It was for the rule of no visit without authorization,I dont know for other groups but i suppose its mostly the same for every group but you had to get  director of marketing approval before any interview and leader/group approval before a visit somewhere,it would take being a special member to the leaders eye to escape punishment,like late zulema in bcbg,heritier in maison mere,fally in latino who were doing it without facing any problem
remember even abraham spotted at a karaoke/concert with some of the new bcbg members of then and all of them got suspended except abraham who feared a 12 with that non-suspension and left while him not being suspended indicated that he was special and the others were strongly punished to set an example it indirectly contributed to the conflict with fally by the way since fally was "coaching" abraham a lot and told him that some stuff were signs that jb was turning on him and that a big 12 could be coming,so somehow in the circle of jb its like "fally mutu alongolisa abraham"

That was during the time that Abraham was recording his album Passe en Or right ? The way Fally left Quartier Latin after Droit Chemin would make every courtjester those stories.

I just noticed that Eric's voice isn't the same like it used to be. He sounds now a bit more like Rio. Did Rio coach him when he joined BCBG ? Because he's the only one that he talked positive about next to Djino. So the rumor that went around during the Kipe Ya Yo days about the old guard (that people used to call mikulis) went to a sorcer in order that JB would see them as fanastic is true ?

I saw BCBG-fans reacting in the comments, that Eric is not a good singer and  that Bikou le Brun, JDL, Kibens and co are better singers than him lol. Eric shouldn't have joined BCBG. He had to go to Quartier Latin which was made in the style of his voice. The thing is that if he would get received well by Jipson and Soleil

That was during the time that Abraham was recording his album Passe en Or right ? The way Fally left Quartier Latin after Droit Chemin would make every courtjester those stories.

I just noticed that Eric's voice isn't the same like it used to be. He sounds now a bit more like Rio. Did Rio coach him when he joined BCBG ? Because he's the only one that he talked positive about next to Djino. So the rumor that went around during the Kipe Ya Yo days about the old guard (that people used to call mikulis) went to a sorcer in order that JB would see them as fanastic is true ?

I saw BCBG-fans reacting in the comments, that Eric is not a good singer and  that Bikou le Brun, JDL, Kibens and co are better singers than him lol. Eric shouldn't have joined BCBG. He had to go to Quartier Latin which was made in the style of his voice. The thing is that if he would get received well by Jipson and Soleil

He spoke well of Rio but threw a little jab by saying Rio is only good for choruses lol.
That rumour about seeing sorcerers has been going around even once tutu callugi said the same thing.
I’ve been saying Éric Mente should’ve gone to Quartier Latin instead but he was asked in his second interview by the journalist why didn’t he join QL instead because that was tailor made for him, and he said because he was still loyal to Sam and was his pire petit and he heard all the stories Sam used to say about Koffi to prevent them from joining.
I think if he joined QL in 2003 Bouro would’ve protected him in the group because he said Bouro welcomed him well in Academia and they had a good relationship. Koffi would’ve used him much better than Jb did

Talking about the musicians of Academia being abandoned. There was a moment that Modogo returned right ? or was it before that ?  Because in I think one of those polemique-compilations, there was a videoclip of Modogo dancing with them in a think the second-generique of Quatre Coins Kandala

That was during the time that Abraham was recording his album Passe en Or right ? The way Fally left Quartier Latin after Droit Chemin would make every courtjester those stories.

I just noticed that Eric's voice isn't the same like it used to be. He sounds now a bit more like Rio. Did Rio coach him when he joined BCBG ? Because he's the only one that he talked positive about next to Djino. So the rumor that went around during the Kipe Ya Yo days about the old guard (that people used to call mikulis) went to a sorcer in order that JB would see them as fanastic is true ?

I saw BCBG-fans reacting in the comments, that Eric is not a good singer and  that Bikou le Brun, JDL, Kibens and co are better singers than him lol. Eric shouldn't have joined BCBG. He had to go to Quartier Latin which was made in the style of his voice. The thing is that if he would get received well by Jipson and Soleil

I'm curious, who was your favorite singer in BCBG after Titanic era (excluding the obvious choice like Alain Mpela)? I have a feeling the only singer that consistently impressed you by his vocals was Chai.

