King of the snares (4:11-). I know he was sweating like crazy in the studio

Who was the main audio engineer on this album? It seemed like he was rushed, because the guitars and drums aren't mixed properly.

@Wenge1995

I believe it was Al Nzimbi, since he was in charge of arrangements and programmings on this album. Although it could be his French colleague as well, since a video from the album sessions shows him by his side.

Yeah time has not been too kind to the sound of this album.... The sound wasn’t all that.

I think that Al Nzimbi wanted to match the sound of the programmed drums with the sound of the drums. Because in all Congolese albums all there is always a big difference between the two and sometimes even messing the energy of the song up. But until this day i've never heard music-critics or fans complaining about the sound of the A La Que Leu Leu (except the huge amount of mabanga which did talk JB during an interview with Francis Kakonde), only hear on Congovibes lol.

King of the snares (4:11-). I know he was sweating like crazy in the studio

If you listen also to the seben of Style Moomberg, you can hear that Papy Kakol was putting alot of energy, like he wanted to distroy his drum-kit hahaha.

I noticed that never really founded a sound that fitted with Kakol's drum style in all albums that they recorded with Wenge MM. Imagine drumming on the those albums with the drum-sounds of Kalayi Boeing, Effrakata, Trop c'est Trop, Kin E Bouge, Internet, Attentat & Pentagone.

@mvulusi96

The closest was probably Temonaige, go back and listen to Kakol's drumming on Temoignage and Kibusia Mpimpa. Those albums have the best mix that really show Kakol's dynamic as a drummer.

To be fair, Kakol is predominately a sebene drummer. Werrason often went for programmed drums for rhumbas because he is less confident with other sections of the drums unlike Titina Al Capone and to a degree Seguin.

@mvulusi96

The closest was probably Temonaige, go back and listen to Kakol's drumming on Temoignage and Kibusia Mpimpa. Those albums have the best mix that really show Kakol's dynamic as a drummer.

To be fair, Kakol is predominately a sebene drummer. Werrason often went for programmed drums for rhumbas because he is less confident with other sections of the drums unlike Titina Al Capone and to a degree Seguin.

Témoignage was ok, bur it had not that heavy drum sound of Sanction or Attentat. The majority of Kibuisa Mpimpa was played by Djudjuchet Luvengoka like on Solola bien, Kakol just did the sebenes and generique. The drumsound of Kibuisa was excellent, but it had not that « mbroussou » sound which Quartier Latin often was setting for his drummers on their albums.

To be fair, Kakol is predominately a sebene drummer. Werrason often went for programmed drums for rhumbas because he is less confident with other sections of the drums unlike Titina Al Capone and to a degree Seguin.

So that's what the forum's elders mean when they talk about limited drummers. I mean, Kakol can play decently during rumbas, whether in the studio or on-stage, but it's no lie that the sebene is where he truly shines, as his drumming style is better suited for faster sections than slower sections.

I always replay Heritier's vocal.

@SLK97

Papy Kakol often gets a pass as a drummer because playing sebene usually request snare-bass-snare-snare-bass passage at an even tempo to get the job done. He'll touch the hi-hats for that added effect, but mostly avoids the ride cymbal as the main method of time keeping.

Playing a proper rhumba calls for a bit more applied knowledge; the snare is the spine of the rhythm but it's not touched for every measure. It's mostly wrist work to get that precise measure since it's easier to spread your sticks across the kit compared to stretching your arm outward. You conserve strength which keeps the range exciting but a smooth pace. Since Kakol is so used to hammering the drums, you'll see him a bit uncomfortable playing slower tempo songs on stage compared to Titina, Champion, and Ramatoulye of Extra Musica.

That's why he is refered to as a "limited" drummer. I played percussion for my high school orchestra.

@SLK97

Papy Kakol often gets a pass as a drummer because playing sebene usually request snare-bass-snare-snare-bass passage at an even tempo to get the job done. He'll touch the hi-hats for that added effect, but mostly avoids the ride cymbal as the main method of time keeping.

Playing a proper rhumba calls for a bit more applied knowledge; the snare is the spine of the rhythm but it's not touched for every measure. It's mostly wrist work to get that precise measure since it's easier to spread your sticks across the kit compared to stretching your arm outward. You conserve strength which keeps the range exciting but a smooth pace. Since Kakol is so used to hammering the drums, you'll see him a bit uncomfortable playing slower tempo songs on stage compared to Titina, Champion, and Ramatoulye of Extra Musica.

That's why he is refered to as a "limited" drummer. I played percussion for my high school orchestra.

you forgot to mention Djudjuchet Luvengoka who's the king of the hi-hats, having recorded more than 8000 songs for artists of all generations (from Tabu Ley to Fally Ipupa). He saved Maison Mere  on Kibuisa & Solola Bien. Listen to songs like Ntima Mbote & Augustine Ngaly the way he's hitting the hit-hats. 

At the epoch, I see much Aimedo in concerts in the periods 1982-1985 (Langa Langa Stars, Emeneya Kester at Bruxelles ... ) in being participant with severals groups, with Petit Cachet N'Djoli and Vedios severals... (in of generations as the mikilistes, Anti Choc, LL Stars, VLM, Choc Musica .... ), Nado Kakoma (TP OK Jazz),
The greats bests drummers are Belobi N'ge Ekereme "Meri Djo" with Ilo Pablo Bakunde with Dju Dju Chet Zinga Luvengoka "Le Pipe" , Patcho Star " Patrick Samba M'Passi " .
And especially Titina Mbuinga Al Capone "Le Grand Maitre "
 Ile De cambdoge
Simolo Katondi
Awilo Longomba
Maradona Lontomba
Champion Djikapela "Esthetique"
Ringo Moya
Sammy Maracas (of Empire Bakuba)
Domingo Salsero
Coco Tchomba
Adricha Tipo-Tipo
Richacha Balengola
Kaps Kapangala
Koyongonda Otis
Otis Edjudju
Seskain Malonga
Deo (RIP)

One of my favorite of the drums

@mvulusi96

Oh yes, how could I forget Djudjuchet Luvengoka! Listen to his technique for rhumbas; relaxed but determined rhythm throughout the entire drum kit.





But he can stand tall against any drummer when it comes to playing sebenes, one of my favorite mixes actually gives you a close look on how he can dictate the progression of the song.



I miss all those guys, these newer drummers barely have personality cause these bands don't know how to record and mix live instruments anymore. They opt for multi-tracking on every aspect of the record

At the epoch, I see much Aimedo in concerts in the periods 1982-1985 (Langa Langa Stars, Emeneya Kester at Bruxelles ... ) in being participant with severals groups, with Petit Cachet N'Djoli and Vedios severals... (in of generations as the mikilistes, Anti Choc, LL Stars, VLM, Choc Musica .... ), Nado Kakoma (TP OK Jazz),
The greats bests drummers are Belobi N'ge Ekereme "Meri Djo" with Ilo Pablo Bakunde with Dju Dju Chet Zinga Luvengoka "Le Pipe" , Patcho Star " Patrick Samba M'Passi " .
And especially Titina Mbuinga Al Capone "Le Grand Maitre "
 Ile De cambdoge
Simolo Katondi
Awilo Longomba
Maradona Lontomba
Champion Djikapela "Esthetique"
Ringo Moya
Sammy Maracas (of Empire Bakuba)
Domingo Salsero
Coco Tchomba
Adricha Tipo-Tipo
Richacha Balengola
Kaps Kapangala
Koyongonda Otis
Otis Edjudju
Seskain Malonga
Deo (RIP)

One of my favorite of the drums

I’m in full agreement with your assessment