Congo Vibes
Music => Congolese Music => Topic started by: Mfumu Vata on April 19, 2025, 08:46
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https://www.youtube.com/watch?v=Qo1tlAc0n9I
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It's the first that I saw Stino Mubi openly admitting that Emeneya was his rolemodel as singer, but it took some time. He first mentioned Koffi Olomidé. It's also the first that I saw a singer of his generation saying that he had Koffi also as rolemodel as singer.
There were many revelations, for example that late Dodo Munoko wrote the songs Tanya and Elenge ya Paris for him. That the song Zoulema wasn't meant to be on the Femme Sans Bijoux album and they worked on it in the studio with Bongo Wende, Wemba, Reddy and him, because Julie Zoulema wanting to have a song. Also that song Yvan Micha was orginally written by his vieux Batekul (who used to be a member of Historia Musica) and that Koffi Olomidé took a small part to sing it in Rue d'Amour and Stino singing the remaining parts years later. Also that Koffi knew Stino before he became a musician. He also said that Reddy was about to join Zaiko, because of the way Reddy had the image that Zaiko-members were getting paid well and having Mazda's as cars, while they were not getting paid well. But Nyoka Longo refused and contacted Papa Wemba about it. Shortly later Wemba confronting Reddy with it when they came to perform at Madison Square Garden, saying that he would have missed that chance if he joined Zaiko.
Stino also revealed how Reddy wanted to invite Defao for Fin d'Exil after seeing Stino inviting Lokua Kanza. Also that the song was Nombrilisme was orginally written by Lokua Kanza's brother. Explaining that he invited Lokua Kanza, because he was his elder in Ngaba (Stino lived in Makala close to the border of the Ngaba area). About Fin d'Exil, he explained that they were victim of spiritual attacks after the relase of the album and that he (Stino) suffered alot. Especially during the day that they had to present the album live. Stino not being able to talk anymore and being forced to make handsigns, having backpain, vomitting and feeling like someone was putting nails in his neck. Stino also said that they didn't record videoclips due to the conflicts the reappeared between him and Reddy, Reddy later going to Kinshasa (he left Viva la Musica to form his own band Casa do Canto) and Stino staying in Europe.
Stino also talked about the weird experience he witnessed with Papa Wemba, Maika Munan, Reddy and co in UK, when being invited for a soccer match against Peter Gabriel team and a concert with Molokai International the same day. They were in a castle and saw ghosts, plates started to fall down. This made them all being scared to sleep in their rooms and them sleeping all with each other in the living room, to refuse to have breakfast in the following mourning and Stino promising to himself to never sleep in castle again.
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It's the first that I saw Stino Mubi openly admitting that Emeneya was his rolemodel as singer, but it took some time. He first mentioned Koffi Olomidé. It's also the first that I saw a singer of his generation saying that he had Koffi also as rolemodel as singer.
There were many revelations, for example that late Dodo Munoko wrote the songs Tanya and Elenge ya Paris for him. That the song Zoulema wasn't meant to be on the Femme Sans Bijoux album and they worked on it in the studio with Bongo Wende, Wemba, Reddy and him, because Julie Zoulema wanting to have a song. Also that song Yvan Micha was orginally written by his vieux Batekul (who used to be a member of Historia Musica) and that Koffi Olomidé took a small part to sing it in Rue d'Amour and Stino singing the remaining parts years later. Also that Koffi knew Stino before he became a musician. He also said that Reddy was about to join Zaiko, because of the way Reddy had the image that Zaiko-members were getting paid well and having Mazda's as cars, while they were not getting paid well. But Nyoka Longo refused and contacted Papa Wemba about it. Shortly later Wemba confronting Reddy with it when they came to perform at Madison Square Garden, saying that he would have missed that chance if he joined Zaiko.
Stino also revealed how Reddy wanted to invite Defao for Fin d'Exil after seeing Stino inviting Lokua Kanza. Also that the song was Nombrilisme was orginally written by Lokua Kanza's brother. Explaining that he invited Lokua Kanza, because he was his elder in Ngaba (Stino lived in Makala close to the border of the Ngaba area). About Fin d'Exil, he explained that they were victim of spiritual attacks after the relase of the album and that he (Stino) suffered alot. Especially during the day that they had to present the album live. Stino not being able to talk anymore and being forced to make handsigns, having backpain, vomitting and feeling like someone was putting nails in his neck. Stino also said that they didn't record videoclips due to the conflicts the reappeared between him and Reddy, Reddy later going to Kinshasa (he left Viva la Musica to form his own band Casa do Canto) and Stino staying in Europe.
Stino also talked about the weird experience he witnessed with Papa Wemba, Maika Munan, Reddy and co in UK, when being invited for a soccer match against Peter Gabriel team and a concert with Molokai International the same day. They were in a castle and saw ghosts, plates started to fall down. This made them all being scared to sleep in their rooms and them sleeping all with each other in the living room, to refuse to have breakfast in the following mourning and Stino promising to himself to never sleep in castle again.
It seems like Kester was a role model for all Congolese singers, it didn't matter if they were baritone or tenor. For example, Waney Pecho of Patrouille des Stars often cites Kester as a role model. JB Mpiana also says he's inspired by Kester, he's a high tenor. Mpela brothers have also paid tribute to him as well as Mande Chant. As for Papy Bastin and Yvon Agonga, Kester's influence is obvious.
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It’s true that Kester Emeneya had a massive influence on many Congolese artists, but not everyone. It are mostly those who were born from the mid-1960s and 1970s who had either him or Papa Wemba as role model. Before the creation of Viva la Musica and Victoria Eleison, it were Gina Efonge and Evoloko Lay Lay, who were considered as role models for many youngsters and before them Seigneur Tabu Ley. For example those who are born in the 1950s (Emeneya, Papa Wemba, Koffi Olomidé, etc.) they all mention Tabu Ley as their idol
Emeneya didn’t only influence artists in the way of singing, but also in terms of fashion, hairstyles (during the 1980s), way of walking and speaking. However there was a point that different artists started to ignore that they were inspired by him. When Emeneya was alive he often repeated that “Congo there are only two stars” ( without mentioning Papa Wemba and himself), because they way they influenced alot artists, made trends and changed the music-genre into their way.
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It’s true that Kester Emeneya had a massive influence on many Congolese artists, but not everyone. It are mostly those who were born from the mid-1960s and 1970s who had either him or Papa Wemba as role model. Before the creation of Viva la Musica and Victoria Eleison, it were Gina Efonge and Evoloko Lay Lay, who were considered as role models for many youngsters and before them Seigneur Tabu Ley. For example those who are born in the 1950s (Emeneya, Papa Wemba, Koffi Olomidé, etc.) they all mention Tabu Ley as their idol
Emeneya didn’t only influence artists in the way of singing, but also in terms of fashion, hairstyles (during the 1980s), way of walking and speaking. However there was a point that different artists started to ignore that they were inspired by him. When Emeneya was alive he often repeated that “Congo there are only to stars” ( without mentioning Papa Wemba and himself), because they way they influenced alot artists, made trends and changed the music-genre into their way.
I didn't listen to a lot of Kester, but I always appreciated his versatility as a singer and his sense of humor.