Today I had an interesting debate with couple of close people I know over the impact of Papa Wemba, This month I've listened to Wenge Musica's early song "Laura" by Blaise Bula found this comment saying: "On sent le cachet des aînés (Choc stars,Victoria,Viva, ...).", yes the song by sounds like a song Stino Mubi or Reddy can perform in Viva during the mid 80s or even Joly Mubiala in Victoria in the early 80s. Then I watched an Interview of Papa Wemba with Marius talking about Wenge Musica saying they are influenced by Viva La Musica even though they copied Victoria Eleison which originated from Viva La Musica.


Watch from 18:49 Papa Wemba clearing saying Wenge Musica was influenced by Viva La Musica through Victoria Eleison. By the way, Didier Masela & Marie-Paul admitted that they were influenced by them,

1) but Papa Wemba didn't expand on one thing watch from 19:31 that the style "La Musica" is a mixture of different elements, fellow bloggers I'd like to know what are these elements that Papa Wemba combined to make the "La Musica" style, that is not something to neglect as Victoria Eleison, Rumba Ray, Station Japan & Generation Wenge benefitted from this please guys expand on the style of "La Musica"!!!

2) Concerning guitars the "La Musica" rhythm & melody where did that originate from who were Sec Bidens, Safro Manzangi, Huit Kilos & etc. who were they influenced by and what did they do add to the La Musica style regarding instrumentation?

3) Who did Generation Wenge add to "La Musica" especially from late 90s Generation Wenge (El Paris Couvre Feu era, BCBG Titanic era, Maison Mere Force D'Intervation Rapide - Les Marquis era)?

Fellow bloggers, please help share your views on this topic.

at the same time enjoy this song!

Oh my Newside96 welcome back! Ndeko Mvulusi was looking for you the other day

Oh my Newside96 welcome back! Ndeko Mvulusi was looking for you the other day

Thank you fellow friend! glad to be back again and thanks for the warm welcome! 

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.

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.

Great analysis never thought of it the same you did, good perspective!

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.

Great analysis never thought of it the same you did, good perspective!

Welcome. It is a important thing because there is a reason why Papa Wemba was so invested in JB Mpiana over the other guys of Wenge as well as Kester was with Werrason.

Welcome back brother. Ozalaki wapi pendant tout ce temps la ?

Oh my Newside96 welcome back! Ndeko Mvulusi was looking for you the other day

Thank you fellow friend! glad to be back again and thanks for the warm welcome! 

back agaiiiiiinnn fam ya dun know already 
 bon retour ndeko

Welcome back brother. Ozalaki wapi pendant tout ce temps la ?

Thank you brother, I had to get on with life too  , I'd love to get your remarks on certain questions I've stated bro, you know a lot 

Oh my Newside96 welcome back! Ndeko Mvulusi was looking for you the other day

Thank you fellow friend! glad to be back again and thanks for the warm welcome! 

back agaiiiiiinnn fam ya dun know already 
 bon retour ndeko

Brethen! 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 1990





Some 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.

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 1990





Some 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.

DAMN! thanks Mvulusi on that analysis you are correct, I think folklore has a lot do with these groups as well "Kalayi Boeing", "Hi Ho Ha" & "Mulolo", very similar to Viva/Victoria as well with songs like "Loni", "Okosi Ngai Nfumu" & "Benediction". I love how Viva was able to mix many elements of music and create different style something Zaiko couldn't do. Plus, how Wenge in the 90s with use of technology and electric keyboards update the style with even more sebene's. But the other side of Zaiko was strong too Burkina Faso started with Choc Stars & Big Stars which had different style but implemented some of those styles in Wenge same with Blaise Belo even Werrason once saying this plays like a Langa Langa Stars guitarists like Eddy Mabangu, I wish we had interviews on artistic skills instead of useless polemics.

Merci

I forgot to add that, Emeneya was inspired in Okosi Nga Mfumu by music of the Bandundu-province singing the refrain in Kiyanzi. Emeneya's friend Lidjo Kwempa did the same thing in Viva La Musica, by letting start alot of his songs with that folkloric sound. Btw alot don't even know that they used to play in the same band when they were living in Kikwit.





here they played the whole song with that rhythm from the former Bandundu-province