I am a little bit dissapointed. Because I excepted alot for the second part and Mbuta also said that he would use our question, but he didn't. I excepted that he would explain what led to their long hiatus of 1987 to 1990, the short rivalerly they had with Wenge Musica and what the problem between Verckys and Emeneya was. But Pinos just said the same thing what he said the many other interviews he did on youtube.
The only points who were new were that they Emeneya paid dowry to his first wife Francine when they just started Victoria Eleison and that Jadot le Cambogien (who was still in Viva la Musica) was their witness, which surprised Mbuta Likasu because Viva and Victoria were rivals.
Pinos also said that he disagreed with the artistic direction of Mokosa. That Nzinzi made them disconnect with their public and from then Victoria being down and Wenge Musica a few moments after it profiting from it, because they came out with their rhythm. Pinos going further by saying that the song Nzinzi was meant for the Kwassa-Kwassa album that came out in 1987. But him not liking the way there was sebene and the trumpets of TP OK Jazz (Ok Jazz also participated to that album, Franco gave them to Victoria Eleison out of gratitude for the guitarists of Victoria Eleison participated to his song Attention na Sida). This made Emeneya get Nzinzi out from that album and recording it on his own adding the songs Lusala, Mela Primus and Kisiwu to make it a solo album of it, in order to enter the international market. Because Emeneya wanted to get Congolese music getting known everywhere in the world and saw it was stuck in our own community.
To come back to Mokosa, Pinos was not liking the way they were copying Yvon Chaka Chaka and Bob Marley and the way Emeneya was dictating him how to play bass. This made reserve bassplayer Fellycko Mbuji Mayi playing most songs on that album, except the song Riva Dimbala which was played by Pinos himself. In that song he had normally to copy the bass-line of one of Bob Marley's song I forgot the title. But he refused and played it in a different way.
Towards the end he said that late Otis Koyongonda "mutu na libandi" to go to Europe for their trip of 1991, but him messing it up by saying to Emeneya after their last concert in Kinshasa "you will see when we are in Europe". This made Emeneya leave him behind while there was a ticket and visa for Otis. I also discovered that Adricha Tipo Tipo had already a big mouth in that era. Like the trip of 1986 it was planned that they would go with 2 drummers. But he missed the trip, by saying to "If we are not travelling, you can say it already" while Emeneya was discussing with Pinos, Safro, Mongoley and his admin about trip a few hours before taking the plane. It made Emeneya furious and decided directly to take 3th drummer Maneno Molenga to Europe instead of Adricha Tipo Tipo.
