I believed that I would never hear the full album again in my life. So happy to hear it back

I already see several YouTube channels copying the video and acting as if they uploaded it themselves, even adding their own YouTube logo instead of crediting the original source. YouTube should introduce a rule regarding rare videos that are uploaded to the platform, saying that everyone has to credit the original uploader.

Agreed, hopefully YouTube should upgrade it at the end of the day is someone else archives. The quality of this album sounds exactly like the original Bouger Bouger.

It sounds the same because “Live!” was like Bouger Bouger, recorded at Studio Bobongo.

Speaking of “Live!”, it is still a mystery to me why the album took almost 40 years to reappear. The album should normally have been reissued in the 1990s, like Bouger Bouger, especially since it was this album that truly made Wenge Musica breakthrough on the Congolese music scene and become Champion du Zaïre in 1990

Ricoco sounded a bit like Manda Chante. I wonder what he was thinking when Werrason mentioned his slogans “Nouveau Testament” and “Santu Thomas” in Kolo Budget. However, he would still mention them by himself in La Fille du Roi. When coming to Marie Paul, his voice sounded forced. It’s like he wasn’t feeling comfortable.

Alain Makaba did a great job here. You can feel the hunger he had. People often forget that he used to be a great keyboard player and backed several artists (General Defao, Bimi Ombale, JP Buse, etc.) at Studio Bobongo

Ricoco sounded a bit like Manda Chante. I wonder what he was thinking when Werrason mentioned his slogans “Nouveau Testament” and “Santu Thomas” in Kolo Budget. However, he would still mention them by himself in La Fille du Roi. When coming to Marie Paul, his voice sounded forced. It’s like he wasn’t feeling comfortable.

Alain Makaba did a great job here. You can feel the hunger he had. People often forget that he used to be a great keyboard player and backed several artists (General Defao, Bimi Ombale, JP Buse, etc.) at Studio Bobongo

Was Alain Makaba an official member of Bobongo Stars?

Ricoco sounded a bit like Manda Chante. I wonder what he was thinking when Werrason mentioned his slogans “Nouveau Testament” and “Santu Thomas” in Kolo Budget. However, he would still mention them by himself in La Fille du Roi. When coming to Marie Paul, his voice sounded forced. It’s like he wasn’t feeling comfortable.

Alain Makaba did a great job here. You can feel the hunger he had. People often forget that he used to be a great keyboard player and backed several artists (General Defao, Bimi Ombale, JP Buse, etc.) at Studio Bobongo

The guitar partitions Alain Makaba was great, plus I couldn't stop replaying the introduction of mulolo especially the keyboard he played.

Here this channel already put the songs together even it’s not the original album name and cover. I’ve also advised the channel to credit the original source, that uploaded the songs on YouTube.

Did Blaise Kombo (RIP) already die before the release of the album?

Ricoco sounded a bit like Manda Chante. I wonder what he was thinking when Werrason mentioned his slogans “Nouveau Testament” and “Santu Thomas” in Kolo Budget. However, he would still mention them by himself in La Fille du Roi. When coming to Marie Paul, his voice sounded forced. It’s like he wasn’t feeling comfortable.

Alain Makaba did a great job here. You can feel the hunger he had. People often forget that he used to be a great keyboard player and backed several artists (General Defao, Bimi Ombale, JP Buse, etc.) at Studio Bobongo

Was Alain Makaba an official member of Bobongo Stars?

Yes, he joined them before that Wenge became a professional group. It's there were he learned how to use programmed drums, play keyboards, etc., having  Al Nzimbi as his mentor

Here this channel already put the songs together even it’s not the original album name and cover. I’ve also advised the channel to credit the original source, that uploaded the songs on YouTube.

Did Blaise Kombo (RIP) already die before the release of the album?

It looks like they deleted your comment. It’s sad how some people want to take all the credit for themselves while, in reality, they didn’t made any effort to find those rare archives
I
Blaise Kombo participated on this album. It was before the missed trip to Europe in 1989. Journalist Mpaka Ikombe talked a bit about his participation in the album, on the article about his death

https://www.mbokamosika.com/article-blaise-kombo-perit-en-1990-dans-un-accident-de-circulation-110647874.html

Here this channel already put the songs together even it’s not the original album name and cover. I’ve also advised the channel to credit the original source, that uploaded the songs on YouTube.

Did Blaise Kombo (RIP) already die before the release of the album?

It looks like they deleted your comment. It’s sad how some people want to take all the credit for themselves while, in reality, they didn’t made any effort to find those rare archives
I
Blaise Kombo participated on this album. It was before the missed trip to Europe in 1989. Journalist Mpaka Ikombe talked a bit about his participation in the album, on the article about his death

https://www.mbokamosika.com/article-blaise-kombo-perit-en-1990-dans-un-accident-de-circulation-110647874.html

Thank you for the clarification mbuta muntu. My comment is still there, but the channel owner didn’t mind.
I remarked that this channel especially pretends to upload complete albums in HQ, but some tracks in reality are from video clips or the quality of the tracks aren’t good.

