I have not listened to 'L, but I will give my review on Droit de Veto.
1 thing I did not like about Droit de Veto is that there were too many sebenes in that album. Why did they put that many sebenes in the album? Also, if Sam Tshintu was the Chef d'Orchestre at the time, why did he not get a song on the album?
2. Even though there were many sebenes in Droit de Veto, they were good, with my favorites being Rond Point, Urgence, Droit de Veto, Shopping, Retour Riva, Nyandja, & Rafiki. Also, I wonder what the video clips would look like, if they did proper clips for that album, & recorded all of the clips. Droit de Veto was truly the end of the era of a generation, with many members leaving, but Koffi would remain supreme with his album Attentat, & reached his zenith of his career with Bercy.

Also, my favorite songs from Droit de Veto are Rond Point, Sens Inverse, Rafiki, Droit de Veto, Retour Riva, Urgence, Zaniha, & Shopping.

It was the Ndombolo-era. Back then 80%/90% of the albums would be with sebenes and just 2/3 tracks rumba's.

Koffi Olomide knew that Quartier Latin would split soon with Sam Tshintu being the potential leader of it. After the release of Loi they went on a long African tour and the tensions were really high. Guys like Somono, Champion and co not being happy about their salary and still mad that they didn't receive their car. There was a moment that they were about to form Academia in Burkina Faso, but they changed their mind on the last minute, seeing that it wasn't an ideal area to form a band. It was one of the reasons why Koffi left Modogo and Somono behind in Kinshasa for the second part of the African tour just before Olympia. So because of all that Koffi started to gamble and picked Binda Bass and Pathy Bass' tracks for Droit de Veto above that of Modogo and Sam Tshintu. Babia Ndonga was unlucky that Popolipo returned.

Attentat was so/so. The album was really hard critized when "version radio" and it didn't change after the release of "l'Integrale". The album just survived because of people being focused on Koffi's reaction against Papa Wemba's attacks in album Fula Ngenge. The public saying that Academia won with their album Sanction. After Bercy the album started slowly to be accepted. Sans Anesthesie then being a big hit. However, until this day you still people who don't'like that album. Those who like Attentat are mostly youngsters of that era, who first never were listening to Congolese music but started to get interested in Congolese music after that Koffi started to come on the French tv because of his shows at Zenith and Olympia. Them more being focused on the sebenes than the songs. Also some war going on against Arabs and Blacks, which made them realize that they have to go back to their roots.

Droit de Veto

It was the Ndombolo-era. Back then 80%/90% of the albums would be with sebenes and just 2/3 tracks rumba's.

Koffi Olomide knew that Quartier Latin would split soon with Sam Tshintu being the potential leader of it. After the release of Loi they went on a long African tour and the tensions were really high. Guys like Somono, Champion and co not being happy about their salary and still mad that they didn't receive their car. There was a moment that they were about to form Academia in Burkina Faso, but they changed their mind on the last minute, seeing that it wasn't an ideal area to form a band. It was one of the reasons why Koffi left Modogo and Somono behind in Kinshasa for the second part of the African tour just before Olympia. So because of all that Koffi started to gamble and picked Binda Bass and Pathy Bass' tracks for Droit de Veto above that of Modogo and Sam Tshintu. Babia Ndonga was unlucky that Popolipo returned.

Attentat was so/so. The album was really hard critized when "version radio" and it didn't change after the release of "l'Integrale". The album just survived because of people being focused on Koffi's reaction against Papa Wemba's attacks in album Fula Ngenge. The public saying that Academia won with their album Sanction. After Bercy the album started slowly to be accepted. Sans Anesthesie then being a big hit. However, until this day you still people who don't'like that album. Those who like Attentat are mostly youngsters of that era, who first never were listening to Congolese music but started to get interested in Congolese music after that Koffi started to come on the French tv because of his shows at Zenith and Olympia. Them more being focused on the sebenes than the songs. Also some war going on against Arabs and Blacks, which made them realize that they have to go back to their roots.

Shouldn't Koffi had known the defections would have occurred going on a long tour without paying them properly? That also explains Sam Tshintu, Modogo, and Babia didn't get credited a song. Is it me or did Droit de Veto feel rushed, the rhumba parts of the songs quickly became sebenes. What was your favorite song from the album?

