I remember late ADT Yanky Mpuy once saying that those tests sometimes helps to get cri's or new solo partitions. Some works on sebenes or generiques, not being that of guitarists and atalaku's themselves, but from those who came for tests and musicians that left Wenge Maison Mere, not having the right to claim generiques of Wenge Maison Mere, because it not being their work.

ex'Wenge Tonya Tonya singer Chibida, explained once that the helicopter/kisalu-cri, came from former QL-atalaku molayi, who came for a test and kept returning, not knowing that Bill and co were using him, to work on his cri.

I remember late ADT Yanky Mpuy once saying that those tests sometimes helps to get cri's or new solo partitions. Some works on sebenes or generiques, not being that of guitarists and atalaku's themselves, but from those who came for tests and musicians that left Wenge Maison Mere, not having the right to claim generiques of Wenge Maison Mere, because it not being their work.

ex'Wenge Tonya Tonya singer Chibida, explained once that the helicopter/kisalu-cri, came from former QL-atalaku molayi, who came for a test and kept returning, not knowing that Bill and co were using him, to work on his cri.

What is the Kisalu cri?
Man that's insane, I can't imagine being the one who made that massive animation and hearing it at parties and weddings with people believing that is actually Bill who did it.
And Bill love to run his mouth saying that he was a grossist of cries, I understand now why Celeo calls him out on his Bullshit.

It's the cri that comes after Helicopter "Mwana wele ku longo..., etc. "

Both Bill Clinton Kalonji and Celeo barely made cri's by themselves. Most cri's came were old traditional songs, coming from people working with them at home, other bandmembers like Ali Mbonda, guys like Chibida, etc.

Chibida himself claims that most cri's of Intervention Rapide, Solola Bien and Terrain Eza Mine were his creations, but I doubt him. Because I already heard some parts in other bands like Big Stars and Zaiko but them not being used in albums, also he's from Kinshasa, how can he come with such Kikongo-cri's if it doesn't come from folkloric bands. He justified it by saying that he used to study in Kasangulu for a short time, but I still doubt it. Another point is that there used to be a man in the past called Gaby-Yau Yau, who used to animate for Langa Langa Stars and said that Werrason contacted him to help Celeo and Bill Clinton out to come with some cri's, saying that he came with the introduction of Force d'Intervention Rapide and also participated to some cri's that were used in Solola Bien and Kibuisa Mpimpa and that he came with the Kimbongila-cri that were used by both Celeo and Bill Clinton in Alerte Generale and 7eme Lecon

It's the cri that comes after Helicopter "Mwana wele ku longo..., etc. "

Both Bill Clinton Kalonji and Celeo barely made cri's by themselves. Most cri's came were old traditional songs, coming from people working with them at home, other bandmembers like Ali Mbonda, guys like Chibida, etc.

Chibida himself claims that most cri's of Intervention Rapide, Solola Bien and Terrain Eza Mine were his creations, but I doubt him. Because I already heard some parts in other bands like Big Stars and Zaiko but them not being used in albums, also he's from Kinshasa, how can he come with such Kikongo-cri's if it doesn't come from folkloric bands. He justified it by saying that he used to study in Kasangulu for a short time, but I still doubt it. Another point is that there used to be a man in the past called Gaby-Yau Yau, who used to animate for Langa Langa Stars and said that Werrason contacted him to help Celeo and Bill Clinton out to come with some cri's, saying that he came with the introduction of Force d'Intervention Rapide and also participated to some cri's that were used in Solola Bien and Kibuisa Mpimpa and that he came with the Kimbongila-cri that were used by both Celeo and Bill Clinton in Alerte Generale and 7eme Lecon

For atalakus, maybe it's stage presence and the ability to keep people dancing for long periods of time at concerts that proves mastery more than than authorship of cries. Because Djouna, Roberto Ekokota, and Nono of Zaiko are well respected but they don't really claim ownership over their cries like recent atalakus do. What do you think?

