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"Soul Makossa" is a song by Cameroonian saxophonist and songwriter Manu Dibango, released as a single in 1972. It is the most sampled African song in history. [1] The song was originally recorded as the B-side for "Hymne de la 8e Coupe d'Afrique des Nations", a song celebrating the Cameroon national football team's accession to the quarterfinals of the Africa Cup of Nations football tournament ...
In 1982, Michael Jackson used the "Ma ma-se, ma ma-sa, ma ma-kossa" hook from Dibango's 1972 single "Soul Makossa" without his permission and without credit for his 1983 song "Wanna Be Startin' Somethin'" from his superhit 1982 album Thriller. When Dibango found out he considered suing the megastar, but Jackson was quick to admit that he ...
The style began to take shape in the 1950s though the first recordings were not seen until a decade later. There were artists such as Eboa Lotin, François Missé Ngoh and especially Manu Dibango, who popularised makossa throughout the world with his song "Soul Makossa" in 1972. It is the most sampled African song, in history to date. [5]
Now under the name Lafayette Afro Rock Band, they released the album Soul Makossa (also known as Movin' and Groovin' in the United States) in 1973. [4] The title track was a cover version of Manu Dibango's international hit, "Soul Makossa". Though it failed to chart, the album made an impact years later.
Later in the 1960s, modern makossa developed and became the most popular genre in Cameroon. Makossa is a type of funky dance music, best known outside Africa for Manu Dibango, whose 1972 single "Soul Makossa" was an international hit. Outside of Africa, Dibango and makossa were only briefly popular, but the genre has produced several pan ...
The coda at the end of the song - "Mama-say mama-sah ma-ma-coo-sah" - is a variant of a lyric in Cameroonian saxophonist Manu Dibango's 1972 disco song "Soul Makossa". [11] [8] Makossa is a Cameroonian music genre and dance. Dibango sued Jackson and, in 1986, settled out of court for one million French francs, agreeing thereby to waive future ...
His style merged Cameroonian makossa with classical guitar, jazz, pop, and electronics, [9] and was considered by critics to be groundbreaking, "intellectual, humorous, and profoundly sensual". [3] He sang in Duala, English, and French. [9] Bebey helped launch the career of Manu Dibango. [10]
With Manu Dibango. Dangwa & Oboso (Atlantic, 1972) O Boso (Fiesta, 1972) The Original Soul Makossa (Atlantic, 1972) Weya & Moni (Atlantic, 1973) With Maxime Le Forestier. Mon Frere (Hispavox, 1972) Maxime Le Forestier (Polydor, 1973) Enregistrement Public (Polydor, 1974) With others. Pepper Adams, Live in Europe (Impro 1977) Graeme Allwright ...