lol, Tosha Fulakanda really took Wemba's movements of using his hands when talking and the way of sitting, totally different from the Tosha of Super Choc Loyenghe.

People are who commenting are all saying that he's lying. 90% what he said in this interview is true. It just that most of them don't know how Viva La Musica and Nouvelle Ecriture used to function. When Nouvelle Ecriture was created most decisions came from Pinos who were managing the band along with Isthari Mukulapio (R.I.P.) and Gauther Mukoka (R.I.P.), because of the most musicians being in their 20s while they were already experienced. Pinos having played with Wemba from 1977 until 1982 when he co-created Victoria Eleison. The same for Itshari who was there since 1977 until the mid 80s and Gauther Mukoka the bass-player who took Pinos place until 1987 when he was left behind when Wemba decided to settle Viva in Paris. Staffmembers and Wemba's friends (Coco Ringo, Djess, Colonel Jagger, etc.) were more influent than the musicians and were also mostly deciding in Wemba's place, even suspending and firing musicians. They were also often humilating musicians when they saw that the succes were going into their head. Emeneya used often talk about bit how they were humilated along with Dindo Yogo and Esperant Kisangani  (I think that he was still mad how they used to say that he won't make it after Viva, which made him often said "bango nioso bakufa, ba vieux ya esprit mabe").

Also what Tosha said about Bendoson being a pastor when they met him in Lubumbashi in 2012. Back in the days (2010-2014), Bendoson used to record videos with John Image and Congomikili in South Africa, talking about religion and politics and saying that he won't do music anymore. Later on he went to Lubumbashi and was still talking about religion, until he met Papa Wemba there who convinced him to start with music again, which made him for Viva La Musica aile Lubumbashi.

Or the thing with Alpatshino, about most musicians not wanting him in the band (calling him musicien ya Ngadiadia) and Alpatshino himself also not seeing himself there, mostly thinking about Quartier Latin and Wenge (himself would often saying that in interviews after his departure) and the fight of Bendoson against Alpatshino until that they worked Esprit ya Sika.

Then also the story of Lambio Lambio, this all true. Lambio himself said it in multiple interviews that he was mad that Wemba left him behind for his first Zenith, while he toured with Nouvelle Ecriture in 1998 as choreographer of the Ba Chance Eloko Pamba-dancers and his father saying that he had to come with something new to convince Wemba the next time, because of those who remained as dancers Coco Maria and Mimi Tshivundu being already old (the rest already ran away in 1998 to live with their boyfriends and Wemba himself would say to Coco and Mimi to stay after Zenith).

lol, Tosha Fulakanda really took Wemba's movements of using his hands when talking and the way of sitting, totally different from the Tosha of Super Choc Loyenghe.

People are who commenting are all saying that he's lying. 90% what he said in this interview is true. It just that most of them don't know how Viva La Musica and Nouvelle Ecriture used to function. When Nouvelle Ecriture was created most decisions came from Pinos who were managing the band along with Isthari Mukulapio (R.I.P.) and Gauther Mukoka (R.I.P.), because of the most musicians being in their 20s while they were already experienced. Pinos having played with Wemba from 1977 until 1982 when he co-created Victoria Eleison. The same for Itshari who was there since 1977 until the mid 80s and Gauther Mukoka the bass-player who took Pinos place until 1987 when he was left behind when Wemba decided to settle Viva in Paris. Staffmembers and Wemba's friends (Coco Ringo, Djess, Colonel Jagger, etc.) were more influent than the musicians and were also mostly deciding in Wemba's place, even suspending and firing musicians. They were also often humilating musicians when they saw that the succes were going into their head. Emeneya used often talk about bit how they were humilated along with Dindo Yogo and Esperant Kisangani  (I think that he was still mad how they used to say that he won't make it after Viva, which made him often said "bango nioso bakufa, ba vieux ya esprit mabe").

Also what Tosha said about Bendoson being a pastor when they met him in Lubumbashi in 2012. Back in the days (2010-2014), Bendoson used to record videos with John Image and Congomikili in South Africa, talking about religion and politics and saying that he won't do music anymore. Later on he went to Lubumbashi and was still talking about religion, until he met Papa Wemba there who convinced him to start with music again, which made him for Viva La Musica aile Lubumbashi.

Or the thing with Alpatshino, about most musicians not wanting him in the band (calling him musicien ya Ngadiadia) and Alpatshino himself also not seeing himself there, mostly thinking about Quartier Latin and Wenge (himself would often saying that in interviews after his departure) and the fight of Bendoson against Alpatshino until that they worked Esprit ya Sika.

Then also the story of Lambio Lambio, this all true. Lambio himself said it in multiple interviews that he was mad that Wemba left him behind for his first Zenith, while he toured with Nouvelle Ecriture in 1998 as choreographer of the Ba Chance Eloko Pamba-dancers and his father saying that he had to come with something new to convince Wemba the next time, because of those who remained as dancers Coco Maria and Mimi Tshivundu being already old (the rest already ran away in 1998 to live with their boyfriends and Wemba himself would say to Coco and Mimi to stay after Zenith).