Maradona claimed that the way he drummed on Live nspired many young musicians, and he acted as if it had revolutionized the drumming style in our music. I had my doubts when he said it, because young drummers at that time had still Djudju-Chet, Ilo Pablo, Meridjo, Richacha, and Awilo Longomba as their role models, there I was no one who copied Maradona’s style the way many later copied Titina’s. I knew that Maradona used to be very popular, but I couldn’t clearly recall the way he drummed on that album, since it had been decades since I last listened to it, so I couldn’t really judge. Now that I finally had the opportunity to listen to it again, I can conclude that there is no real difference between the way he drummed on Bouger Bouger and on Live!. He didn’t drum bad, but it wasn’t way he bragged about it.

Drummer Maradona also claimed in one of his interviews in Kinshasa that Titina simply replicated his work on Kin é Bougé. However, when comparing the work he did on Bouger Bouger, Live!, and the concerts before his departure with Titina’s drumming on Kin é Bougé, it is totally different. Maradona didn’t use the toms as much as Titina did.

It is only on “L” that the drumming sounds somewhat similar to Titina’s style, but I believe that is because of Deo Sfr, who shared the drums with him in Nouvelle Écriture but didn’t have the chance to participate in the 1998 European tour. Maradona also claimed that Champion followed his style, but when listening to albums like Loi and Attentat and watching his concerts with Quartier Latin, it sounds totally different from Maradona’s style and much closer to Titina’s

Maradona claimed that the way he drummed on Live nspired many young musicians, and he acted as if it had revolutionized the drumming style in our music. I had my doubts when he said it, because young drummers at that time had still Djudju-Chet, Ilo Pablo, Meridjo, Richacha, and Awilo Longomba as their role models, there I was no one who copied Maradona’s style the way many later copied Titina’s. I knew that Maradona used to be very popular, but I couldn’t clearly recall the way he drummed on that album, since it had been decades since I last listened to it, so I couldn’t really judge. Now that I finally had the opportunity to listen to it again, I can conclude that there is no real difference between the way he drummed on Bouger Bouger and on Live!. He didn’t drum bad, but it wasn’t way he bragged about it.

Drummer Maradona also claimed in one of his interviews in Kinshasa that Titina simply replicated his work on Kin é Bougé. However, when comparing the work he did on Bouger Bouger, Live!, and the concerts before his departure with Titina’s drumming on Kin é Bougé, it is totally different. Maradona didn’t use the toms as much as Titina did.

It is only on “L” that the drumming sounds somewhat similar to Titina’s style, but I believe that is because of Deo Sfr, who shared the drums with him in Nouvelle Écriture but didn’t have the chance to participate in the 1998 European tour. Maradona also claimed that Champion followed his style, but when listening to albums like Loi and Attentat and watching his concerts with Quartier Latin, it sounds totally different from Maradona’s style and much closer to Titina’s

If anything, wouldn't it be more accurate to attribute Titina's style of as a homage to L'Afrisa International? You see him, Champion, and Ramatoulaye frequently use syncopated rhythms that a lot of their peers never mastered, which is why they can play live drums on rhumba sections while others use programmed drums or a session drummer before the sebene. Like you said, there's a reason why Deo Sfr was brought quickly to Europe for the tour, you even feel the difference when he interprets the drum parts from Fula Histoire

I think that you didn't understand what I tried to say. Deo Sfr's first tour in Europe was in 2000 with the Fioti Fioti's, Fula Ngenge was done by Maradona, because Wemba decided to leave Deo Sfr behind for Zenith 1999. What I wanted to say is that the way Maradona drummed on "L" being close to that of Titina, but me believing that it's due to Deo Sfr who was his back-up. Because he didn't had to chance to travel with them as he was left behind for the Europe-tour of 1998. Also when listening to "L" and comparing to for example how Deo Sfr drummed on the sebene of Elongi ya Jesus and m'Odikenda at Zenith 2000, you'll notice the style is similar. Before recording "L" in Europe, Nouvelle Ecriture recorded a pre-version in Kinshasa at Studio Bobongo under supervision of Al Nzimbi and Ramazani, where both late Deo and Maradona drummed






I' haven't really heard Ramatoulay drumming rumba live  properly. But the way Titina and Champion drums reflects the legacy left by Abro, who used to play that way for Tabu Ley. Another thing is that Koffi Olomidé had Tabu Ley as a role model, which is why Champion and Titina were drumming like Abro during the sebene parts of Koffi Olomidé’s rumbas. The same Abro backed Koffi on his albums Les Prissoniers Dorment and Elle et Moi.



Titina’s way of drumming is a mix of Djudjuchet, Richacha/Awilo and Ilo Pablo. Champion claims in interviews that he never had a Congolese drummer as a role model, but when listening to concerts and his work with Laviniora Esthétique, you can clearly hear him using passages similar to Titina’s from Kalayi Boeing during sebenes