For me, it has to be the 95 version of Everybody because the seben was more moving and danceable and I could hear the guitarists actually playing the actual electric guitars, Djudjuchet Luvengoka is showing off his drumming technique plus you have 3615 Code Niawu on animation which puts presence in the song despite his animation section was little but at least you can hear some action in the seben

Whereas on the original version nothing was going meaning there was no animation and I believe the synthesisers were playing the lead guitar parts which did not feel natural.

Do you think that Emeneya would not have that dip until his return in Kinshasa of 1997, if he released the Live-version of Everybody instead of the programmed version ?

I really wonder what went wrong. Because he wanted to enter the World-Music section like his mentor Papa Wemba and had Abeti's manager Gerard Akueson who needed to manage him like he brought Abeti Masikini really far in her career. But they broke away before Everybody and Sonodisc didn't do anything to promote the album really well around the world. Sometimes I think that Sonodisc didn't really made the African artists progress. Just helping them with distributing their albums better around Europe, Africa, Latin America and Asia. But not really promoting outside their community, just doing the same things like small music labels, only having the difference that they would pay their artists better and being fair with royalties. If I remember well, in a documentary about Congolese music, Verckys was complaining about the creation of European musiclabels only focusing on African music and stealing their musicians.

I don't think he would've dipped if he released the live version but then again by that time Wenge Musica we're topping the charts with albums like Kalayi Boeing.

I was saying it, because its from Everybody that he got that image off "Emeneya is finished" until his death that he could get rid off from him, even later when he had some succes with Mboka Mboka, Longue Histoire, Le Jour le Plus Long and the events at Stade des Martyrs, Zenith & Olympia. The image was still following him.

It was in 1993 that journalist Mbamba Toko wrote the article Emeneya threw his rhythm on the street and Wenge Musica having picked up.  For the way Emeneya abandoned the original Victoria Eleison rhythm that was often sometimes inspired from the Mbala-folklore and Wenge Musica using it sometimes, like for example Kalayi Boeing. That has next to them singing in Kimbala that Mbala-guitar in the song.