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Matthew LaVoie’s Fantastic Orchestre Kiam History

Matthew Lavoie found me through this very website because I was nerding out and blogging about my favorite band Orchestre Kiam. We had some correspondence on the band (which was wonderful, as I often feel I have no peers regarding this matter), and I’m proud to have contributed some info and recordings to his comprehensive history of the great 70s Kinshasa band Orchestre Kiam. Check out this Afropop Worldwide post on Lavoie’s work and the band. Be sure to click all the links, and if you like classic Afropop and soukous music, check out the free ZIP downloads.

Here’s one of precious few photos of the group known to exist:

Orchestre Kiam

Orchestre Kiam

Kiam Collection Is Now Complete!

Orchestre Kiam Super Hits Vol. 1 Front Cover

Kiam Super Hits

I finally found the last two Kiam songs that I hadn’t heard! This LP popped up as an auction on eBay a couple weeks ago and I jumped on it. I have been looking to collect all the Kiam songs on vinyl, which I assume will be a years-long project. This is the third of the four Kiam LPs that I have now (they have a lot of 45s as well).

However, I was also missing two songs from my digital collection of Kiam songs, and in fact had never heard them at all. Yule and Namaraley are on this record, and I now have the whole Kiam discography in some form or another.

I listened to them for the first time yesterday. It’s a collector-grade piece of vinyl, very clean jacket and record, and it plays perfectly (this means I’ll have better versions of Mbale, Makonda and Azangai too, as soon as I get around to ripping them). I paid an awful lot for it, more than I ever expected I would. There were other bidders but in the end I was willing to spend whatever it took, and I scared them off when they weren’t able to outbid me.

As for the unheard songs? I see why no one bothered to put them online as of yet, they’re comparatively pretty weak. But they have their moments, and I’ve satisfied my completist desire for the whole catalog.

Also of great interest was the rear jacket, which has some great biographical info on it including a mantion of Lita Bembo playing in the group at one time. I had no idea about that.

Orchestre Kiam Super Hits Vol. 1 Back Cover

Kiam Super Hits

The text on the rear jacket (complete with spelling and syntax errors):

Orchestre Kiam is not a new name in the music world as when most of us hear the name of this group we are reminded of their Top Single such as MEMI, KAMIKI, YANGA YANGA –  to name but a few. This group was formed only three years ago but as a result of their efforts they have managed to get themselves a good place in the Top list of best players of Zaire in 1976 and so they were sent to Lagos Nigeria during the Black African Festival.

The name KIAM in it’s long form means KIAMUANGANA so when you hear this you know undoubtedly that Kiamuangana Mateta – the Pop star is involved in one way or the other. I should say he advises them in the musical field and arranges orchestration. It is his own band but he doesn’t play with them. The group is composed of very special members whose functions apart from playing istruments are known for their compositions – people like Kanza Rayon, Muzola Ngunga, Bamueniki [Mwana-Moni  Afinda]  Lita Bembo, Nkodia via Nkodia to name but a few.

This is KIAM’S first LP in their super Hits series and includes the latest and newest hit “MBALE” by mfui Mwane as well as “AZANGAI” by Shgungu. 

Join us and keep up to date with orch. Kiam.

I Realize No One But Me Finds This Exciting

But I found a new image of Orchestre Kiam that I’d not seen before. Also I read that both guitarists are now dead, as are a lot of the musicians from the golden era in Kinshasa. I guess there wasn’t much hope of a reunion anyway.

Orchestre Kiam Band

There was also a Kiam song on YouTube that I hadn’t heard, posted a couple of weeks ago. Mayika is the name, and now I’m only missing two songs: Yule and Niamaraley(sp?)

This is a great song, classic sebene riffs and a very nice ensemble vocal call. See what you think:

Kiam – Lola

This is a first for me; I’ve digitized a song from a 45RPM record, converted it into a video, and uploaded it to YouTube for everyone to hear.

Some months ago I decided to try and collect the entire Kiam discography on vinyl. This will likely be a very long term project, but for the meantime I’d be happy to at least have heard all of their songs. There are a small number that I know exist but I’ve not heard. This one is from a single released in their early career. I prefer their songs from the late 70’s, but this one is lovely too.

A good chunk of the Kiam digital recordings that I have came from YouTube and online converters. So this is my way of giving back, as this song did not exist online anywhere before my upload, as far as I can tell.

More to come later. I have another to upload shortly.

Sound of Syllables

I’ve never been a fan of poetry on a page. But since I started writing lyrics for this project (I hadn’t written lyrics in a very long time prior to this, long enough that my previous work is basically just teenage breakup angst), I’ve really observed that setting words to music adds something. Something that’s hard to put your finger on. It’s a piece of the puzzle, the whole story of a work, in a similar way that a music video will add yet more depth to a song. How much more profound is David Bowie’s Blackstar as a result of the accompanying video? The words written on a page just don’t hit as hard, at least they never have for me. In fact, many lyrics in print form I would mistake for completely trite. The song makes the poetry.

The words have to flow smoothly. This can mean they rhyme, and I’m a great fan of double couplet rhyming and deep rhyme schemes. But more important to me is that good vocal lines are always somewhat conversational. The notes in a vocal melody can convey inflection. A meandering line that has a lot of movement might evoke incredulity or anger, depending on the movement and the note order. If you were to speak the lyrics to someone else in conversation, and the sentence lilted up or downwards at the end of a phrase, the vocal melody should reflect that. Paul Simon is the guru of conversational singing, though I constantly look to the entire hip hop genre for great examples as well, whether rapped or sung.

And, the sounds of the syllables need to sit comfrotably on the tongue and in the song. I have often changed words that I like only because I can’t deliver them naturally in the song. Bjork is a master of syllables, probably the best I’ve ever heard. She has such a command of them that she can create striking new timbres with just pronunciations. I’m always amazed when I listen to her.

Paying heed to all these things will make the vocals in a song sound natural, classic, flowing. And the ideas conveyed in the words will come across more clearly and sink in deeper, without the listener being aware of it in a lot of cases. Great songwriting is a marriage of words and music. And lately I can’t get excited about instrumental music. That may be another thing Pollens did to me. I’m addicted to the human voice as instrument. It’s so old, so primal, so ecstatic, so unconscious.

All this is the main reason lyrics are so difficult for me. It’s like a Rubic’s Cube; they have to be approached from so many angles at once.

Viva La Musica

How many more of my undiscovered favorite records is DJ Moos hiding over at Global Groove? Great post, great bands. Never heard Orchestra Viva la Musica before this (though I’d certainly heard of them), and now I’m hooked. This Cherie Lipasa song really burns, and the rabbit hole goes deeper.l'Afrique Danse 360.126

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