Clear as a Bel: a true diva returns.

MBILIA BELISSIMO

MBILIA BEL

Sterns

CAT: STLD 1098

Mbilia Bel is often described as the first true pan-African female singing star--even if others such as Miriam Makeba might also claim such fame. But what is undeniable is Mbilia Bel's huge popularity during the 1980s, when she captured the imagination and adoration of music fans across the continent.

During this period, two of the biggest names in African music were the Congolese bandleaders Franco and Tabu Ley Rochereau, whose orchestras continuously vied for the top spot. Mbilia Bel burst onto the Congolese music scene when she joined Rochereau's band Afrisa International in 1981. But Mbilia Bel had begun her performing career five years earlier, when, inspired by the Togolese singer Bella Bellow and at the tender age of 17, she began singing backup vocals for Abeti Masikini (another legendary Congolese female singer) and later Sam Mangwana.

However, her great beauty, superb voice and exceptional dancing seemed to only come to the fore when she joined Rochereau's Afrisa International. The band's live shows suddenly became sellout events, and Afrisa International's recordings became best sellers.

SCOOPING THE HONOURS

Her first recording with Rochereau's Afrisa International, released in early 1982, was entitled Mpeve Ya Longo (Holy Spirit). It is a searingly emotional song about an abusive husband who eventually deserts the matrimonial home, leaving the wife to raise their four children single-handedly. The song was an instant hit, especially among the women of then Zaire (now DR Congo) who could all too easily identify with the song's lyrics.

Her follow up first album with Afrisa International, released in 1983, was also a huge hit. Eswi yo wapi, which translates to 'where did it hurt you?' (ie you got what you deserved) was co-composed by both the band leader Rochereau and his new singing star. The album's title song won the award for the best song of 1983 in Zaire. The group also won the top band award, and Mbilia Bel scooped the prize for the country's best new performer.

Thanks largely to Mbilia Bel, the popularity of Rochereau's Afrisa International was soaring. In 1984, Rochereau attempted to break through in the USA. But he badly misjudged what the US audiences were really craving, and attempted to cross-over--getting his band to play standard soul numbers when what was really in demand was that infectious Congolese dance music that the fans knew from Afrisa International recordings.

Shortly after returning from this tour Mbilia Bel formally married Rochereau and her songs continued to be the mainstay of Afrisa International's output.

Among those songs was Mobali na ngai wana, (This Husband of Mine) composed by Rochereau and Roger Izeidi and an adaptation of a Kikongo traditional song. In the song, Mbilia Bel praises her husband as being handsome and successful and stresses the fact that even though he has the opportunity to choose from any of Kinshasa's beautiful women, he chose her.

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TEMPTING FATE

Perhaps it was tempting fate to sing such lyrics. In 1987 Rochereau had recruited another female artiste to accompany Mbilia Bel--Faya Tess. It was against this backdrop that Afrisa International embarked on a tour of East Africa that took in Kenya, Tanzania and Rwanda.

Upon their return to Kinshasa, rumours swirled of a split between the band leader and his singing star--although both publicly denied having any problems. Yet Mbilia Bel quit the band late in 1987 to embark on a solo career. Following her departure, the popularity of Afrisa International plummeted and Rochereau's recording output dwindled.

Mbilia Bel briefly joined with a Gabonese producer Gustave Bongo in Libreville, before leaving for Paris where she joined forces with guitarist Rigo "Starr" Bamundele.

Her first album with Rigo Starr was entitled Phenomene and was a huge success both in Congo and overseas. But after this debut album, Mbilia Bel's career took a downward spiral with subsequent releases such as Yalowa, Desole and Exploration meeting more limited success. Many cite Rigo Starr's increasing experimentation with synthetic electronic arrangements as the key reason for this decline.

But in 1995, Mbilia Bel's LP Boya Ye was released by Stern's African Music label. That album relaunched Mbilia Bel's international career, although since then her output has been somewhat sporadic. She released her last album fully four years ago. But this new CD has been worth the wait. All the magic of that crystal clear voice is in evidence.

The executive producer of Mbilia Belissimo is the legendary Ibrahima Sylla, whose career spans such important recordings as Salif Keita's Soro in 1987 to this year's West African masterpiece Mandekalou--The Art and Soul of the Mande Griot. Souzy Kasseya, the revered Congolese guitarist, handles the arrangements and musical direction. He is joined on guitars by Dally Kimoko, Yves Ndjock and Olivier Tshimanga.

In an interesting pan-African experiment, Kandia Kouyate, the Malian singer features as special guest vocalist on one of the tracks--"Droit a l'amour".