I always wondered why Alpatshino never joined Masion Mere, he privately rehearsed with Werrason around the split of 4x4. Did Nouvelle Ecriture dislike him because he came from a comedy group? What is the difference between that and a street band. Niether are really held to high opinion in music

Now I see why he wasn't coming to rehearshals,  concerts anymore and didn't participate on the Nouvelle Ecriture-album. No one of Nouvelle Ecriture had played bass on that album and Maika Munan taking Guy Nsangue and Ngouma Lokito to play on Gauther Mukoka's and Pinos parts, because of Maika not being convinced. I doubt that Maika Munan who let Tosha's leave parts,  if he also participated during the recordings. Btw Gauthier Mukoka is better in playing nguasuma/sebene then Tosha. Tosha's style is more the one of Pinos, being a little bit mixed with Lofombo-style of playing with the strings, which due to his coach he used to work with like outside Nouvelle Ecriture. While in Chic Choc Loyenghe he was really Lofombo's copycat.  But talking about Gauthier Mukoka, what became of him after the Nouvelle Ecriture-album? Did still play music? Because he wasn't there in the 'L-album didn't go to Europe in any tours Nouvelle Ecriture made there (1998-2002) until that rumors were spread that he became a crackhead and died in 2006.

I think that Deo Sft had the same problem with Maradona like the way Tosha had with Gauther Mukoka and also the guy called Aaron who came in as drummer and was presented in the Nouvelle Ecriture-videoclips.

The story about Papa Wemba going back to Europe and abandon Nouvelle Ecriture made me laugh and think about Emeneya's story about the way Wemba used to abandon for them months after every split. Papa Wemba used to do that often when he was deseprate. He was sometimes able to abandon Viva La Musica for 6 months. The longest was in 1984, when Victoria Eleison's succes became to much for him and him going to Europe for 8 months and leaving Viva La Musica without money and equipement, Lidjo Kwempa, Maray Maray, Luciana Demingongo having a hard time with Bongo Wende at some point joining Victoria and Luciana almost joining Choc Stars.

Nouvelle Ecriture was really dead after Bendo's , Ramazani's and Pompom's departure in 2000 and Wemba not being there for months. If it was in the 80s Bendo's camp would have smashed them more with releasing singles in 1 month like the way Langa Langa Stars and Victoria Eleison did. But in music changed and them having to spent weeks in the studios to record an albums, mabanga customers wanting to have their name in the album and donors buying songs, also not having modern studios in Kinshasa like it used to be in the 70s and 80s.

Tosha said that Thierry Mogratana was a rhtyhm-player and feared to play lead when he asked to do that after Rama's departure. I think that  he was forgot that Mogratana came in as a solist, because of Wemba looking
for someone playing sebenes in with that Wenge-style. Mogratana used to play mostly rhythm along with Zilco Shabani, because Ramazani used to be the mainsolist and having already played on 3 albums at that time. There used also be a video on youtube of Mogratana playing in Ramazani's presence, when the Fioti Fioti's came in. Maybe that Mogratana wasn't believing in himself, just having benefied from Bendo's support since that he came like him from Tabour Levallois. Recently a guy revealed
that the most sebenes Mogratana played in La Une were Tchesco Kumbanini's creation,with who he played in Rombaut Tunani's band before that Tchesco went to Laviniora Esthetique of Dakumuda. Also that Tchesco was mad about Thierry playing his
creations, but Thierry Mogratana making it up by giving him some clothes he got from the Europe-tour. Which why Thierry's style of playing sebene on La Une being different from the albums he played after it and that his real identity is the one we saw on Bakala Dia Kuba and the few songs he played on Somo Trop.


Tosha says that he played Zenith of 2000 with alot of stress, but that Zenith is seen as Wemba's best concert in Europe. Most concerts who are play in big pressure are always the best one. Their Bercy who was played with less stress, wasn't really convincing.



I'm surprised to hear that Tosha Bass was about to record his solo album after Bakala Dia Kuba, having already presented Lamention and St Jean Mbelekete, but them switching it to Somo Trop when Sampaio and Bendoson joined.  Why didn't he continue the project after Somo Trop ?

Towards the end, Tosha talked about them rehearshing in all areas of Kinshasa to thank fans for being with them after that Wemba died and them at some point rehearshing in Selembao, reminds me how some facebook-pages and  youtube-channels were critizing for Viva La Musica rehearshing in Selembao. I thought then that it was split-off band, because Viva's identity being Matonge. Also Bendo once said that the Viva La Musica rehearshing in Selembao being the fake one (me not knowing that he already left at that time).

lol, Tosha Fulakanda really took Wemba's movements of using his hands when talking and the way of sitting, totally different from the Tosha of Super Choc Loyenghe.

