FC 105

Well, let's get it over with then. I could have posted Osadebe's "Rangers International", "FC Dragons" by Johnny Bokelo or Mokontafe Sako's tribute to "Les Aigles du Mali". But instead I am going to go for a duel between two of the leading figures of the two schools of Congolese music: Franco and his Tout Puissant O.K. Jazz and Tabu Ley Rochereau and his Orchestre Afrisa. Both made a tribute to a Gabonese football team, the Football Canon 105 from Libreville.

Gabon have never qualified for the World Cup. Their team, "Azingo Nationale" (or "Black Panthers"), finished behind Cameroon in the qualification for the 2010 edition, which has started yesterday. They did managed to qualify for the Africa Cup of Nations three times, with their best showing a place in the quarterfinals in 1996. In the 2010 edition they didn't survive the group stage, although they beat Cameroon.
The Black Panthers play their home matches in the Omar Bongo Stadium in Libreville, - which also happens to be the stadium of Gabon's most succesful club: the FC 105 de Libreville. The FC 105, founded in 1975 as the club of the army and the police, was mainly succesful on a national level, winning 11 titles. Their heyday was in the 1980s. They won the championship in 1982, 1983, 1985, 1986 and in 1987.

Given the political situation in Gabon at the time, I am almost certain that president Omar Bongo must have had something to do with this success. And I strongly suspect that he also had a hand in commissioning two of Africa's leading stars to sing in praise of those immortal heroes of the FC 105.

Tabu Ley was the first to receive a commission. He released this lp in 1985, no doubt on the occasion of the fourth championship. In his sleeve notes on the back of this lp Tabu Ley is trying hard to convince us that the release was inspired by his love of football and that the FC 105 had been his team all along. He is careful to avoid mentioning the name of Omar Bongo, even in the name of the stadium (..."dont je tais le nom"). As for the title track, listening to it terrible and traumatic images keep flashin in my mind of le Seigneur dressed in a white sheet prancing 'round the stage in the Melkweg. I have tried to trace the folkloric Gabonese dance "Nzobé" from which the rhythm was borrowed for this track, but have been unable to find a musical example in my collection.
Ley cites FC 105's slogan of "compétence, éfficacité et disponibilité", and names founder, board members and other functionaries with the club, - all signs of a commission....

Personally I prefer the B-side of this lp, which opens with a version of "La beauté d'une femme" sung by Rochereau himself. This song is probably better known in the version sung by Mbilia Bel, which was released shortly after this version. The album is concluded by a track composed by Mekanisi Modero (who happened to feature in the recent Cobantou post).

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Franco's version of "le F.C. 105 de Libreville" was released the same year.
Right from the start of this song it is obvious that Franco's approach of the subject is going to be more subtle. The chorus (heavyweights Josky Kiambukuta, Madilu System and - probably - Lola Djangi Chécain) recalls the foundation of the club, and when the horns set in an anonymous narrator 'officially' (or ceremoniously, if you like) announces the subject of the song. After this impressive opening Franco joins in after two minutes, on guitar first, and after 2'42 on lead vocal.

Tabu Ley once told me in an interview that he started liking Franco's singing in the 1980s. I don't agree; I think he was already a superior backing vocalist, even in the 1950s. And as a lead vocalist he may not have met any belcanto standards, but he certainly succeeded in touching many an emotional button with his audiences. This is, however, not one of Franco's most inspired songs. Like Tabu Ley, he does little more than cite the names of FC 105 big shots and functionaries. In the sebene, after 9'14, the interplay between the guitars is quite interesting, with Franco injecting some short, but clearly recognisable chords.

The B-side features two songs about the darker side of love. The first of these, "Bourreau des coeurs" (which translates as "ladykiller"), was composed by Denis Bonyeme, a singer who Franco had attracted as a (vocal) replacement for Ntesa Dalienst, who had left the T.P. O.K. Jazz in 1984. I can only guess what inspired Bonyeme, and perhaps it is only a coincidence that a french movie with the same name appeared a few years earlier. Curiously the lead vocalist in this song is none other than the man Bonyeme was supposed to replace: Ntesa Dalienst. Although he had moved to Europe, he remained an 'appartenair' (associate) of the O.K. Jazz, and was available for concerts and for recording sessions in the European studios.
Franco's role on guitar was filled in by Thierry Mantuika.

