Oh my Newside96 welcome back! Ndeko Mvulusi was looking for you the other day
Thanks for this story. I think it is kind of like this. You have three musical bands that influenced Wenge Musica. For Victoria Elesien, it was Blaise Bula, Marie Paul, and Werrason. Werrason sounds like Kester but he lacks the emotional sound that Emeneya had as a singer. Blaise Bula would be like the lower baritone version of Joly but Blaise was more creative in a sense than Joly was. Marie Paul also sounds like Kester but he is a bit more throaty than Kester. Kester was much more crystal clear in his voice. But with Jb Mpiana, he was more into Viva La Musica vocally speaking than Victoria. JB was like Papa except he did not have a strong power than Papa Wemba had in his voice. That is why JB always referred to Papa Wemba when he had a chance. You could see that Papa Wemba paid more attention to JB because JB reminded him of young self. Then with Adolphe Dominguez, had he had more training, he would have had a closer to Defao of Choc Stars period. Adolphe could sing high notes at times but had he been more trained then he would have a better singer than Werrason. \That is my take.
Quote from: Franco Pepe Kalle on August 30, 2019, 21:24Thanks for this story. I think it is kind of like this. You have three musical bands that influenced Wenge Musica. For Victoria Elesien, it was Blaise Bula, Marie Paul, and Werrason. Werrason sounds like Kester but he lacks the emotional sound that Emeneya had as a singer. Blaise Bula would be like the lower baritone version of Joly but Blaise was more creative in a sense than Joly was. Marie Paul also sounds like Kester but he is a bit more throaty than Kester. Kester was much more crystal clear in his voice. But with Jb Mpiana, he was more into Viva La Musica vocally speaking than Victoria. JB was like Papa except he did not have a strong power than Papa Wemba had in his voice. That is why JB always referred to Papa Wemba when he had a chance. You could see that Papa Wemba paid more attention to JB because JB reminded him of young self. Then with Adolphe Dominguez, had he had more training, he would have had a closer to Defao of Choc Stars period. Adolphe could sing high notes at times but had he been more trained then he would have a better singer than Werrason. \That is my take.Great analysis never thought of it the same you did, good perspective!
Quote from: CM PRINCE on August 30, 2019, 21:01Oh my Newside96 welcome back! Ndeko Mvulusi was looking for you the other dayThank you fellow friend! glad to be back again and thanks for the warm welcome!
Welcome back brother. Ozalaki wapi pendant tout ce temps la ?
Quote from: NEWSIDE96 on August 30, 2019, 21:07Quote from: CM PRINCE on August 30, 2019, 21:01Oh my Newside96 welcome back! Ndeko Mvulusi was looking for you the other dayThank you fellow friend! glad to be back again and thanks for the warm welcome! back agaiiiiiinnn fam ya dun know already bon retour ndekoBrethen! Lads!, we back again, let's have some, fun feels good to be back thank you brother
When Papa Wemba and his staff (Shaguy Sharoufa, Bayern de Munich, Sacre Zaza, etc.) started Viva La Musica in 1976 with its "sortie officiel" being in February 1977, they were first inspired by the fast tempo of Lita Bembo's stukas. Songs like Mabele Mokonzi, Ebale Mbonge, Zengo (of Bipoli),... were made on that style.The way Viva La Musica was playing like Stukas didn't please Lita Bembo. He was furious about that and made an interview saying then "je donne six mois à Papa Wemba pour arrêter de copier le Stukas !" which made Viva La Musica quickly change their style. But alot forgot about that story and say that it was because Emeneya came that they changed the style (since that he used from the 90s in those old videotapes to brag about) while he didn't had a big influence before the depature of Bipoli, Esperant, Julva and Jadot Le Cambodgien who went to form in November 1977 their own band Karawa Musica (which only last 6 months). Papa Wemba himself was first often doubting about Emeneya being musician, seeing him more as a student, saying "aza forme ya batu bakende tchik", calling him "yuma" and Bipoli often bullying him. Because of Lita Bembo being happy about Viva La Musica playing their style, they switched to the Fiesta-style of Dr Nico and Tabu Ley mixing it with the Cavacha-style which all bands of the 3th generation were playing. Rigo Star and Bongo Wende were then also adding some Rock, Jazz and stuff in their songs. Rigo Star coming with the distortion guitar from 4:35 min dedicated to Wemba's girlfriend (the mother his child he gave the name Koffi Olomide). Verckys played sax on this song. They also made songs who were heavenly inspired by James Brown (one of Wemba's idol)After the Europe-tour of 1980 all guitar players left (Rigo Star, Julva and Syriana) because of Wemba not paying them. Only bassplayer Pinos stayed. So they recruited Santana Mongoley, Tofla Kitoko and Safro Manzangi who would work along with Huits Kilo and Bongo Wende and with a new rhythm which would become Viva-rhythm of 1980-1982 and that of the original Victoria Eleison 1982-1987 with all young-bands also following that style, developing also the Indu-Shankara style like Emeneya used to call it (singing in harmony with 3/4 singers) which they already started in 1978. Having then an excellent chorus (Dindo-Emeneya-Esperant-Debaba).After the split of Viva La Musica in 1982 they took that style with them and develop it even more with bassplayer Pinos often using some Funk and Jazz-basslines in Victoria songs (Sango Mabala Commison, Abissina, Riva Dimbala, etc.). Didier Masela also use that style in Kaskin, Mon Ami Coboss, Moni La Rose and Cresois. Pinos once said in the interview he made with Vicent Tshiluizi that the first part of Victoria Eleison-anthem (explosion) was inspired by an American song, but I can't find the link. So I can't say which song it was. Victoria Eleison had like Viva La Musica an anthem (also called generique). Emeneya would remix the Victoria-anthem in 2000 as But Na Filet. Wenge Musica copied the Viva-anthem in their own way and used to play it from 1985 until 1990Some songs made with the Hindy Shankara singing style. Nowadays its very rare to see bands singing a whole song with 4 singers from the begin to the end. King Kester Emeneya was a huge fan of Tabu Ley that he on some point started to sing songs in duets with Makolin to replicate the way Tabu Ley use to sing songs in duets with Paul Ndombe (Baby Ndombe's father) in African Fiesta National.