I'm not really sure how you liked the Kipe Ya Yo team of Djino, Abraham, Nono Fuji, and Zulema

yalé returned briefly indeed i think they wanted to try a second time to bring at least a couple of guys(the remain guys of flash like stella bouldog for example)  after they were scammed by a guy and sam punched him before going to europe
the atalaku you was looking for is attaquant de pointe,the other one tapis rouge
i was also hearing from my brother that in 2005 2006 2007 when the generation war was getting tense,a promoter of congo who came with canadian partners wanted to produce jb for a tour,and even help lift the ban which ended in 2008 and his condition was that he'd have an opinion on who to pick for the list,so the old guard went in mass to sorcerers to secure their spots and jb ended up rejecting the offer after having a lot of unusual confusion for somebody who has money as the top priority of his contract negotiations and who was given one of the best contracts he could get at that time because it was taking out of the list most of the old guys and in return the younger ones also went to counter not by targetting jb directly but doing stuff also to try to react and its before the american tour around obama election that jb did a reunion to confront the whole group because a lot of strange things were happening at rehearsals and that he told them that whoever he catches again in that period is out of the group without any discussion then it started cooling down(even though until today some still try to sneak in stuff,its like an addiction to some once they get into it)
i would not be surprised if the fear of a return of public war between the old guard and the younger was one of the reasons behind him building a new rehearsal hall almost like a small hotel then selling it to indians,because they'd have had to have public rehearsals back

That was during the time that Abraham was recording his album Passe en Or right ? The way Fally left Quartier Latin after Droit Chemin would make every courtjester those stories.

I just noticed that Eric's voice isn't the same like it used to be. He sounds now a bit more like Rio. Did Rio coach him when he joined BCBG ? Because he's the only one that he talked positive about next to Djino. So the rumor that went around during the Kipe Ya Yo days about the old guard (that people used to call mikulis) went to a sorcer in order that JB would see them as fanastic is true ?

I saw BCBG-fans reacting in the comments, that Eric is not a good singer and  that Bikou le Brun, JDL, Kibens and co are better singers than him lol. Eric shouldn't have joined BCBG. He had to go to Quartier Latin which was made in the style of his voice. The thing is that if he would get received well by Jipson and Soleil

I'm curious, who was your favorite singer in BCBG after Titanic era (excluding the obvious choice like Alain Mpela)? I have a feeling the only singer that consistently impressed you by his vocals was Chai.

I'm not really sure how you liked the Kipe Ya Yo team of Djino, Abraham, Nono Fuji, and Zulema

I wasn't paying attention anymore to Wenge BCBG because I saw their band is unattractive. I had the Kipe ya Yo CD at home, but I never really listened serious to that album, only listening to the generique. I once tried, but after listening to the second song or third song replace it quickly with Sous Sol, Sens Interdit or Jour le Plus Long. I saw a friend of mine as crazy, because he was claiming that JB Mpiana was making quality music and that that of Werrason was 'makelele' and music ya manzanza, but when trying to listen to Kipe ya Yo once at that time, I concluded that he had to visit a doctor.

Quel Est Ton Probleme I started listening to it in 2009 (1 year later), because of the same friend making noise the whole year about Zadio and that JB Mpiana would silence everyone with Chemin de Fer that would come after it (but it never came). After seeing that a Congolese movie with the title of Zadio, also seeing Zadio becoming the best song of the year at Ndule Awards, the DVD of his the Kinkole-concert and the Brussels-show, I decided to listen to Quel Est Ton Probleme and discovered that it was a great EP. However, I didn't knew the singers well, but I saw them as talented and better than the old guard.

About the team of Sakoko, Nono Fudji, Djino and co. They impressed me when seeing a DVD of one Kinshasa concert and later FIKIN 2005, them doing "beta maboko" vocals, that would end up in Francis Kalombo. I was then wondering why JB Mpiana wasn't giving them a chance. However, I didn't knew their names. For example I still don't know who Atshuda is but I only hear people talking about him. I didn't know who Nono Fudji only years later during Soyons Serieux. Djino I knew him because of JB often calling his name in concerts.

