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Congolese bandleader Franco (a.k.a. Luambo Makiadi), cranked out sensationally memorable music at a brisk rate for 35 years prior to his death in 1989. I personally own many of those recordings, and love every one. Such consistency means hard work for the would-be compiler, but Congo music connoisseur Ken Braun has risen to the challenge. This package contains the first 2 volumes of an eventual 4-CD retrospective. It starts with Franco’s spare, first studio session in 1953, moves through the sunny rumba of the ‘60s, the expansive and ever more driving sound of the 70s (often called “soukous”) and ends with a recording Franco made alone in a studio in Belgium in 1980, playing most of the parts himself. By that time, the man was a giant, but also a person touched by tragedy, controversy, betrayal, and harassment from the feared Mobutu state in then-Zaire. The image of Franco sitting alone and showing the world that he could be the whole band if he felt like it is both impressive and poignant.
As brilliant as all the music here is, what really distinguishes this offering is the 48-page booklet that accompanies it with rare photos and an excellent written account of Franco’s life and work. Braun blends his skillfully chosen songs into Franco’s biography so that you can listen and read and get something no other Franco release delivers—a true feeling for who the man was. The uneducated country boy with the skill and confidence to command respect in the city becomes the young dandy and hotshot musician paid to drive around Leopoldville (now Kinshasa) on a Vespa modeling the latest fashions to draw customers to a clothing stores. The democratic bandleader known for sharing the limelight with the best musicians of the era becomes the wary and fiercely competitive power player, poaching musicians from other bands, and vying always to turn out the most talked about song of the day.
Throughout, the music soars with brilliant composing, lush vocal and brass arranging, and Franco’s trademark guitar playing—restless, spiky and melodious all at once. Again the notes add much. The irresistible “AZDA” turns out to be an ad for Volkswagen cars. “Mabele,” an early composition by Simaro Lutumba sung by the great Sam Mangwana, turns out to be a macabre musing on mortality—“I am married to maggots. My family is the soil.” And on it goes. The next two volumes can’t come soon enough. On the other hand, this first rate compilation leaves little doubt that Franco will be with us forever.