A key figure of Congolese music was "Franco" (Francois Luambo Makiadi), the guitarist who in 1958 evolved the O.K.Jazz into the 20-member T.P.O.K.Jazz (including saxohpnist 'Verkys' Kiamanguana Mateta) and was largely responsible for the relaxed, sensual, languid version of soukous that became predominant, a sound pioneered with songs such as Cherie Zozo (1963), Ngai Marie n'zoto (1965), before the 1967 arrival of guitarist Mose Fan Fan led to the more lively sound of Djemelasi (1972), Luka Mobali Moko (1973), Azda (1973), Bomba Bomba Mabe (1975), Cherie Bondowe (1976), Propretaire (1979). His best album was perhaps Omana Wapi (1976), a collaboration with Tabu Ley containing only four lengthy dances. Franco's songs were tailored for everyday people, and, consistently, he closed his career with the soukous-opera Mario (1985) and the 15-minute sermon Attention La Sida (1987).
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