It is also remarkable that Franco played this song during two concerts in the Netherlands in 1984 (one of these - in which Franco himself is playing - can be found here) as well as during a concert in Brussels in 1983, i.e. two years before it was released on lp.

The composer of the last track of this lp is a certain Djo Djo. I don't think this was a member of the orchestra. Perhaps this Djo Djo is singer Djo-Djo Bayingue, who played with Papa Wemba.
Josky, singing the lead, is the main attraction of this song, with the solid chorus coming second.

All and all this is quite a good B-side, and better than a lot of other albums from this period.

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Interestingly enough, in 1986 (a year after these albums were released) president Omar Bongo divorced his second wife, Marie Josephine Kama. She moved on to start a career as a singer, under the name of Patience Dabany. I personally only know her of an album in which together with Tabu Ley (!) she sings a song in memory of Franco (!!)....

But getting back to football, I think the winner of this FC 105 match is clearly Franco. Tabu Ley scores points with his B-side, but sadly makes an own-goal with the A-side. Franco not only impresses with some classic team work, but with the star duo Ntesa & Josky scores some serious goals on the B-side....

Babla

I am sorry for the delay in posting. There seems to be some mild form of flu going 'round. I myself haven't been affected - so far (knock on wood)-, but have had to attend to & serve those who have....

Anyway, I have been planning this post for a while, but kept postponing it. The reason for this is that I have been trying to figure out the truth about the origin of the song "Mokolo Nakokufa". Rochereau claims it as his composition, and given the poetic/philosophic (or - if you like - intellectualistic) content it seems more than likely that this is true. However, it may also be true, as some Congolese sources claim, that Rochereau was 'inspired' by a song Wendo Kolosoy performed, accompanied on guitar by another legend from those early days of Congolese music Honoré Liengo, at the funeral of Paul Mwanga* (see here, here and here) in 1966.
I have come to the conclusion that it seems unlikely the real sequence of cause and effect will ever be revealed.

It does seem a bit ironic, however, that Rochereau claimed to be the heir of Wendo ("Mokitano ya Wendo"), after he invited Wendo (who was unemployed after Ngoma closed down in 1966) to join his African Fiesta National, - only to subsequently treat him with little respect, even to the point where Wendo (and others) was left stranded in Brussels without pay....

The version of "Mokolo Nakokufa" I want to post is not the one by Rochereau (which by the way can by found in this post on the Global Groovers blog), but the one by Sam Mangwana, who was a member of African Fiesta at the time when Wendo joined.
Mangwana recorded this version at a time when he had decided to leave the T.P. O.K. Jazz and (again) go his own way. He was after all, as Franco accurately described him in an interview in 1987, "cavalier seul" ('lone rider'), albeit one with a foot in both 'schools' of Congolese music.

The lyrics are slightly different from Rochereau's version. Sam leaves out the personal references Rochereau made, and Rochereau's final lines about a ndumba (unmarried woman or girl) thinking of what will become of her only worldly goods, i.e. her wig and her clothes. But he also has two additions to the lyrics, the first of these being the addition of "nkisi" (which translates as "medicin"; but usually meaning "traditional medicin" or even witchcraft) as a possible cause of death, and the second are two additional, spoken lines in which Sam also addresses Rochereau with the rather cryptic "Tabou, oh words".