Koffi was the only bandleader who was paying them when going on tour. In other bands they go on tour in Africa without getting paid for years. It was just that most musicians reached a point that they couldn't live the same way like in 1994/95. Because back then the most didn't had kids. Another thing is the Wenge infuence that made them dream to drive in expensive cars like JB, Werrason, Adolphe & Blaise Bula. But back then Koffi wasn't liking it, because he felt like it would challenge his supremacy over his employees and authority. He wanted to be the only one to drive in a mercedes. But after the split, he didn't had any choice and decided to buy for all members who remained loyal a mercedes benz. The almost the same incident occured in 1995 after the release of V12. Quartier Latin went on tour in Africa (Ivory Coast, Senegal, Mali), Wenge 4x4 arriving in Kinshasa with cars in the same period after their long US/Europe tour. It created tensions, Suzuki and co being mad that they financial status didn't change despite all the fame they had and not being able to buy cars like their mates from Wenge. At the same time dancer Mboyo died. However things got shorted out (I dont know how). But Koffi was still holding a grudge about it against Lebou Kabuya and Suzuki.

For Babia not getting a song is more because of Beniko Popolipo getting back in Quartier Latin after leaving Zaiko and Koffi wanting a generique in the album because of commercial reasons. Babia was then making a kind of a comeback after spending time in Anti Choc.

Yeah songs like Plus Jamais, Rafiki felt like they were rushed. Maybe, because QL-singers didn't had vocals in these songs. Also the sebenes on it weren't played with their heart compared to the other tracks on the album.
But on the other side I can understand since that there wasn't enough space, a cd having just 80 minutes. Rumba's like Sens Inverse, Likombe and Zahina were already shorts (5 min long) just to made it to the 80 min max. About the song Retour Riva it felt that something there was also missing. But the remaining tracks were all topnotch. I remember Pathy Bass once saying to Joe Matope that they were something else with their head when recording the album, because of being dissapointed after Olympia and not having the same energy anymore when recording Loi. Somono saying something similair and that Lebou started to disrespect Koffi in the studio and drinking bear in his eyes which he normally wouldn't do in the studio.

My favorite track on Droit de Veto is Urgence and the generique its self. Back in the days I would add Sens Inverse. But I felt scammed from the moment I heared the remix-version Koffi made for Ninelle Sassou somewhere in 2007. Koffi used extracts from it for the intro of Sur la Route de Bercy

About 'L vs Droit de Veto.

Although liking Droit de Veto much. I would go for 'L. The album is just wow. They recorded the whole album Live from the start to the end and all tracks were excellent, while on Droit de Veto towards the end I would easily skip 2 or 3 songs.Maradona, Dezay and Ramazani did an excellent job. Others on would maybe not like this album, because of not being used to Viva's style which is without atalaku's and the album not being ndombolo.

I like the songs Veron Bompele and Muzangila much, but my favorite tracks on the album are Erreur, Sourat, Recours and Couci Couca.

Pompom Miyake, Pathy Patchecko and Liberateur really had the freedom to express themselves. Wemba almost didn't participate, something which would be rare nowadays if bandleaders would allow their musicians to record albums. But back in those days it was normal. Koffi was critized for not letting singers like Suzuki, Babia and co sing songs by themselves on group-albums and singing all songs. I think that Koffi knew what he was doing. Knowing that it would difficult for them to establish a solo-career, having still that image on Koffi on them. Other bandleaders like JB Mpiana and Werrason (despite having the label of grand formateur) also adopting it.


The subjects of Couci Couca (Pathy's vocal on that song really touched me) and the track Ba Yankee ya Sika were really intresting. The funny thing is that Bendoson wasn't able to dominate the rest like on the previous album, despite having three songs (Erreur, Ba Yankee ya Sika and Veron Bompele co written with Itshari). I think that it would be different if he sung the songs by himself. From the album a rivalery would start between Pathy Patecheko and Bendoson, created by the staff of Wemba in Kinshasa. They weren't happy that someone from Masina was dominating Matonge and them pushing Pathy who was from Matonge to disrespect Bendoson often openly, like the way they were using Bendo to do it to Reddy Amisi. After Fula Ngenge it would become Alpatchino vs Bendoson.

About 'L vs Droit de Veto.

Although liking Droit de Veto much. I would go for 'L. The album is just wow. They recorded the whole album Live from the start to the end and all tracks were excellent, while on Droit de Veto towards the end I would easily skip 2 or 3 songs.Maradona, Dezay and Ramazani did an excellent job. Others on would maybe not like this album, because of not being used to Viva's style which is without atalaku's and the album not being ndombolo.