About the old guard. When discovering the team of the old guard, the vocal of Kibens took my attention that ended up in Papito Mbala. I was wondering why Rio was singing like a woman. At that time, I was seeing their group as ok, but not as boom like Quartier Latin, Nouvelle Ecriture or Wenge Maison Mère. None of them was my favorite. In the time of Internet, I was wondering why JB wasn't recruiting singers that had the k-liber of Bouro, Fally, Ferre and co. Only to discover the PPU's in the taxi pour Bercy VHS and later the FIKIN 2001 cassette. I liked them alot, but JB Mpiana made me mad for attacking Koffi. So I wasn't following them anymore only reading and hearing their news of JB and BCBG, just seeing their videos when visiting people, only to discover 2 years later that they stayed in Europe, when JB did that famous interview with Francis Kakonde (just after the arrestation of Papa Wemba)

That was during the time that Abraham was recording his album Passe en Or right ? The way Fally left Quartier Latin after Droit Chemin would make every courtjester those stories.

I just noticed that Eric's voice isn't the same like it used to be. He sounds now a bit more like Rio. Did Rio coach him when he joined BCBG ? Because he's the only one that he talked positive about next to Djino. So the rumor that went around during the Kipe Ya Yo days about the old guard (that people used to call mikulis) went to a sorcer in order that JB would see them as fanastic is true ?

I saw BCBG-fans reacting in the comments, that Eric is not a good singer and  that Bikou le Brun, JDL, Kibens and co are better singers than him lol. Eric shouldn't have joined BCBG. He had to go to Quartier Latin which was made in the style of his voice. The thing is that if he would get received well by Jipson and Soleil

I'm curious, who was your favorite singer in BCBG after Titanic era (excluding the obvious choice like Alain Mpela)? I have a feeling the only singer that consistently impressed you by his vocals was Chai.

I'm not really sure how you liked the Kipe Ya Yo team of Djino, Abraham, Nono Fuji, and Zulema

I wasn't paying attention anymore to Wenge BCBG because I saw their band is unattractive. I had the Kipe ya Yo CD at home, but I never really listened serious to that album, only listening to the generique. I once tried, but after listening to the second song or third song replace it quickly with Sous Sol, Sens Interdit or Jour le Plus Long. I saw a friend of mine as crazy, because he was claiming that JB Mpiana was making quality music and that that of Werrason was 'makelele' and music ya manzanza, but when trying to listen to Kipe ya Yo once at that time, I concluded that he had to visit a doctor.

Quel Est Ton Probleme I started listening to it in 2009 (1 year later), because of the same friend making noise the whole year about Zadio and that JB Mpiana would silence everyone with Chemin de Fer that would come after it (but it never came). After seeing that a Congolese movie with the title of Zadio, also seeing Zadio becoming the best song of the year at Ndule Awards, the DVD of his the Kinkole-concert and the Brussels-show, I decided to listen to Quel Est Ton Probleme and discovered that it was a great EP. However, I didn't knew the singers well, but I saw them as talented and better than the old guard.

About the team of Sakoko, Nono Fudji, Djino and co. They impressed me when seeing a DVD of one Kinshasa concert and later FIKIN 2005, them doing "beta maboko" vocals, that would end up in Francis Kalombo. I was then wondering why JB Mpiana wasn't giving them a chance. However, I didn't knew their names. For example I still don't know who Atshuda is but I only hear people talking about him. I didn't know who Nono Fudji only years later during Soyons Serieux. Djino I knew him because of JB often calling his name in concerts.

About the old guard. When discovering the team of the old guard, the vocal of Kibens took my attention that ended up in Papito Mbala. I was wondering why Rio was singing like a woman. At that time, I was seeing their group as ok, but not as boom like Quartier Latin, Nouvelle Ecriture or Wenge Maison Mère. None of them was my favorite. In the time of Internet, I was wondering why JB wasn't recruiting singers that had the k-liber of Bouro, Fally, Ferre and co. Only to discover the PPU's in the taxi pour Bercy VHS and later the FIKIN 2001 cassette. I liked them alot, but JB Mpiana made me mad for attacking Koffi. So I wasn't following them anymore only reading and hearing their news of JB and BCBG, just seeing their videos when visiting people, only to discover 2 years later that they stayed in Europe, when JB did that famous interview with Francis Kakonde (just after the arrestation of Papa Wemba)

I don't know why, but a lot of Congolese music fans especially the old.guard always say this about Werrason's music, that his music his either Miziki ya Makelele or Mizuki ya Manzanza I remember I went to France with my family and after telling them I love Werrason both my Uncles and my parents said that Werrason's music is Miziki ya Makelele, my Dad is a Huge Zaiko fan, France's uncle doesn't really like Congolese music as a whole and my other Uncle (my Dad's brother in Italy) is a huge Emeneya fan, I have never understood why people used to say or say that Werrason's music is Makelele.

