keletigui et ses tambourinis @ 45tours

Singles compilation featuring another of Guinea's wondrous state-sponsored authenticité outfits. Collection is now complete, adding another Franklin Boukaka 45 and the b-side of the Tambourinis' final single, a fitting farewell ballad. Enjoy.

keletigui et ses tambourinis
tambourinis @ 45tours
complete syliphone singles 1968-72

01 Soundiata 1968 5.51
02 Nosotros 1968 5.00
03 Famadenké 1968 3.58
04 Cigarettes Allumettes 1968 3.22
05 Kesso 1970 3.05
06 Chiquita 1970 3.04
07 I Boyein-Boyein 1970 3.41
08 Tambourinis Sax Parade 1970 4.46
09 Quinzan 1970 3.06
10 Il Tomatero 1970 4.02
11 Banankoro 1970 4.20
12 La Loma de Belen 1970 2.56
13 J.R.D.A. 1970 5.02
14 Guarjira Con Tumbao 1970 3.14
15 N'Nadia 1970 4.43
16 La Bicycletta 1970 5.14
17 Ilole Gbanina 1970 4.00
18 Tambourinis Cocktail 1970 4.28
19 Kiss My Noose 1970 2.46
20 Mi Corazon 1970 4.53
21 Munu Ngiedi (w/ Franklin Boukaka) 1970 3.02
22 Kitoko Mingi (w/ Franklin Boukaka) 1970 3.54
23 M'Bongi Eyi (w/ Franklin Boukaka) 1970 3.04
24 Tata Aleleti (w/ Franklin Boukaka) 1970 2.42
25 Donsoké 1972 4.04
26 Guanguanco a Todos Los Barrios 1972 4.38
27 Beni Yarabi 1972 4.21
28 Gerona Son 1972 3.49
29 Miri Magnin 1972 5.04
30 Marie 1972 4.30

from cd, vinyl and downloads

zaire: musiques urbaines à kinshasa

The tale of how a collection of Congolese thumb pianos provided the missing link between punk, techno and all points in between, has taken 25 years to tell. And like fellow music visionaries across the globe, the remarkable sound they created was forged in the most desperate of circumstances and in the harshest of places.
Konono No 1 emerged from the Angola/Congo border bush and relocated to Kinshasa, steeped in the traditional Bazombo trance music. They amassed a collection of differently pitched likembé (thumb pianos, or metal rods attached to resonators and pick-ups), plus pots, pans, cutlery, microphones adapted from car parts, whistles, massed vocals passed though megaphones and a massive sound system.
This remarkable, unique noise soon garnered a fanatical following at home. The DIY nature of their equipment provided an integral, distorted sound, a healthy hum seeping into every rhythmic pause. The combination of all these elements created something notably African in pace and texture, coincidentally nodding to Western electronica.
The likembé merge to provide a brutal, hypnotising beat, the cousin to The 13th Floor Elevators' electrified jug or John Cale's manic viola. The rapid intensity of rhythm matches the finest exponents of Krautrock, occasionally drifting close to the confused energy of Aphex Twin or Autechre, with the damaged tempo of Beefheart or Marc Ribot slithering in.
It could really be from anywhere, at any time; its rawness at odds with the slow fall towards slickness and a polished, homogenised sound so sought after these days. And like all the best music, it needs to be played loud, as loud as their legendary, dizzying live performances...
This music comes from somewhere unknown and offers hope that there are worlds of music out there, unexplored and waiting to be discovered.
- Dale Shaw BBC (UK)

zaire: musiques urbaines à kinshasa
ocora c559007 hm65 (1987)
Recorded live November 1978 Kinshasa

cd @320vbr
01 ORCHESTRE SANKAI Rythme Kuatankuaka 14.25
02 ORCHESTRE TOUT PUISSANT LIKEMBÉ KONONO No. 1 Mungua-Mungua 26.50
03 ORCHESTRE BAMBALA Animation Kifuti 9.25
04 ORCHESTRE BANA LUYA Animation Bana Luya 23.05

super-expanded dual-cassette set @192
01 ORCHESTRE BANA LUYA Animation Bana Luya 28'50
02 ORCHESTRE BAMBALA Animation Kifuti 28'33
03 ORCHESTRE SANKAI Kuata Nkuaka 28'16
04 ORCHESTRE T.P. LIKEMBE KONOKO (sic!) Mungua-Muanga 28'41
05 ORCHESTRE T.P. TULU LISANGA BANGANGA Animation (unnamed) 15'14 (extra track!)
(see Bolingo69's comment)