Here is the translation of Mangwana's version, borrowed from Aboubacar Siddikh's YouTube post:

(chorus) Mokolo nakokufa	The day I will day
Mokolo ya liwa	The day of my death
Mokolo mosusu ngai nakanisi	The other day I was wondering
Naloti lokola ngai nakolala	I dreamt as I was sleeping
Aa mama aa Mokolo ya liwa	Ah mother, the day of my death
Mokolo nakokufa nani akolela ngai?	The day I day, who will weep for me?
Nakoyeba te	I don't know
Tika namilela	Let me weep for myself
Liwa ya nzamba soki mpe liwa ya mai	Death in the forest or in water?
Liwa ya nkisi soki mpe liwa ya mpasi mama	Death by witchcraft or of illness
Mokolo ya liwa, mama	The day of my death, Mother
Mokolo nakokufa, ngai moto ya mbongo	The day I will die, I the rich man
Nakanisa nini kaka mosolo o?	What will I think of, but my property?
Nakanisa lopango na bakaminyo	I'll think of my houses and lorries
Nakanisa bana ngai natinda kelasi koyekola	I'll think of the children I sent to school
Mokolo ya liwa, mama	The day of my death, mother
Mokolo nakokufa, ngai moto ya pauvre	The day I die, I the poor man
Nakanisa nini kaka bana na ngai?	What will I think of but my children?
Nakanisa kaka mpasi ya mokili ezali kotikala	I'll only think of the problems of the world that will be left
Mokolo Nakokufa	The day I die
Mokolo nakokufa ngai moto ya kwiti	The day I die, I the drunkard
Nakanisa kopo ya masanga na ngai	I'll only think of my glass of beer
Nakanisa nini kaka suka ya sanza	What will I think of but the end of the month
Tango namelaka ngai na baninga	When I used to drink with my friends
Aa mama, mokolo ya liwa	Ah mother, the day of my death
Mokolo nakokufa nani akolela ngai?	The day I die, who will weep for me?
Nakoyeba te	I don't know
Tika namilela	Let me weep for myself
Liwa ya nzamba soki mpe liwa ya mai	Death in the forest or death in water?
Liwa ya nkisi soki mpe liwa ya mpasi mama	Death by witchcraft or of illness?
Aa mama, mokolo ya liwa.	Ah mother, the day of my death
(spoken) Liwa, elombe ayaka nayo centre na la vie	Death, the hero who comes with you to the centre of life
(spoken) Tabu, O Maloba	Tabu, Oh, words!
Mokolo nakokufa ngai moto ya kwiti	The day I die, I the drunkard
Nakanisa kopo ya masanga na ngai	I'll think of my glass of beer
Nakanisa nini kaka suka ya sanza	What will I think of but the end of the month
Tango nakutana ngai na baninga	When I met with friends
Aa mama, mokolo ya liwa	Ah mother, the day of my death
(chorus) Mokolo ya Liwa	The day of my death
Mokolo nakokufa	The day I will die

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This is not all.
I also would like to share this single with you which Sam Mangwana recorded just before or even while he was working with Franco. It is from 1973 and features Sam with a group called "orchestre Beya Maduma". This Beya Maduma was a sax player who in the sixties played with Negro Succes, and in the mid-seventies with orchestre Vévé and from there with Bana Ngenge, before moving to Abidjan and working on the famine relief project 'Operation Africa' in 1985. My favourite of these two songs, both of which are very much in the African Jazz/Fiesta style, is the B-side "Bigina", which sounds very 'live' and offers Sam the opportunity to use some of his crooning skills.

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And talking about Mangwana's crooning skills, here is a rather mysterious, undated track which will certainly hit home with all fans of Mangwana. It is a total mystery to me why these songs have never been released in digital form, and especially the B-side, titled "Babla". It is not without a reason that this post bears the title of this song, which I consider to be a highlight in Mangwana's extensive career. The song fits Sam like a glove, and shows him in brilliant form. It is obviously aimed at the east-african audiences with a mix of lingala and swahili in the lyrics. Note also the great accompagnement.

I am sure there must be someone who can tell us more about this song, the musicians, - and perhaps even the circumstances of these recordings?

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PS (May 1, 2010): I see I have forgotten to post a link to Flemming Harrev's website ("unofficial homepage"). Essential information about Mangwana.

EDIT October 31, 2011: I've changed the link for the first single.

EDIT November 5, 2011: *the funeral apparently was not of Paul Mwanga, but of another Paul: the musical pioneer from 1940s Brazzaville, Paul Kamba.