I like the songs Veron Bompele and Muzangila much, but my favorite tracks on the album are Erreur, Recours and Couci Couca.

Pompom Miyake, Pathy Patchecko and Liberateur really had the freedom to express themselves. Wemba almost didn't participate, something which would be rare nowadays if bandleaders would allow their musicians to record albums. But back in those days it was normal. Koffi was critized for not letting singers like Suzuki, Babia and co sing songs by themselves on group-albums and singing all songs. I think that Koffi knew what he was doing. Knowing that it would difficult for them to establish a solo-career, having still that image on Koffi on them. Other bandleaders like JB Mpiana and Werrason (despite having the label of grand formateur) also adopting it.


The subjects of Couci Couca (Pathy's vocal on that song really touched me) and the track Ba Yankee ya Sika were really intresting. The funny thing is that Bendoson wasn't able to dominate the rest like on the previous album, despite having three songs (Erreur, Ba Yankee ya Sika and Veron Bompele co written with Itshari). I think that it would be different if he sung the songs by himself. From the album a rivalery would start between Pathy Patecheko and Bendoson, created by the staff of Wemba in Kinshasa. They weren't happy that someone from Masina was dominating Matonge and them pushing Pathy who was from Matonge to disrespect Bendoson often openly, like the way they were using Bendo to do it to Reddy Amisi. After Fula Ngenge it would become Alpatchino vs Bendoson.

That's a very good point, that explains why Sam barely sang on Miss Nicole, Willy Bula on Petit Na London, and so on. Just the little space they had, you could see the dimension in did for their public image. I'll have to relisten to 'L, I do like Wemba!

It's sad state of affairs with current groups in Congolese music. Fally barely promotes F'Victeam, I don't know any of the singers in Team Wata, why is this? Do they share the same complex as Koffi and Werra? Even then, it doesn't seem like Team Wata or F'Victeam take the initiative to promote themselves in the way that Masion Mere used to (Ferre, Bill, JDT, ect).

It's because they are egoists and don't want to share their fame, since that they suffered very hard to come on the place they came, being scared to be betrayed by their own musicians. I remember how Ferre musicians like Nicodeme, Markahouse used to mock Fally and his musicians for that. But Ferre would later copy Fally. The group-album Ferre promised to them never came, every time it got postponed first after Sens Interdit then after Qui est Derriere Toi. I remember Vasco Mabiala in 2010 saying that Boite Noire would be a group album, later on they changed and said that it would be Ferre's album but guys like Nicodeme having songs on it which never happened.

Heritier was after Carriere d'Honneur aka Retirada eager to work on a group album for Team Wata to showcase the talents his singers and guitarists. But David Monsoh said that it was better to release a second album first, to strengthen his position as solo-artist and that he had to stop with public rehearshals. But Heritier was against it
and it also created some conflict between both guys, since that Heritier wasn't really understand David Monsoh's vision who wanted to create from Heritier a second Fally while Heritier wanted to follow Werra's ideology. In the same period artists like JB Mpiana and Defao advised not to do a group album, because musicians are ungrateful and
Heritier then being convinced about it. If I remember well, Defao said it in the interview he made with Carine Mokonzi in Kenya along with Sampaio, Manda Chante and Lambio Lambio. But I may wrong since its like 4/5 years ago

About 'L vs Droit de Veto.

Although liking Droit de Veto much. I would go for 'L. The album is just wow. They recorded the whole album Live from the start to the end and all tracks were excellent, while on Droit de Veto towards the end I would easily skip 2 or 3 songs.Maradona, Dezay and Ramazani did an excellent job. Others on would maybe not like this album, because of not being used to Viva's style which is without atalaku's and the album not being ndombolo.

I like the songs Veron Bompele and Muzangila much, but my favorite tracks on the album are Erreur, Recours and Couci Couca.

Pompom Miyake, Pathy Patchecko and Liberateur really had the freedom to express themselves. Wemba almost didn't participate, something which would be rare nowadays if bandleaders would allow their musicians to record albums. But back in those days it was normal. Koffi was critized for not letting singers like Suzuki, Babia and co sing songs by themselves on group-albums and singing all songs. I think that Koffi knew what he was doing. Knowing that it would difficult for them to establish a solo-career, having still that image on Koffi on them. Other bandleaders like JB Mpiana and Werrason (despite having the label of grand formateur) also adopting it.


