Congolese guitarist, singer, conductor and composer François Luambo Makiadi (Franco) “the wizard of the guitar” was Africa's most important musician of the 20th century; he was the biggest. My opinion is amply supported by the recent release of two double Francophonic retrospectives Volume 1 (1953-1979) and 2 (1980-1989). The sets demonstrate Franco's incredible longevity, prolificacy and innovation. From 1950 until his death in 1989, he recorded more than a thousand songs, created a dominant style of African guitar playing, trained generations of musicians, and achieved a status equivalent in Africa to that of Elvis or the Beatles in the West. These collections allow the listener to discover not only the evolution of a musical genius, but also the history of one of the greatest dance traditions in the world, the Congolese rumba. 1953-1979 charts Franco's progression from leading Afro-Cuban guitarist to master bandleader. 1980-1989 features smooth guitar work and the distinctive sound of the fully mature rumba of TPOK Jazz (Tout Puissant Orchestra Kinois or omnipotent Kinshanan Orchestra). Both collections include a 48-page booklet filled with photos, recording notes, translations and biographies. Compiler Ken Braun has distilled Franco's vast catalog into twenty-eight essential tracks on the first set and thirteen on the second; even the most fanatical Franco-philes are full of praise for his choices. I prefer the second for personal reasons (memories of my lost youth working in Africa) and musical reasons. In the 1980s, OK Jazz spanned long, complex jams (sebenes) of percussion, guitars and horns, which built up tempo and rhythm, sounding a bit like an Afro-Latin Grateful Dead. Franco was popular throughout Africa. Living in 1980s Cameroon, Franco's music...... middle of paper ......bleeds, punctuated by horns, and occasional refrains from Franco's favorite singers, culminating with the sebene, a race between drum and guitar. Guitar skills intact, an aging Franco began using his rich baritone to warn listeners about the social issues of the day. The complexity and depth of these epics earned him the nickname “Balzac of Africa”. Braum's tight selection isolates the listener from Franco's later misfires (drum machines and sometimes monotonous instrumentation). 1980-1989 is a triumph and amply demonstrates why OK Jazz was revered and all-powerful. Franco and OK Jazz were one of the biggest bands in the world. Congolese music unfortunately remains under-represented. You owe it to yourself to discover Franco's musical legacy and these CDs. Franco's music remains as vital and exciting for me after thirty years of listening and dancing...