The way of playing sebene is to fast and noisy for them (Flamme's style). I think that someone who's used to Soukous-music also wouldn't like Werrason.

Last week I saw a guy in his 20's from Cameroon explaining on tiktok that he first also didn't like Werrason and that he saw his music as noisy. Him only knowing Extra Musica and Koffi. But only years later understanding Werra's music when going Congolese weddings and the way people react when they put his music. Him now claiming that Werrason is bigger than Koffi, but he probably doesn't understand how our music works and just judge artists trough generics.

The way of playing sebene is to fast and noisy for them (Flamme's style). I think that someone who's used to Soukous-music also wouldn't like Werrason.

Last week I saw a guy in his 20's from Cameroon explaining on tiktok that he first also didn't like Werrason and that he saw his music as noisy. Him only knowing Extra Musica and Koffi. But only years later understanding Werra's music when going Congolese weddings and the way people react when they put his music. Him now claiming that Werrason is bigger than Koffi, but he probably doesn't understand how our music works and just judge artists trough generics.

It's weird because they'll say the style of Flamme and Japonais is abrasive but they like the Zaiko. If I'm not mistaken, their albums of the Avis De Recherche featured guitar distortion and other pedal effects. The same style that Extra Musica would incorporate into their music, but the older generation gave them a pass. It's ironic but I understand.

As for Quartier Latin, who inspired their guitarist? People like Felly Tyson, Lebou, and Do Akongo? The way they played sebene is noticably slower tempo than Clan Wenge, even in Magie where the lead guitar was aggressive.

About Lebou and Do Akongo I don't know. But Felly Tyson always said and keeps saying that Beniko Popolipo was his idol when he was young. Do Akongo started his career as singer, but his love for the guitare was to much that he became a rhythm-guitare. When he joined Quartier Latin in 1989, Koffi Olomide compared him to former Viva la Musica-guitarist Syriana, who was back in the late 1970s seen as one of the best rhythm-guitarists in Zaire. Btw Do Akongo's uncle Dizzy Madjeku is a well respected guitarist in the music world. About Lebou Kabuya, I think that he has some guitarists of Viva la Musica as rolemodels, because the start of the sebene in Chantou, sounds like a typical Viva-sebene before the transition. The same for the way he played sebene in the song Manou. You have just remove the sound of atalaku's and replace it with early 1990s Viva-cri's. If I remember well, he mentioned Popolipo in one of his interviews. But I don't remember if he mentioned him as a model or one of those that coached him and gave some partitions.

It's not about playing distortion, but the way the guitar gets played fast. There are some former music-fans who used to like Wenge Maison Mere in the beginning, them coming from the Wenge 4x4-generation, but totally became disconnected in the era of Temoignage, Sous Sol & Temps Present, because of them not liking the style along with the new way of animating. I don't know how to explain it to you. About Zaiko themselves, I remember when their album Empreinte came out, some not liking the 19 minutes de nguasuma-generique, because of guitare being a bit to noisy in their eyes. Extra Musica is barely listened by Congolese people from Kinshasa. But about the guy from Cameroun saying not liking Werrason is, I think maybe due to Bill Clinton or just not getting the style of Maison Mere. For some people when they hear a different style it gets a long time to get used to it.

About Lebou and Do Akongo I don't know. But Felly Tyson always said and keeps saying that Beniko Popolipo was his idol when he was young. Do Akongo started his career as singer, but his love for the guitare was to much that he became a rhythm-guitare. When he joined Quartier Latin in 1989, Koffi Olomide compared him to former Viva la Musica-guitarist Syriana, who was back in the late 1970s seen as one of the best rhythm-guitarists in Zaire. Btw Do Akongo's uncle Dizzy Madjeku is a well respected guitarist in the music world. About Lebou Kabuya, I think that he has some guitarists of Viva la Musica as rolemodels, because the start of the sebene in Chantou, sounds like a typical Viva-sebene before the transition. The same for the way he played sebene in the song Manou. You have just remove the sound of atalaku's and replace it with early 1990s Viva-cri's. If I remember well, he mentioned Popolipo in one of his interviews. But I don't remember if he mentioned him as a model or one of those that coached him and gave some partitions.

