I hope we can hear some good rumba. I would love to hear some of it in an Afrisa style if possible.

I hope we can hear some good rumba. I would love to hear some of it in an Afrisa style if possible.

No please bro, I want for him to release A lot of geneidqyes and Seben even tho you are right he will have great rhumbas in it

Lol, asking Karmapa to do that is llike asking to Lutumba or Josky Kiambukuta when being alive, to start to do more generiques with Bana Ok while having a rumba-odemba background. I don’t know if you ever followed Karmapa’s interviews, but he always said that the thing that motivated him to do music, was to stop the big influence of seben/Ndombolo in our music and to bring the old rumba of Vicky Longomba, Grand Kalle Jeff, Lutumba Simaro, Bokelo Isenge, Franco Luambo Makiadi and Tabu Ley back with meaningful songs and not songs with names. Also with the idea that the bandleader should sing more instead of letting the bandmembers doing the most work. He was hoping that it would influence the rest of the music-scene and it also worked. Today all artists are doing rumba. These reasons is also why he came with a reserved “R” in his name when releasing his first album, to refer to an upcoming Revolution in our music.

The thing you can do is just to put with other mad pression on Clan Wenge to release albums with sebene in the hope influence the rest or looking for an upcoming to come with a Sebene-Revolution like the way Karmapa came with the Rumba-Revolution in 2003/04

Karmapa started to do music to stop the influence of Ndombolo/seven

Lol, asking Karmapa to do that is llike asking to Lutumba or Josky Kiambukuta when being alive, to start to do more generiques with Bana Ok while having a rumba-odemba background. I don’t know if you ever followed Karmapa’s interviews, but he always said that the thing that motivated him to do music, was to stop the big influence of seben/Ndombolo in our music and to bring the old rumba of Vicky Longomba, Grand Kalle Jeff, Lutumba Simaro, Bokelo Isenge, Franco Luambo Makiadi and Tabu Ley back with meaningful songs and not songs with names. Also with the idea that the bandleader should sing more instead of letting the bandmembers doing the most work. He was hoping that it would influence the rest of the music-scene and it also worked. Today all artists are doing rumba. These reasons is also why he came with a reserved “R” in his name when releasing his first album, to refer to an upcoming Revolution in our music.

The thing you can do is just to put with other mad pression on Clan Wenge to release albums with sebene in the hope influence the rest or looking for an upcoming to come with a Sebene-Revolution like the way Karmapa came with the Rumba-Revolution in 2003/04

Karmapa started to do music to stop the influence of Ndombolo/seven

Did any of Karmapa's albums have impact in Congo? I'm not too familiar with his body of work outside of Caligula and the couple vocals he had in Felix Wazekwa's album

Lol, how do you know about his vocals with Wazekwa but not about his albums. Nobody follows Wazekwa’s songs.

Karmapa’s album was huge succes back in 2004. Towards the end of the year he won several awards of ACMCO. He got the awards “best song of year” for La Duchesse (above Bogus’ Doleance and JB’s Ezau), “best songwriter of the year”, “best album of the year” and “revelation de l’année. He even got nominated for the Kora Awards in the category “best male artist of central” along with Wazekwa, Awilo, Werrason and Djuna Mumbafu. It’s there were he met Wazekwa again and polemic being created, because of Wazekwa not wanting to shake hands with him.

His second album was one of the most awaited of 2005. The album was a success, but didn’t equal that of his first album. It’s was just received as a normal album. But still seen as one of the best of 2006 next to Temoignage, Faux Mutu Moko Boye and Droit Chemin

For his third album he changed his strategy. Because many people criticized him for often praising 2nd wife’s in his songs and not having generiques. So came with 3 generiques (Lifoloto, Kuluna & Kaniama Kasese) and a song called Premiere Dame. The album was a succes and even better received than his second.


His fourth album Le Millionaire was with Tatiana Cruz. It started well, but the promotion didn’t follow well and later on people being more focused on the polemique of him against Koffi Olomidé, because Tatiana Cruz wanting to join Quartier Latin. However the album still received a prize at NdulAwards, which was I think their last edition because of the hype around it being over.

It’s important to not that Karmapa’s succes was/is bigger in Kinshasa than Europe

talking about him he gotta be one of the youngest looking 65 years old i have ever seen
here is him sending support for his little brother wazekwa's martyrs

Lol, how do you know about his vocals with Wazekwa but not about his albums. Nobody follows Wazekwa’s songs.

Karmapa’s album was huge succes back in 2004. Towards the end of the year he won several awards of ACMCO. He got the awards “best song of year” for La Duchesse (above Bogus’ Doleance and JB’s Ezau), “best songwriter of the year”, “best album of the year” and “revelation de l’année. He even got nominated for the Kora Awards in the category “best male artist of central” along with Wazekwa, Awilo, Werrason and Djuna Mumbafu. It’s there were he met Wazekwa again and polemic being created, because of Wazekwa not wanting to shake hands with him.

