As the title says, is the quality of music in terms of lyrical creativity reducing as the age difference between the leaders and artists within the group widens or increases. I could be wrong but in most groups or orchestras for example we are moving from the time when leaders and musicians age difference was a maximum of 10-15 years between the leaders and artists and were the relationship was almost that of elder brother or buddies to now were the relationship is almost of that of father and son were the father is not to be collected when you feel he is not doing the right thing but to be obeyed and whatever he proposes is what is to be done. A few examples of what am trying to put across is for example Wenge Musica 4*4 was a group of buddies doing music not only for a living but also for fun and were they could relate at a personal level without feeling like an opposing view might end up being seen as disrespect to the other. Another example is the Quartier Latin of the generation of Sam Tshitu, Modogo Abarambwa etc and the current group of Mopao. I feel the fact that the relationship is almost that of father son it has the effect of not bringing out creativity from artists instead they just rely on the creativity and name of Pere thereby the creativity is suppressed. I’ll be interested to hear your thoughts on this…. On a light note I have avoided giving the BCBG group example for obvious reasons.

As the title says, is the quality of music in terms of lyrical creativity reducing as the age difference between the leaders and artists within the group widens or increases. I could be wrong but in most groups or orchestras for example we are moving from the time when leaders and musicians age difference was a maximum of 10-15 years between the leaders and artists and were the relationship was almost that of elder brother or buddies to now were the relationship is almost of that of father and son were the father is not to be collected when you feel he is not doing the right thing but to be obeyed and whatever he proposes is what is to be done. A few examples of what am trying to put across is for example Wenge Musica 4*4 was a group of buddies doing music not only for a living but also for fun and were they could relate at a personal level without feeling like an opposing view might end up being seen as disrespect to the other. Another example is the Quartier Latin of the generation of Sam Tshitu, Modogo Abarambwa etc and the current group of Mopao. I feel the fact that the relationship is almost that of father son it has the effect of not bringing out creativity from artists instead they just rely on the creativity and name of Pere thereby the creativity is not suppressed. I’ll be interested to hear your thoughts on this…. On a light note I have avoided giving the BCBG group example for obvious.

I feel there is too much auto tune....and Coupe Decale influence...

The top group with old leaders at their guidance Wenge and Quartier Latin are leaded by two guys who accomplished everything, Werra basically fueled the Congolese scene with 100% of musicians came out from his group without Fally (by the way he was tested by Werra but Werra didn't took him, so let's say 100%) with Fally also loving Wenge style, has been the main reference for live concerts until Mayi Ya Sika and Malewa and Koffi a guy who basically reached the peak with V12, Tcha Tcho style and many others memorable songs and album who became legend for African music and not only Congolese scene.
They don't feel the need to keep guys always confronting with them for few reasons.
1. Control
They understand how powerful control is and a group well united is more tasty to the public
2. They Think They Know.
Since they have already accomplished many things many times they feel that they will do everything good in fact Werra failed big time with Bercy being the number one Atalaku in Ingeta leading Fleche Ingeta (ex-Fleche India Ezui Ezui) to being a big fail except for Kata Fumbwa, Lobeso's Crie Musselu, and Bercy Mwana praise to Didi Kinuani despite an excellent guitar from Makaba.
Werra wonderstood that and gave Ambulance the key to the atalaku section putting new fuel with Goldberg (who had limited space in generique but did excellent) and the surprising Anti-Balle leading 7 jours to being a success from the point of songs equal as Kibuisa Mpimpa, the same for Koffi after Mutshibara who was a big flop, Koffi wonderstood the lesson and came back to life with Selfie, which has been credited as a stupid song but it was one of the most successful song in Africa leading to Drogba dancing it in Canada.
So they feel untouchable, when they make a mistake they do everything possible for avoiding it, for example Werra will not have problems to talk about Fabregas, calling back Adjani for some visits or Deplick, but he rarely speaks about Ferre, Heritier, and Bercy since their departure especially Bercy do you remember in a Zamba Playa rehearsal when Lobeso was singing how well he was received, randomly after Bercy's departure, Koffi rarely talk about the failed album he had when he started his career, or the mind games he plays for fucking up rivals musician's life but he will be sweet as candy with Fally or Brigade while he doesn't leave any occasion for speaking bad about Ferre.

^^
Also time delays, uneven ratio of sebenes and rumbas, lack of energy, etc. It seems like a lot of artists are trying to... capitalize on the "World music" but the thing with experimentation, it's risky and about trial and error.There are a few musicians that are original in their approach and combine a melange of genres which result in creating their own genre.

It'll be interesting if somebody...combined Funk, Indian Classical Music, Congolese Rumba Sebene/Ndombolo, Zouk, Pianos, Latin Music and Folk. If anybody doesn't create this....maybe I will.

Also the lack of creation of new innovative bands...