Author Topic: Was Sec Bidens not noticing that Wemba's shout-outs were killing the songs  (Read 271 times)

Mfumu Vata on: October 03, 2022, 20:53

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Was Sec Bidens not noticing that Wemba's voice of doing shout-outs were to high and disturbing the in Kinshasa recorded tracks ? Last week I tried to listen to all albums done by Wemba after Somo Trop and I noticed that the mabanga's were really disturbing the songs Nouvelle Ecriture recorded in Kinshasa for the albums Bazonkion, Kaka Yo and even  Wemba's own tracks recorded in Kinshasa for the album Maitre d'Ecole.

It's strange because in Somo Trop Sec Bidens and Papa Wemba also worked together. But there the mabanga's were well mixed and not disturbing the songs who were recorded in Kinshasa





Looks like Wemba's time in prison, took all hunger his  away. Because before it, he would often change from arranger after every 3/2 album to avoid monotony. From the start of Wemba's solo-career until Somo Trop it was outside Viva La Musica's style ,hard to define Wemba's own rhythm/style because he was never sticking to one and always changing it every 2 years. He worked with Maika Munan as arranger and artistic director on the albums Foridoles, Pole Position and Nouvelle Ecriture. Then when Wemba decided to prepare Fula Ngenge, decided to work Al Nzimbi and to avoid monotony on that album he added Sec Bidens who worked on 3 tracks with him. He continued to work with Al Nzimbi on A La Une. On Bakala dia Kuba he had Sec Bidens as main arranger/artistic director for his album working along with Wemba's Maurice Poto and Lokua Kanza. Somo Trop was done for a big part by Souzy Kasseya in Wemba's absence and the tracks recorded in Europe by Sec Bidens.


But from Bazonkion it seems that didn't artistically progress anymore, many songs in the albums that followed sounding the same. Maitre d'Ecole is bassicaly Notre Père part 2. Wemba still working with Senado as songwriter and arranger after the artistic failure of Kaka Yo where Senado had a huge freedom.


Wenge1995 #1 on: October 03, 2022, 22:07

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Was Sec Bidens not noticing that Wemba's voice of doing shout-outs were to high and disturbing the in Kinshasa recorded tracks ? Last week I tried to listen to all albums done by Wemba after Somo Trop and I noticed that the mabanga's were really disturbing the songs Nouvelle Ecriture recorded in Kinshasa for the albums Bazonkion, Kaka Yo and even  Wemba's own tracks recorded in Kinshasa for the album Maitre d'Ecole.

It's strange because in Somo Trop Sec Bidens and Papa Wemba also worked together. But there the mabanga's were well mixed and not disturbing the songs who were recorded in Kinshasa





Looks like Wemba's time in prison, took all hunger his  away. Because before it, he would often change from arranger after every 3/2 album to avoid monotony. From the start of Wemba's solo-career until Somo Trop it was outside Viva La Musica's style ,hard to define Wemba's own rhythm/style because he was never sticking to one and always changing it every 2 years. He worked with Maika Munan as arranger and artistic director on the albums Foridoles, Pole Position and Nouvelle Ecriture. Then when Wemba decided to prepare Fula Ngenge, decided to work Al Nzimbi and to avoid monotony on that album he added Sec Bidens who worked on 3 tracks with him. He continued to work with Al Nzimbi on A La Une. On Bakala dia Kuba he had Sec Bidens as main arranger/artistic director for his album working along with Wemba's Maurice Poto and Lokua Kanza. Somo Trop was done for a big part by Souzy Kasseya in Wemba's absence and the tracks recorded in Europe by Sec Bidens.


But from Bazonkion it seems that didn't artistically progress anymore, many songs in the albums that followed sounding the same. Maitre d'Ecole is bassicaly Notre Père part 2. Wemba still working with Senado as songwriter and arranger after the artistic failure of Kaka Yo where Senado had a huge freedom.

If Wemba never passed away, where do you think is career would be right now? Was Nouvelle Ecriture still together prior to his death or were they d'accompagnement?

Mfumu Vata #2 on: October 03, 2022, 23:02

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Just normal nothing special, the way it used to be from 2006-2010 and 2011-2016 (He made a strong comeback with Notre Père, but the combattans-phenomenon killed everything).

People praise WEmba because he's death, but before it people were disrespecting and saying that he was finishing. Most of his concerts in Kinshasa being flops and nobody coming to his freeshows at Freebox. He was occassionaly coming to Guinee Conakry and N'djamena in Tchad and Ivory Coast because of the hit Maria Valencia which made him known there. In multiple interviews he begged combattans to bring concerts back in Europe, since that he wasn't able to pay his house in Europe and no money coming in anymore, because of concerts in Kinshasa being peannuts and nobody buying cds anymore. But combattans and people in Europe would mock him for being finished and calling him Papa Zoba (remember the multiple videos Odon Mbo and Boketshu were making). The scandals with Grace Mbizi, Rihanna Dominguez made it worser along with Emeneya's and Alpatcino's death. Wemba didn't had a contract with Bracongo/Skol or Bralima/Primus anymore like Werra, JB, Ferre and hadn't that influence and fame anymore that Koffi had to attire public to his vip concerts.

Nouvelle Ecriture was still together. He already renamed it Viva La Musica in the mid-2000s from the moment he disbanded the original Viva la Musica that was staying in Europe. But many people kept calling it Nouvelle Ecriture or Nouvel Ecrita. Wemba wasn't giving them a chance anymore after the flop of Kaka Yo. In reality it's the album of Bana Malongi (the second team of Nouvelle Ecriture), guys like Pathy Patchecko, Alpatchino and co being pushed to the door, throwing shots like "Laisser les enfants exprimer" which was making Alpatchino mad lol. Alpa forgot he was the same person who was animating "Lu yambula Bana Nouvelle Ecriture ba confirmer na Zenith, botika musique" which making the musicians of Viva Cour des Grands mad. After Kaka Yo, all musicians of Bana Malongi became first team members.

Wemba wasnt giving the musicians of Viva a chance anymore because in his opinion they weren't mature anymore, with the years coming he realized that they weren't even going forward. Doing zero effort in promoting themselves on tv or their singing skills. Wemba wanted elders like Stino Mubi, Lidjo Kwempa to settle in Kinshasa to coach them, because
he wanted slowly to retire, more being more there for his family. But them having responsibilities and being based in Europe made it difficult. Pompom Miyake who was living in South Africa accepted his offer. Bendoson who was in Lubumbashi for a moment after living for years in South Africa also accepted. Wemba had to present Bendoson for the concert that was planned at Beatrice hotel to present Maitre d'Ecole-album, having JB Mpiana, Werrason, Nyoka Longo as guest. But he sadly passed away a few weeks before it. A maxi single was planned with the remaining Viva La Musica and Wemba wanted to work on a hip-hop album