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this weekend i found a really neat soukous record from the ivory coast at a record store so i thought i’d share a little clip with you. african records are notoriously hard to find in good condition so be mindful of clicks and pops. that’s all part of the charm though, isn’t it?
One of my local record shops has a bin of African LPs labelled “Our supplier in Benin,” which is a wonderfully specific attribution. I would love to have a Man in Belize, a Backer in Brunei. (I’d even take a Woman in Longueuil.) The owner was contacted by a record store clerk who offered an interesting proposal: the Montreal shop would send along its common-as-dirt western pop records (your Eltons, your Streisands, your James Taylors), and their Beninese counterpart would send their own equivalent local basics. A win-win, especially for slavering Afro-pop simps like myself, who get trembly at the very sight of sleeves with school picture day-quality photos of people in killer leisure suits over bright solid-coloured backgrounds with a load of text in a foreign language.
Nyboma is one of the bigger soukous stars in the Democratic Republic of the Congo, a songwriter and tenor singer who has been performing for over half a century. Unlike a few of the African singers in my collection, he’s easy to find info on, and even a few lyrics—in fact, 1981’s “‘Doublé doublé’” is enough of a classic that there’s a video from this decade with over 6.4 million views of cats dancing to it at a wedding like it’s “The Electric Slide”:
youtube
youtube
When I reviewed an Empire Bakuba record a few months back, the group led by Nyboma’s frequent collaborator Pepe Kalle (that’s him introing the video above), I wrote a summary of the soukous genre for the unfamiliar that I’ll recycle here:
“A Congolese form, marked by giddy rhythms and sugarcane guitar improvisation, usually led by a charismatic vocalist who doubles as a hype man. With roots in American R&B and Cuban rumba, it’s a kind of pan-Black form of music—and yet, the guitar style is also faintly reminiscent of bluegrass, a genre whose Black roots are a bit further removed.”
Nyboma’s tenor is high enough it could easily be taken as a woman’s voice and he has a smoother touch in general than Kalle does—he’s not calling out dance moves or doing crowd work. He’s cut from the same angelic stuff as that super-clean soukous guitar tone, the part of “‘Doublé doublé’” that would give a no-dancing township pause despite the obviously [dogwhistle adjective] rhythms. The rumba roots show through pretty strongly in Nyboma’s music, too, which verges on calypso at times. The highlight of the LP is “Papy Sodolo,” a floating down the river sort of number with a languid guitar lead that makes me think of Les Paul wearing water wings.
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