If you are interested in Congolese or other African music from the countryside played around the 50's, check this out! This is a website that has lots of records from that era, full of valuable traditional and acoustic guitar music:

https://www.forcedexposure.com/SearchResult.html?SearchType=Basic&Type=artist&Key=hugh%20tracey

My main issue is that these guys don't give their band the opportunity to shine like groups leaders did from 2005 and the years before. Everyone wants to go solo after a couple memorable vocals and are shocked when their album flops, that's what disappoints me.

This is because the economic situation of Congolese musicians. I am often among musicians in the UK, I see what's going on. In the Zaire era, the system was something like that sponsorships were many, that bands heavily relied on, and (just like it is still nowdays in Congo), being a musician was a chance to get out of poverty. Now the Zaire era ended, in the new era musicians have to earn money from the music market, that is unfamiliar to them after the old system. And this new era is not favourable for big bands either. Especially abroad. In London, for example, migrated musicians first start in a band like those in Congo. But bands dissolves sooner or later, because financially you cannot maintain a big band abroad. Also, in abroad, earning for a big family is difficult. In Africa if you have a big family, it is hard, but kind of okay, but in a place like UK, if you have a big family, you have more serious responsibilities required by the government as a parent, so if you want to have a big family, you need more money, and this is not possible with a big band or in a way that you are only a musicians but not having a second job besides. So bands become reduced in size, then what happens is that they are abandoned, and musicians go solo, because it means everybody can be a boss, can handle the finances themselves. But on the others side this degrades the quality of music. A singer, tho is good on a band record, is not sure will be able to make a good album alone, because they won't have the required ability to play instruments. So they will mostly rely on computer instruments, will hire musicians who may not be that motivated to play something good for small budget, and the result is what you can see. And, for many musicians going solo, Awilo is strong example to follow and inspirating to go to Afrobeat.  This is also tempting because for Afrobeat you can simply rely on computer instruments too, so your job will be much more easy. And this way the Congolese music we got used to is disappearing. Congolese musicians are in bad financial situation, and this means lack of motivation, putting money to first place in priority that often results in what I mentioned, less artistic value. I don't blame musicians for this, when you come from Congo it is inevitable, but for you to see what's happening, this is the situation. This age is profitable for solo acts, that are more conformed to Afrobeat. Not everybody is successful though, but some are, but mostly in a way that they conform to international styles and leave Congolese behind. In London, there are some Congolese like bands, that are very successful. But none is Congolese in a way as we like it, like Zaiko, for example. They mostly play fusion world music, because this is how they can get a good salary and exist in the international market. This situation would only change if there would be rich people who would offer big money for a group of musicians, making it required for them to play Congolese music only. Because then band members would be paid, and they could do Congolese music.

Personally, I would like to see them going back to the quality they represented in the early 2000's.

By the way, in terms of vocals I think the advantage is on their side, because Levyson is a singer who can guarantee a quality voice in the line-up, while among the newcomers of the Roga Clan, we still need to wait and see who can become a worthy successor of figures like Papy Bastin, Quentin or Qxygéne.

I am mostly interested in pre 2005 Congolese releases, so I don't really follow the newest artists. I know about the opposition between J.B and Werra, but do not know about any opposition like this between recent artists. However from the debates that happened recently, it seems to me there are things like that. But maybe I just misunderstood it, and there is no opposition between artists recently, only between fans. Even if it is so, let me know which group of fans do you belong to? Which artist do you support the most? I see Manzambi did not like Fabregas, but I do not know whom he preferred. Who do you prefer personally? So let me know which clan you belong to. Your answer will have no negative consequence, just asking to be able to draw a kind of statistic.

Quote from: Tata Nkiadi on January 07, 2020, 21:59

Quote from: CM PRINCE on January 07, 2020, 21:46

Quote from: Tata Nkiadi on January 07, 2020, 21:27

Quote from: CM PRINCE on January 07, 2020, 20:50

Quote from: Tata Nkiadi on January 07, 2020, 14:33

Here we go with this Fabregas sucks as an artist hyperbole again  

Brother no one here said Fabregas sucks... please don’t be his Pole Position (if you get what I mean  )

Oh shut the hell up. You sound like a busta fam.   It’s a known fact Manzambi doesn’t like Fabregas. Just recent He clowned him for that Cameroonian rhumba award he won for Cible, said the man couldn’t sing and has said on more than one occasion Cible is a flip. Refer to his past posts, otherwise, me and you have nothing to talk about since you wanna bring in someone’s “pole” in the conversation.

Loool what is wrong with you, why are you being so aggressive for if you re read what I said I was only joking with you. Manzambi ain't here anymore so you don't need to be rude, and with respect don't you EVER tell me to shut up again and be respectful to others.

Calling me a “pole position” was a joke? You need to fire your joke writer then. Also this isn’t the first time you came at me crazy cuz. So before you talk about respect, learn to practice what you preach.

When have I come at you? I remember I backed you and told you to save your energy when it was that topic about Deplick and Fabregas and you were getting stick for sticking up for Fabregas so please remember that sir. It's not even that serious to get mad bro

Guys I would like to ask everyone to be respectful and avoid addressing degrading expressions to each other. Even if you mean it just as a joke. Everyone is welcomed here in the forum regardless of opinions, but a certain level of respect is required from everyone, and such language does not fit. I just leave the discussion quote here for others to know what I am referring to, but original posts are deleted.

On the other hand, please avoid behaving as if this place was an arena where you go into fight on which artist is good or bad and why. If you are not satisfied with the work of an artist, go and express your opinions (in a civilised way of course), but don't bring up the case again and again. Others can feel differently about the same artist, and this forum is not meant to support only one side in a debate. People with different taste of music might come together here, and campaigning against someone on and on is not fair with others who feel differently.

And now I lock this debate, because the discussion here went far from the opening subject.

Bencuri, I wonder if when you get new suggestions for additions to the group, is there any screening process, or would that be too difficult a task to conduct?

What do you mean by "new suggestions for additions"?

What I usually do not like is that vocals are far from those on the albums in terms of clarity. On the CD the poliphony is much more in tune and clear. Good choruses are a kind of trademark of Extra Musica, they should care about this more.

The instrumentals at the beginning are very good, I also like the keyboardist.