Maybe that's changing. I feel like no atalakus right now share each other's cries, which means they're creating but they're not necessarily good at coming up with impactful stuff. The folkloric groups should be the inspiration and the extra touch should come from bigger groups to make those cries their own

and in the past in many groups test also served spiritual cause,once you step foot on that stage and they have your information something can always happen
most atalakus are buying stuff,the last naturally creative atalaku congolese music had was kabuya all the rest is coming from somebody most of the time or they'd create half max of what they present,or guys like genta for example  can take 2 of their animation 1 from a creator 1 from another and mould it all in one long animation which will be a hit
street music of kinshasa has almost completely disappeared people go from home to big groups because a couple of friends told them they are good,so there is a problem,but most leaders dont care anyways since its much easier now to make serious money,they know that their hype attract people no need to have an extra effort

and in the past in many groups test also served spiritual cause,once you step foot on that stage and they have your information something can always happen
most atalakus are buying stuff,the last naturally creative atalaku congolese music had was kabuya all the rest is coming from somebody most of the time or they'd create half max of what they present,or guys like genta for example  can take 2 of their animation 1 from a creator 1 from another and mould it all in one long animation which will be a hit
street music of kinshasa has almost completely disappeared people go from home to big groups because a couple of friends told them they are good,so there is a problem,but most leaders dont care anyways since its much easier now to make serious money,they know that their hype attract people no need to have an extra effort

So we need groups like Flash Musica, SVPL Gamme, and Station Japana as a training ground to improve already established groups? Do you recommend this as a solution? Maybe donors should experiment with new groups like they did from Lester to Wenge 4×4 in the late 80s

and in the past in many groups test also served spiritual cause,once you step foot on that stage and they have your information something can always happen
most atalakus are buying stuff,the last naturally creative atalaku congolese music had was kabuya all the rest is coming from somebody most of the time or they'd create half max of what they present,or guys like genta for example  can take 2 of their animation 1 from a creator 1 from another and mould it all in one long animation which will be a hit
street music of kinshasa has almost completely disappeared people go from home to big groups because a couple of friends told them they are good,so there is a problem,but most leaders dont care anyways since its much easier now to make serious money,they know that their hype attract people no need to have an extra effort

So we need groups like Flash Musica, SVPL Gamme, and Station Japana as a training ground to improve already established groups? Do you recommend this as a solution? Maybe donors should experiment with new groups like they did from Lester to Wenge 4×4 in the late 80s

I think that given how Congo has become even more capitalistic now, unless you have a name behind as an Atalaku or as a musician, is extremely hard to form street bands in Kinshasa where people for everything they ask you money(rightfully so) Street bands were formed in a time where Congo was a little bit better in terms of economy and group of youngster came togheter making music togheter for free in hope to make it to the big groups.

It's the cri that comes after Helicopter "Mwana wele ku longo..., etc. "

Both Bill Clinton Kalonji and Celeo barely made cri's by themselves. Most cri's came were old traditional songs, coming from people working with them at home, other bandmembers like Ali Mbonda, guys like Chibida, etc.

Chibida himself claims that most cri's of Intervention Rapide, Solola Bien and Terrain Eza Mine were his creations, but I doubt him. Because I already heard some parts in other bands like Big Stars and Zaiko but them not being used in albums, also he's from Kinshasa, how can he come with such Kikongo-cri's if it doesn't come from folkloric bands. He justified it by saying that he used to study in Kasangulu for a short time, but I still doubt it. Another point is that there used to be a man in the past called Gaby-Yau Yau, who used to animate for Langa Langa Stars and said that Werrason contacted him to help Celeo and Bill Clinton out to come with some cri's, saying that he came with the introduction of Force d'Intervention Rapide and also participated to some cri's that were used in Solola Bien and Kibuisa Mpimpa and that he came with the Kimbongila-cri that were used by both Celeo and Bill Clinton in Alerte Generale and 7eme Lecon

For atalakus, maybe it's stage presence and the ability to keep people dancing for long periods of time at concerts that proves mastery more than than authorship of cries. Because Djouna, Roberto Ekokota, and Nono of Zaiko are well respected but they don't really claim ownership over their cries like recent atalakus do. What do you think?