His second album was one of the most awaited of 2005. The album was a success, but didn’t equal that of his first album. It’s was just received as a normal album. But still seen as one of the best of 2006 next to Temoignage, Faux Mutu Moko Boye and Droit Chemin

For his third album he changed his strategy. Because many people criticized him for often praising 2nd wife’s in his songs and not having generiques. So came with 3 generiques (Lifoloto, Kuluna & Kaniama Kasese) and a song called Premiere Dame. The album was a succes and even better received than his second.


His fourth album Le Millionaire was with Tatiana Cruz. It started well, but the promotion didn’t follow well and later on people being more focused on the polemique of him against Koffi Olomidé, because Tatiana Cruz wanting to join Quartier Latin. However the album still received a prize at NdulAwards, which was I think their last edition because of the hype around it being over.

It’s important to not that Karmapa’s succes was/is bigger in Kinshasa than Europe

I see, yes he really managed to do it, even tho I don't understand why him and many leaders outside of Wenge Clan have this sort of disdain/disgust for Ndombolo music for example Fally said that for him music was not breakdancimg and dancing crazy, if you check Julio Iglesias he was alone on the stage and he could sing for 2 hours without having dancers or sebens. Or when Koffi said that he will finally get rid of Atalakus and so on, why the Generation outside of Wenge has so much little love for Ndombolo? And by the way us there the opposite? Someone who is working or actively working to get Ndombolo back on the place it needed to be? Now that I think about it, I don't think it is disdain but even Roga Roga when asked by Ado Yuhe about Bokoko and how the idea came and if he expected his success, Roga started by saying " that song was with no Guitar, no crie, n Atalaku just choirs and synthe"

Bokoko is not rumba. Roga Roga probably wanted to come with something new after being long critized for being monotonous, the same guitar, the same atalaku-style, etc.

Fally Ipupa is from the Quartier Latin-school. In his last years in Quartier Latin, they went back to the rumba-roots and were in beef with Werrason. Koffi then coming with the ideology that a realbander bandleader has to sing alot (he was doing it already), not doing "ba grimaces" and to much dances. Many were thinking that Koffi was right which made alot bandleaders also adoping that style of less cheographies on stage when doing concerts and more singing

About the generation before Wenge (Koffi, Emeneya, Wemba, Lima Bembo, etc.) it's important to note that they are all born in the 1950s and grew up with the music of Tabu Ley, Dr Nico, Continental, Grand Kalle Jeff, Franco Luambo, etc. when they were kids, before that the hype of Zaiko came. Zaiko then in 1973 revolutionazing the music by coming with the Cavacha-style which we know today as Ndombolo. So for them real music is what the elders were making with rumba. If you were looking to interview of Emeneya he always often citing the singers that sung for OK Jazz (Ntesa Dalient, Josky Kiambukuta, etc.), Franck Lassan, Tabu Ley Rochereau, etc. as his rolemodels next to those of the 3th generation (Gina Efonge, sometimes Mopero & Pepe Kalle).

You can compare it with the generation of today prefering those Afro-music while the generation before likes more Ndombolo

Bokoko is not rumba. Roga Roga probably wanted to come with something new after being long critized for being monotonous, the same guitar, the same atalaku-style, etc.

Fally Ipupa is from the Quartier Latin-school. In his last years in Quartier Latin, they went back to the rumba-roots and were in beef with Werrason. Koffi then coming with the ideology that a realbander bandleader has to sing alot (he was doing it already), not doing "ba grimaces" and to much dances. Many were thinking that Koffi was right which made alot bandleaders also adoping that style of less cheographies on stage when doing concerts and more singing

About the generation before Wenge (Koffi, Emeneya, Wemba, Lima Bembo, etc.) it's important to note that they are all born in the 1950s and grew up with the music of Tabu Ley, Dr Nico, Continental, Grand Kalle Jeff, Franco Luambo, etc. when they were kids, before that the hype of Zaiko came. Zaiko then in 1973 revolutionazing the music by coming with the Cavacha-style which we know today as Ndombolo. So for them real music is what the elders were making with rumba. If you were looking to interview of Emeneya he always often citing the singers that sung for OK Jazz (Ntesa Dalient, Josky Kiambukuta, etc.), Franck Lassan, Tabu Ley Rochereau, etc. as his rolemodels next to those of the 3th generation (Gina Efonge, sometimes Mopero & Pepe Kalle).

You can compare it with the generation of today prefering those Afro-music while the generation before likes more Ndombolo

I know Bokoko isn't Rhumba, I just wanted to say that it was  a total opposite of what a traditional generique sounded like