Lucie Eyenga: Difference between revisions

| associated_acts = [[African Jazz]]<br />[[Rock-Aa-Mambo]]<br />[[Negro Band]]<br />[[African Fiesta Sukisa]]

At Opika, she proved herself to be an improvisational and expressive singer, as well as an accomplished musical arranger. Her songs placed an emphasis on vocal harmonies, and hits such as Ohé Suka ya Rhumba and Mokili Makalamba endeared her to a generation<ref>{{cite book|last=Stewart|first=Gary|title=Rumba on the River: A History of the Popular Music|date=2000|publisher=Verso|isbn=1859843689|page=68}}</ref>. She was soon noticed by Joseph Kabasélé, and her reputation continued to grow as a member of the orchestra [[Le Grand Kallé et l'African Jazz|African Jazz]] between 1954 and 1956. Towards the end of the 1950's with the close of the Opika label, Eyenga transitioned to the [[Editions Esengo|Esengo]] label as did many colleagues of the time. Her career continued to reached new heights between 1957 and 1958 with the orchestra Rock-A-Mambo where she contributed to such hits as Brigitte, Mabe na yo moko, Dit moninga, Nasepeli mingi, and Zozo moke. Following the closing of Editions Esengo and the breakup of [[Rock-Aa-Mambo]], in 1960 her career took a brief hiatus until she reappeared in Brazzaville with the orchestra Negro Band where she recorded the memorable songs Adoula and Georgette. In 1983 she again resurfaced to play with [[Nico Kasanda|Nico Kasanda's]] l’African Fiesta Sukisa.