Maybe that's changing. I feel like no atalakus right now share each other's cries, which means they're creating but they're not necessarily good at coming up with impactful stuff. The folkloric groups should be the inspiration and the extra touch should come from bigger groups to make those cries their own

I think it was Werra who started to endthataystem of ending  cries in fact I rmemeber Skol Longitima and the various Sebene and Generique of Temoignage sharing the crie Kisanola with Brigade singing along with Kero or Apocalypse I don't remember and Of course Roi David and Kene Kene singing on Temoignage



9:24

While for Werra


2:23

Tbh I liked this fact so much it was so nice to see same cries from different angles going back to Werra I think Werra was max at Koffi cause he was "copying" his crie which wasn't true because as Mfumu Vata said there weren't that many original cries from Atalakus to begin with and from then on people start to came with their own animation or if someone made an animation you knew you couldn't do the same.

About the folkloric groups you will be surprised to see how much of the most impactful cries or songs come from Folklore, for example the reason why Fally worked with Rene Soso Pembe it is because him like many Bangala people got inspired by the late Mabele Elisi and Mimi Mongo who were the leader and one of the most female prolific writer of folklore of the Bangala region and not only Fally but Lacoste, man if Lacoste didn't lost his head he could have been a great leader because the whole folklore/synthetic thing people are doing now he was doing that in 2007/2008 and his music was so good. Going back to Mabele Elisi

Listen to this part




9:48

Does it remind you something?


5:36


What about this





Compare this song to this one





And the most famous of all



00:26





With that said the chances  of a new Bill, Celeo etc.
to be emerging again are extremely low, because most Atalakus don't spend time in street groups and they hardly watch animation from Folklore groups

Does it mean some of the cris that are hits during repetitions but are not used in albums are the "stolen types"?
Example
"MARIE JOSE, BAO SALA NGA SUKI"

Another test another atalaku!!!

BaLocks guy was already in Team B and that test was just symbolic.  He's a good animateur, creative and great voice.

BaLocks guy was already in Team B and that test was just symbolic.  He's a good animateur, creative and great voice.

How is Jamaique ahead of him? Though I get the he is more of a Roi Sabo/Wasabo substitute than Jamaique due to similarity of voice and antics to Roi Sabo/Wasabo

BaLocks guy was already in Team B and that test was just symbolic.  He's a good animateur, creative and great voice.

How is Jamaique ahead of him? Though I get the he is more of a Roi Sabo/Wasabo substitute than Jamaique due to similarity of voice and antics to Roi Sabo/Wasabo

And on a related but different point altogether, is there any other band in DRC that holds such regular and energetic repetitions like Maison Mere? I always see them having these jam-packed rehearsal sessions almost three to four times a week. Is there any other band with this kind of energy, with fans always attending and making it look more like a concert than a rehearsal?...........but strangely, somehow it is also the band that receives the most flak in this forum with their most popular name being 'the finished band.. Is there any explanation for this bias? Is it the hatred we all have for Werrason that clouds our judgment or what?

1. So basically testing is part of continuous talent search, entertainment and there is a registration fee paid. The rehearsals are done three times per week. Tuesday is closed door while Wednesday and Thursday are open to the public at a small fee. The money raised is used for upkeep for musicians, transport and clothes for musicians especially female musicians.

2. The animator in dreads is part of team B, the fake test was done to entertain the public as he is known in that place where the concert was held.

3. Jamaique has really stepped up after the arrival of Wasabo. Werrason calls him "full option" because he can single handedly handle all past animations and also sing both first and second voices.

4. Wasabo is now second animator behind Jamaique as Golbert is mostly absent from rehearsals, though Werrason likes him and keeps encouraging him.