Franco Luambo Makiadi Presents Les Editions Populaires, weer een prachtig uitgevoerde release op het Planet Ilunga label.
A 2LP compilation about the early years of Franco`s (O.K Jazz) label Les Editions Populaires. Late sixties and early seventies Congolese rumba, bolero & more. Authorized by the estate of Franco Luambo Makiadi. Total running time: 80’36’’
A1. Ku Kisantu Kikuenda Ku (4:42)
A2. Lolango (3:03)
A3. Agardja-Dja (4:48)
A4. Na Bolingo Conseil Ezali Te (4:43)
B5. Congo Mibale (3:33)
B6. Minoko (7:23)
B7. Edo Aboya Ngai (6:22)
B8. Lolo Soufire (3:36)
C9. Kamalandua (5:49)
C10. Mobali Na Ngai Azali Etudiant Na Mpoto (4:10)
C11. Tembe Na Tembe (5:43)
C12. Lola (5:03)
D13. Mosaka Ya Kilo (4:34)
D14. Nzela Claude (5:410)
D15. Mokili Macaramba (5:34)
D16. Sukola Motema Olinga (5:20)
D17. Outro "Moi, C`est L`Originalité" (0.28)

"Indépendance Cha Cha” was an historic song, not only because it immortalized Congo’s independence in its lyrics, but also because it was the first single published by a Congolese-owned record label. Joseph Kabasele’s label Surboum African Jazz indeed paved the way for several Congolese musicians to become record publishers. It resulted in the 1960s in a plethora of newly found Kinshasa-based record labels, run by the biggest musicians of the time.

With this new series “Les éditeurs congolais”, Planet Ilunga aims to honour and highlight the phonographic and entrepreneurial work of those first Congolese record label bosses. We kick off with a compilation of one of the most significant labels, Les Editions Populaires. This label, founded by Franco Luambo Makiadi in 1968 after he first co-founded with Vicky Longomba the labels Epanza Makita (+/- 117 singles) and Boma Bango (+/- 50 singles) and after starting his first short-lived label Likembe (+/- 5 singles), ran until 1982 and was mostly dedicated to the output of OK Jazz (later TPOK Jazz).

This compilation brings together an original selection of 16 tracks from the first three years of Les Editions Populaires. They are a showcase of the sound Franco had envisioned for his band. The focus was less on cha-cha-cha and Spanish lyrics, but on lingering rumba and bolero ballads in Lingala, tradition-rooted songs in Kikongo, Kimongo and even Yoruba, collaborations with Ngoma artists Camille Feruzi and Manuel d’Oliveira and not to forget solid pastiches of American funk, which were showing that the OK Jazz musicians had an open-minded view on music and were capable of excelling in many genres. Mama Na Ngai indeed!