People are who commenting are all saying that he's lying. 90% what he said in this interview is true. It just that most of them don't know how Viva La Musica and Nouvelle Ecriture used to function. When Nouvelle Ecriture was created most decisions came from Pinos who were managing the band along with Isthari Mukulapio (R.I.P.) and Gauther Mukoka (R.I.P.), because of the most musicians being in their 20s while they were already experienced. Pinos having played with Wemba from 1977 until 1982 when he co-created Victoria Eleison. The same for Itshari who was there since 1977 until the mid 80s and Gauther Mukoka the bass-player who took Pinos place until 1987 when he was left behind when Wemba decided to settle Viva in Paris. Staffmembers and Wemba's friends (Coco Ringo, Djess, Colonel Jagger, etc.) were more influent than the musicians and were also mostly deciding in Wemba's place, even suspending and firing musicians. They were also often humilating musicians when they saw that the succes were going into their head. Emeneya used often talk about bit how they were humilated along with Dindo Yogo and Esperant Kisangani  (I think that he was still mad how they used to say that he won't make it after Viva, which made him often said "bango nioso bakufa, ba vieux ya esprit mabe").

Also what Tosha said about Bendoson being a pastor when they met him in Lubumbashi in 2012. Back in the days (2010-2014), Bendoson used to record videos with John Image and Congomikili in South Africa, talking about religion and politics and saying that he won't do music anymore. Later on he went to Lubumbashi and was still talking about religion, until he met Papa Wemba there who convinced him to start with music again, which made him for Viva La Musica aile Lubumbashi.

Or the thing with Alpatshino, about most musicians not wanting him in the band (calling him musicien ya Ngadiadia) and Alpatshino himself also not seeing himself there, mostly thinking about Quartier Latin and Wenge (himself would often saying that in interviews after his departure) and the fight of Bendoson against Alpatshino until that they worked Esprit ya Sika.

Then also the story of Lambio Lambio, this all true. Lambio himself said it in multiple interviews that he was mad that Wemba left him behind for his first Zenith, while he toured with Nouvelle Ecriture in 1998 as choreographer of the Ba Chance Eloko Pamba-dancers and his father saying that he had to come with something new to convince Wemba the next time, because of those who remained as dancers Coco Maria and Mimi Tshivundu being already old (the rest already ran away in 1998 to live with their boyfriends and Wemba himself would say to Coco and Mimi to stay after Zenith).

I always wondered why Alpatshino never joined Masion Mere, he privately rehearsed with Werrason around the split of 4x4. Did Nouvelle Ecriture dislike him because he came from a comedy group? What is the difference between that and a street band. Niether are really held to high opinion in music

Alpatshino then started with his own band and was about to record his solo album Offensive Generalise, when Maison Mere was created. Inviting Eric Tutsi, Babia Ndonga, Mboshi Lipassa, Celeo Scram, Lofombo and Laurent Kadogo Mosengo as guests. Because back then Ngadiadia abandon him on a nasty way when going on tour in Europe, which made alot of donors and journalists feeling sorry for him and supporting him. Alpatshino having then concerts during the fancy fairs of 1997 with musiciasn the Kasa-Vubu area and letting comedians like Gianni and co also perform. Yes, that's why they were calling him "musicien ya ngadiadia", because they weren't taking him serious.




There is alot of difference between Ngadiadia's Chic Choc Loyenghe and street bands. Chic Choc Loyenghe was a proffesional band performing everywhere in Kinshasa and Zaire and them recording albums and also being sponsored by Skol. It was just that it was Ngadiadia's band which made people them not really taking serious despite their succes. Siatula also copied Ngadiadia's style of having a band, having Mbata-siala as drummer lol  (I still can't find those rare albums he recorded in the 90s) and when Mangbau (R.I.P.) left he Ngadiadia he went also to form his own band. Esobe who used to be Mangbau's protege also formed his own band when he left Vieux Gaou and co, but the impact of it wasn't that big of Chic Choc Loyenghe, the one of Mangbau and Siatula.

i heard that mukoka died few years after fula ngenge but i dont see either signs of it on internet or signs of him alive

I remember reading on Congo2000 or digitalcongo that he died in 2006 after spending some weeks in the hospital. People were saying that became a drug-addict. It’s sad how he ended because he was really talented. I found it strange that he wasn’t able to find a big band all those years or even join the band of his friend Maray Maray (who brought him into Viva La Musica) to back Bebe Tshanda.

Did nobody notice that songs of instrumentalists who have Pathy Patechko as lead singer, have more succes then those who are credited on Pathy's name.

Mfumu, I have the impression that Reddy and Bendo are the same ... Often , bad things between them and their colleagues. . I also saw that Bendo wanted to interpret Wemba's voice ... that's why Joe Le Noir and Miyake left

Pompom Miyake left because he was fired by Amazone after performing in Nairobi without their autorization. I dont know Viva's last generation, but I knew that some musicians like along with a solist called Zamba were also fired by Amazone after performing in Matadi without their autorization.