The subjects of Couci Couca (Pathy's vocal on that song really touched me) and the track Ba Yankee ya Sika were really intresting. The funny thing is that Bendoson wasn't able to dominate the rest like on the previous album, despite having three songs (Erreur, Ba Yankee ya Sika and Veron Bompele co written with Itshari). I think that it would be different if he sung the songs by himself. From the album a rivalery would start between Pathy Patecheko and Bendoson, created by the staff of Wemba in Kinshasa. They weren't happy that someone from Masina was dominating Matonge and them pushing Pathy who was from Matonge to disrespect Bendoson often openly, like the way they were using Bendo to do it to Reddy Amisi. After Fula Ngenge it would become Alpatchino vs Bendoson.

That's a very good point, that explains why Sam barely sang on Miss Nicole, Willy Bula on Petit Na London, and so on. Just the little space they had, you could see the dimension in did for their public image. I'll have to relisten to 'L, I do like Wemba!

It's sad state of affairs with current groups in Congolese music. Fally barely promotes F'Victeam, I don't know any of the singers in Team Wata, why is this? Do they share the same complex as Koffi and Werra? Even then, it doesn't seem like Team Wata or F'Victeam take the initiative to promote themselves in the way that Masion Mere used to (Ferre, Bill, JDT, ect).

Also, Sam Tshintu was the only singer in Quartier Latin who did not have a vocal in his song Shambouyi, but there is some songs in Danger de Mort that Koffi barely sang on like L'Heure a Sonne, Ba Lobiens, & Diviser Par Deux. Also, some songs in L is good, like Extra Garde & Sourate.

About 'L vs Droit de Veto.

Although liking Droit de Veto much. I would go for 'L. The album is just wow. They recorded the whole album Live from the start to the end and all tracks were excellent, while on Droit de Veto towards the end I would easily skip 2 or 3 songs.Maradona, Dezay and Ramazani did an excellent job. Others on would maybe not like this album, because of not being used to Viva's style which is without atalaku's and the album not being ndombolo.

I like the songs Veron Bompele and Muzangila much, but my favorite tracks on the album are Erreur, Recours and Couci Couca.

Pompom Miyake, Pathy Patchecko and Liberateur really had the freedom to express themselves. Wemba almost didn't participate, something which would be rare nowadays if bandleaders would allow their musicians to record albums. But back in those days it was normal. Koffi was critized for not letting singers like Suzuki, Babia and co sing songs by themselves on group-albums and singing all songs. I think that Koffi knew what he was doing. Knowing that it would difficult for them to establish a solo-career, having still that image on Koffi on them. Other bandleaders like JB Mpiana and Werrason (despite having the label of grand formateur) also adopting it.


The subjects of Couci Couca (Pathy's vocal on that song really touched me) and the track Ba Yankee ya Sika were really intresting. The funny thing is that Bendoson wasn't able to dominate the rest like on the previous album, despite having three songs (Erreur, Ba Yankee ya Sika and Veron Bompele co written with Itshari). I think that it would be different if he sung the songs by himself. From the album a rivalery would start between Pathy Patecheko and Bendoson, created by the staff of Wemba in Kinshasa. They weren't happy that someone from Masina was dominating Matonge and them pushing Pathy who was from Matonge to disrespect Bendoson often openly, like the way they were using Bendo to do it to Reddy Amisi. After Fula Ngenge it would become Alpatchino vs Bendoson.

That's a very good point, that explains why Sam barely sang on Miss Nicole, Willy Bula on Petit Na London, and so on. Just the little space they had, you could see the dimension in did for their public image. I'll have to relisten to 'L, I do like Wemba!

It's sad state of affairs with current groups in Congolese music. Fally barely promotes F'Victeam, I don't know any of the singers in Team Wata, why is this? Do they share the same complex as Koffi and Werra? Even then, it doesn't seem like Team Wata or F'Victeam take the initiative to promote themselves in the way that Masion Mere used to (Ferre, Bill, JDT, ect).

Also, Sam Tshintu was the only singer in Quartier Latin who did not have a vocal in his song Shambouyi, but there is some songs in Danger de Mort that Koffi barely sang on like L'Heure a Sonne, Ba Lobiens, & Diviser Par Deux. Also, some songs in L is good, like Extra Garde & Sourate.

Sam was still in school at the time Magie was being recorded in Brazzaville, so he was unable to contribute vocals to the album. However, Koffi had so much respect for him that he interpreted his song and credited Sam as the songwriter.