous albums were recorded in Belgium and France and later released throughout Europe. The success of these albums led to a large number of Congolese musicians migrating to Europe, where they formed new bands and continued to innovate within the Soukous genre. Many journalists played a significant role in promoting Soukous, both within Congo and in Europe. One such journalist was Jean-Pierre Mbelu, who wrote for the Congo-Zaire Music magazine in the 1980s. Mbelu was instrumental in promoting the work of Congolese bandleaders such as Franco and Tabu Ley Rochereau, and his writing helped to give these artists wider exposure both at home and abroad. The technological context of Soukous is also worth mentioning, as it was a genre that was uniquely shaped by the availability of new technologies. The use of drum machines and synthesizers allowed Soukous musicians to create new sonic textures that would have been difficult to produce with traditional instruments alone. This shift towards electronic instrumentation also contributed to Soukous becoming more dance-focussed, as the music became more propulsive and rhythmic.