A question do you guys have the full album and another reason why the Ladins Montana album was way Faster then the same mater7al recorded with Werra?



Werra would have been even more successful with this recird

Flamme and Japonais just played sebenes that he couldn’t play in Solola Bien.

Back in those days we were in the Ndombolo-era. It was about making dance-able sebenes. Solola Bien is the album of Werrason that people danced the most and  most successful one. I don’t think that it would be more successful, because it already reached one of the most highest level of fame.

I think you say this because being used to fast sebene that people play nowadays. You will notice that when some bands switched to these kind of sebene, Ndombolo became less popular abroad and foreigners moving more to coupe Décale. The generation that grew up with Wenge 4x4, the Ndombolo-era and first years of Maison Mère, calling Werra’s music from 2006-07 makelele and manzanza (noise).

Flamme and Japonais just played sebenes that he couldn’t play in Solola Bien.

Back in those days we were in the Ndombolo-era. It was about making dance-able sebenes. Solola Bien is the album of Werrason that people danced the most and  most successful one. I don’t think that it would be more successful, because it already reached one of the most highest level of fame.

I think you say this because being used to fast sebene that people play nowadays. You will notice that when some bands switched to these kind of sebene, Ndombolo became less popular abroad and foreigners moving more to coupe Décale. The generation that grew up with Wenge 4x4, the Ndombolo-era and first years of Maison Mère, calling Werra’s music from 2006-07 makelele and manzanza (noise).

I wanted to answer to your answer earlier but lost the post, anyway you know? My Uncle and my Parents highlight dislike Werrason, my uncle especially when my auntie asked him what he thought of Werra he said well asalaka miziki ya Makelele I had no idea that Werra had this effect on older people, so do you think that maybe guys like Koffi who do slow Sebenes or even Fally who is slowly forsaken the CLASSIC generique can make the Congolese music be at the forefront again?

You may not like it, but Tata Mobimba of Koffi Olomidé is a huge hit in many African countries. I think that bandleaders will receive alot of succes in Africa when coming with concepts that are like Original of Fally, Selfie & Tata Mobimba of Koffi, etc. But they erase the roll of atalaku's because the young generation abroad don't understand that concept anymore. It kills the genre, but we don't have any choice. In my opinion it will make DR Congo stronger on short term. But about Ndombolo becoming n1 genre in Africa again ? No, time have changed. Back in the days every generation in Africa grew up with Congolese music from Grand Kallé Jeff to Franco Luambo Makiadi, Tabu Ley, Clan Langa Langa to Clan Wenge. But the last generation didn't they grew up with it, they grew up with Nigerian music from the moment Coupe Décale (Congolese music back fighting Ivorian music) lost the key to them. In the same period  the landscape in African music also changed, Paris not being influent anymore, Nigerians finally being interested to concer the whole continent, music awards not being organised by francophone people anymore and african music becoming commerical. Those who get in touch with Congolese music without knowing it before have often difficulties to understand the concept of atalaku's, songs that are splitted in 3 parts, mabanga, etc. being used to Wizkid, Burna Boy and co.

Another thing is that in Congolese music normally every 20 years a new generation comes, each comes with his own thing and it make the genre rebirth  First Grand Kallé who came with the system of having an orchestra and replacing the one of Wendo and co who were griots (I don't now how to say it in english), than the generation of Thu Zahina/Zaiko who weren't using brass instruments came with sebene, atalaku's and 20 years after the generation of Wenge. But in 2007-2008-2009 there didn't come a new generation, which in my opinion left a void in the genre. Yes, there were Fally and Ferre but they are from the school of Clan Wenge. Now you have Inoss B', Gaz Mawete and co but I see them like copycats of Nigerians.

If Congo wants to be n1 again, they need to come with a new/different genre and I think that the one of Bokoko has alot of potential. It can easily being played in nightclubs, bars and radio's without receiving discrimination from those who don't like our guitar because of not being commercial enough, thinking that African music has to be centered around popmusic. Outside France and Belgium, Congolese music  is barely/not played, not even the commerical ones of Gaz Mawete, Inoss B' and co. Its just Nigerian, South Africa, Ghana and Tanzania that's it. Its only played on rare occassions when there's a Anglophone artists featered on it.

Yeah Ndombolo is completely dead in Kin. I was there during the summer after an absence of 8 years and I was shocked the bars and clubs were just playing Nigerian Music, because the last time I was there Original just came out and it took kin by storm and was being played everywhere including the generiques from Power and Boite de noir. The only Congolese artists they were playing were Fally’s tokoss songs or Robinio’s music which is quite popular in Kin. You’ll have some bars playing the regular old school music but not a lot and also because Wenge was about to perform in stade des martyrs so people were playing out of nostalgia.

