Francophonic - Vol. 1: 1953-1980

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Francophonic - Vol. 1: 1953-1980 album cover
Album Information

Total Tracks: 28   Total Length: 148:14

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What else is there to say...

mkula

Ok, so I checked out this CD after hearing a snippit on NPR. And wow, what can I say? Great. All the way around, though I am a neophyte with world music, it has me on the hunt for more. What else have I been missing? Oh, and from the first time I put it on, my three year old son can't stop asking to hear it again, nor can he stop dancing when it's on! Enough said.

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Lon vivent le Grande Maitre!

emusicsincemay2002

Franco was so prolific (and so damn good) no one collection can really do him justice, even one taking up several CDs. For those new to him, this chronological career review is a great place to start. ("AZDA" and "Alimatou" can also be found on the very good non-chronological Cantos "Classic Titles" collection and three early OK Jazz cuts are on the RetroAfric "Originalite" set, both available for download here.) The man was a true genius, as important and influential to African pop music as James Brown or Ray Charles were to American R&B and an incredible guitarslinger to boot. Whether you're interested in Afropop or just want to hear some great music, you should check him out. Really.

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C'est Formidable!

mustapha77

Franco was a musical genius and the previous reviewer is spot on. This collection is very well compiled and I am totally enjoying it. Sansi Figomangoma is brilliant..

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Too good !!!

samaraofseil

Wow, this really is too good. As far as I can work out everything's chronological starting with a track from his first ever session in 1953 and ending (this vol. anyway) with an amazingly poignant track from 1980. But the whole thing flows, it's not musicological at all and everything kind of hangs together in a way that finally 'tells the story' of a musician who many would reckon is the greatest that Africa has yet produced. From his early years check "Sansi Fingomangoma" (CD1/7) with it's spoken intro and compulsive rhythm and, as he moves towards a more fully mature sound, what about "Liberte" (CD2/8) with it's fantastic guitar-play about 2/3ds of the way through? And while you're about it there's always the best-ever ad for Volkswagen, 1973's "AZDA", the name of VW's (sung "vey-wey") agent in Kinshasa at the time. Vol. 1 suggests that there's a vol. 2 on its way. Oy!

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They Say All Music Guide

As his recording career stretched over about 35 years and more than 150 albums, it would be impossible for any Franco compilation, even a two-CD one, to give but a taste of his overall work. If you’re willing to accept the limitations inherent in a two-CD set for such a prolific artist, however, Francophonic does a pretty good job of both assembling highlights from his discs and providing some sort of outline to his musical evolution. It samples from numerous eras over the course of its 28 tracks, spanning the years 1953-1980 and lasting a good two and a half hours. In some ways it reflects the changes in African popular music as a whole during this period. It almost sounds a little like a light fusion of Latin and jazz influences in its early rhumba-like tunes, growing toward a more steadily rhythmic and ebullient Zairian sound by the end of the ’60s, and stretching out into far longer groove-oriented pieces on the ’70s recordings that take up most of disc two. It’s important to remember, however, that guitarist-songwriter Franco was not simply following trends, but was among the most prominent initiators of these developments in African music. The cluster of recordings from the early ’70s on this set seem to be the ones in which he both cements his musical vision and lays down some of his best tracks, particularly in the more haunting tunes that include some call and response vocals, and the tougher outings that contain some of his most forceful guitar work. The 48-page booklet presents an historical overview of his life and music (in both English and French), though some might find it frustrating that more thorough discographical information beyond the original years of release isn’t included. It can be a little confusing for Franco newcomers in particular to get a handle on the personnel he used as well, though to be fair to the compilers, discographical data is hardly an easy thing to acquire for African recordings of this vintage, and the booklet does list years of service for many of the singers and musicians with whom Franco played in his bands. – Richie Unterberger

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