It's not about playing distortion, but the way the guitar gets played fast. There are some former music-fans who used to like Wenge Maison Mere in the beginning, them coming from the Wenge 4x4-generation, but totally became disconnected in the era of Temoignage, Sous Sol & Temps Present, because of them not liking the style along with the new way of animating. I don't know how to explain it to you. About Zaiko themselves, I remember when their album Empreinte came out, some not liking the 19 minutes de nguasuma-generique, because of guitare being a bit to noisy in their eyes. Extra Musica is barely listened by Congolese people from Kinshasa. But about the guy from Cameroun saying not liking Werrason is, I think maybe due to Bill Clinton or just not getting the style of Maison Mere. For some people when they hear a different style it gets a long time to get used to it.

During their glory years (1998 to 2001), did Extra Musica ever have a successful concert in Kinshasa? Aside from their appearance on the program, Variete Samedi Soir, did they attempt to performed at venues like FIKIN, GHK, Cinemax, or Palais du Peuple?

It could be that they didn't take enough advantage to build relationships with donors, fans, and music journalist from Kinshasa. I noticed they gave a shout out to Zacharie Bababaswe for every album, but maybe they should have strengthen their ties with Werra to build mystic around their arrival to Kinshasa. Remember how Werra helped build excitement for Koffi's Stade de Martyr in 2002?

I know Bana Kin has a bias against their brothers across the border, but essentially the music is the same – the dialect and rhythm will change depending on tribe.

Extra Musica never had a concert in Kinshasa in the period of 1998-2001. Roga Roga would go sometime on his own to Kinshasa for private-reasons or promotion of their albums (I think to distribute their cd's and videos to tv and radio-channels).It's on concertpromoters to invite them. Roga Roga is now having concerts in Kinshasa because he's producing himself there, but on paper of  the name a different of concertpromoter, like many Kinshasa-artists used to do from the mid-2000s when concerts at GHK were planned.


Their show at Variete Samedi Soir was because of Zacharie Bababaswe invited them to Kinshasa to perform on the national television. It was because of that show that they earned respect in Brazzaville and they upon their return performed at Palais des Congres without having an album on the market, which was also filmed by Tele Zaire. Through Zacharie Bababaswe who was also part of Yoshad Production (label of Kongulu Mobutu 'aka Saddam Hussein), they got introduced to Saddam and would sometimes have private shows for Kongulu Mobutu a few times invited for small festivals in Kinshasa, for example the one of Shabani Records at Zamba Playa in 1996. I think that if Mobutu was still in power that they would have their own concert one day. Because it seems that Saddam used to like him. Guy-Guy Fall had also a song on Confirmation that was dedicated to Kongulu's wife Mama Dany and got promised a Mercedes-Benz as gift once the song would be released. But the song got sadly erased from the tracklist by Roga Roga and Espe Bass when doing the mixing in Europe, after the stuff that happened in Mali.

They had good relastions with donors and journalists from Kinshasa. Some of them would even receive shout-outs on their albums. But in Congolese music many donors have their preferences, for example those who are pro-Maison Mere, pro-BCBG, pro-Quartier Latin. Their shout-outs to Zacharie Bababswe are as sign of recognition and they had still good contacts with him.

The way Werrason supported Werrason for Stade des Martyrs was for strategic reasons, since that Koffi was beefing with JB Mpiana as well. Otherwise that support would never come. JB Mpiana set back at those days a record-attendance at Stade des Martyrs and by supporting Koffi, it was like see even Koffi filled Stade des Martyrs, so 'petit frere' is not that popular like he believes. But on the end Koffi himself never gave Werrason the credits, which dissapointed it him. It's only months later when journalist Paulin Mukendi made him say that after talking about that event, in the weeks after winning different Kora's in 2002.

I have heard that roga plans a martyrs for this year