You may not like it, but Tata Mobimba of Koffi Olomidé is a huge hit in many African countries. I think that bandleaders will receive alot of succes in Africa when coming with concepts that are like Original of Fally, Selfie & Tata Mobimba of Koffi, etc. But they erase the roll of atalaku's because the young generation abroad don't understand that concept anymore. It kills the genre, but we don't have any choice. In my opinion it will make DR Congo stronger on short term. But about Ndombolo becoming n1 genre in Africa again ? No, time have changed. Back in the days every generation in Africa grew up with Congolese music from Grand Kallé Jeff to Franco Luambo Makiadi, Tabu Ley, Clan Langa Langa to Clan Wenge. But the last generation didn't they grew up with it, they grew up with Nigerian music from the moment Coupe Décale (Congolese music back fighting Ivorian music) lost the key to them. In the same period  the landscape in African music also changed, Paris not being influent anymore, Nigerians finally being interested to concer the whole continent, music awards not being organised by francophone people anymore and african music becoming commerical. Those who get in touch with Congolese music without knowing it before have often difficulties to understand the concept of atalaku's, songs that are splitted in 3 parts, mabanga, etc. being used to Wizkid, Burna Boy and co.

Another thing is that in Congolese music normally every 20 years a new generation comes, each comes with his own thing and it make the genre rebirth  First Grand Kallé who came with the system of having an orchestra and replacing the one of Wendo and co who were griots (I don't now how to say it in english), than the generation of Thu Zahina/Zaiko who weren't using brass instruments came with sebene, atalaku's and 20 years after the generation of Wenge. But in 2007-2008-2009 there didn't come a new generation, which in my opinion left a void in the genre. Yes, there were Fally and Ferre but they are from the school of Clan Wenge. Now you have Inoss B', Gaz Mawete and co but I see them like copycats of Nigerians.

If Congo wants to be n1 again, they need to come with a new/different genre and I think that the one of Bokoko has alot of potential. It can easily being played in nightclubs, bars and radio's without receiving discrimination from those who don't like our guitar because of not being commercial enough, thinking that African music has to be centered around popmusic. Outside France and Belgium, Congolese music  is barely/not played, not even the commerical ones of Gaz Mawete, Inoss B' and co. Its just Nigerian, South Africa, Ghana and Tanzania that's it. Its only played on rare occassions when there's a Anglophone artists featered on it.

I've always said Inoss B and his generation should have created groups of their own and brought something new. I do think the over reliance on donors have diluted the value of our music. There's no more diversity of messages in songs, it's the typical rhumba or lazy sebenes.

What do you think Congolese artist can do to raise the profile of our music internationally? Maybe artist should embrace social media more, create dance challenges or returning to classic way of playing songs

The new generation of artists already very active on tiktok and already create new challenges there. Its just that they a big step behind other africans. Returning to playing classic music won't help either, because like a side youngsters of other african countries and those living in Europe don't understand the concept of 3 parts.


Congolese artists are/were to depended on the Congolese diaspora and Europe. Because its there were they all were getting proper money since that performing in Kinshasa is peannuts. The concert ban of 2011 made all bandleaders being totally dependent from donors and from than albums of 25, 30, 40 tracks starting to get released.

You may not like it, but Tata Mobimba of Koffi Olomidé is a huge hit in many African countries. I think that bandleaders will receive alot of succes in Africa when coming with concepts that are like Original of Fally, Selfie & Tata Mobimba of Koffi, etc. But they erase the roll of atalaku's because the young generation abroad don't understand that concept anymore. It kills the genre, but we don't have any choice. In my opinion it will make DR Congo stronger on short term. But about Ndombolo becoming n1 genre in Africa again ? No, time have changed. Back in the days every generation in Africa grew up with Congolese music from Grand Kallé Jeff to Franco Luambo Makiadi, Tabu Ley, Clan Langa Langa to Clan Wenge. But the last generation didn't they grew up with it, they grew up with Nigerian music from the moment Coupe Décale (Congolese music back fighting Ivorian music) lost the key to them. In the same period  the landscape in African music also changed, Paris not being influent anymore, Nigerians finally being interested to concer the whole continent, music awards not being organised by francophone people anymore and african music becoming commerical. Those who get in touch with Congolese music without knowing it before have often difficulties to understand the concept of atalaku's, songs that are splitted in 3 parts, mabanga, etc. being used to Wizkid, Burna Boy and co.

Another thing is that in Congolese music normally every 20 years a new generation comes, each comes with his own thing and it make the genre rebirth  First Grand Kallé who came with the system of having an orchestra and replacing the one of Wendo and co who were griots (I don't now how to say it in english), than the generation of Thu Zahina/Zaiko who weren't using brass instruments came with sebene, atalaku's and 20 years after the generation of Wenge. But in 2007-2008-2009 there didn't come a new generation, which in my opinion left a void in the genre. Yes, there were Fally and Ferre but they are from the school of Clan Wenge. Now you have Inoss B', Gaz Mawete and co but I see them like copycats of Nigerians.

If Congo wants to be n1 again, they need to come with a new/different genre and I think that the one of Bokoko has alot of potential. It can easily being played in nightclubs, bars and radio's without receiving discrimination from those who don't like our guitar because of not being commercial enough, thinking that African music has to be centered around popmusic. Outside France and Belgium, Congolese music  is barely/not played, not even the commerical ones of Gaz Mawete, Inoss B' and co. Its just Nigerian, South Africa, Ghana and Tanzania that's it. Its only played on rare occassions when there's a Anglophone artists featered on it.

I've always said Inoss B and his generation should have created groups of their own and brought something new. I do think the over reliance on donors have diluted the value of our music. There's no more diversity of messages in songs, it's the typical rhumba or lazy sebenes.

What do you think Congolese artist can do to raise the profile of our music internationally? Maybe artist should embrace social media more, create dance challenges or returning to classic way of playing songs

Why would he do that? It doesn't make sense and unlike the old leaders Innoss understood that it is really pointless to have 50+ musician who you will bring with you in every tour etc. It made sense when there was Mobutu who cashed out money to musicians, but now that Congo is in a way different era it doesn't, plus he is an AfroCongo artists what instrument does he needs? 100% of his songs are made with the PC and with the DAW (Digital Audio Workstation) so except for live music why having a band? If he performs alone in a venue no one will miss musicians plus I think that having groups is starting to get annoying, why having a group if out of 20 songs you give them vocal of 30 seconds where they will be override by Mabangas ? The only thing Artist can do as Mfumu Vata said is bringing something original the mistake was not.of today but of yesterday, Franco, Tabu Ley, and to some extent Werrason, JB, and Koffi could have used those enormous amount of money they had to build a proper music industry with original cds and shops who sold those cds employing the musicians there and staff members, stop stupid rivalries and work togherer to have a better society,because what old.leaders forgot is that if you have broke people around you (Congolese average person) who will buy your music? Do you always want to go and Beg Ivory Coast, Zimbabwe, Kenya and Uganda to listen to your music? That's the problem what they can do now is bringing back the traditional style not meaning Guitar but traditional as Folklore taking those villages instruments and dances and cries and make them popular which is exactly what Bill did and why he was so successful

You may not like it, but Tata Mobimba of Koffi Olomidé is a huge hit in many African countries. I think that bandleaders will receive alot of succes in Africa when coming with concepts that are like Original of Fally, Selfie & Tata Mobimba of Koffi, etc. But they erase the roll of atalaku's because the young generation abroad don't understand that concept anymore. It kills the genre, but we don't have any choice. In my opinion it will make DR Congo stronger on short term. But about Ndombolo becoming n1 genre in Africa again ? No, time have changed. Back in the days every generation in Africa grew up with Congolese music from Grand Kallé Jeff to Franco Luambo Makiadi, Tabu Ley, Clan Langa Langa to Clan Wenge. But the last generation didn't they grew up with it, they grew up with Nigerian music from the moment Coupe Décale (Congolese music back fighting Ivorian music) lost the key to them. In the same period  the landscape in African music also changed, Paris not being influent anymore, Nigerians finally being interested to concer the whole continent, music awards not being organised by francophone people anymore and african music becoming commerical. Those who get in touch with Congolese music without knowing it before have often difficulties to understand the concept of atalaku's, songs that are splitted in 3 parts, mabanga, etc. being used to Wizkid, Burna Boy and co.

Another thing is that in Congolese music normally every 20 years a new generation comes, each comes with his own thing and it make the genre rebirth  First Grand Kallé who came with the system of having an orchestra and replacing the one of Wendo and co who were griots (I don't now how to say it in english), than the generation of Thu Zahina/Zaiko who weren't using brass instruments came with sebene, atalaku's and 20 years after the generation of Wenge. But in 2007-2008-2009 there didn't come a new generation, which in my opinion left a void in the genre. Yes, there were Fally and Ferre but they are from the school of Clan Wenge. Now you have Inoss B', Gaz Mawete and co but I see them like copycats of Nigerians.

If Congo wants to be n1 again, they need to come with a new/different genre and I think that the one of Bokoko has alot of potential. It can easily being played in nightclubs, bars and radio's without receiving discrimination from those who don't like our guitar because of not being commercial enough, thinking that African music has to be centered around popmusic. Outside France and Belgium, Congolese music  is barely/not played, not even the commerical ones of Gaz Mawete, Inoss B' and co. Its just Nigerian, South Africa, Ghana and Tanzania that's it. Its only played on rare occassions when there's a Anglophone artists featered on it.

Yes I don't like it at all, I have never understood why that song got that big, like what's so special about it, Original is a cool concept a d tbh I think that that is the direction the genre should g, go back to traditional Folklore music and maybe add some guitar here and there unfortunately no matter the song if you put guitar on it it rarely gets views taking Roga Roga for example he made Patati Patata and Myoini Mbote who had crazy guitar game very very good and whom I enjoyed more then BoKoko but then he made Bokoko and it got this massive success even if you go now it is at 30 mil and will probably go 31 in a month, I think that what you said with the innovation already came, Arafat Tshena with his (well not his he is the most indipendent popular artist) Mbokalosation synthe that reminds of Brazzaville's many tradition ethnicities and tbh that it is what made Fally and many others success, is what Lacoste wanted to bring and whom was almost making it happened with his many Boniomai songs like Boniomai, C'est Par La La Solutiin, Niekese until he started to lose his head