No matter how iconic this man has been to Congolese music but his catalogue of discography has been far from desolations but consistent executions of art decade after decade, Foridoles was an absolute swipe of artistic greatness, after previous album Le Voyageur was too westernised but Foridoles still has touches of the previous album but redeveloped massively. This album contains approaches of Afro-pop, Electronic, Soukous, Rock, African-rumba, African-folk, funk, hip hop and salsa. All these mixtures solidifies the album to different extremes and audiences too. To continue on with this review two artists hugely donated their artistic attributes to the albums outcome one of them being Maika Munan a well respected arranger who arranged this album and the latter Felix Wazekwa a formidable songwriter who contributed in Koffi Olomide's previous albums, Each of the artists interacted efficiently with Papa Wemba.
"Dixiéme Commandment" the lead track of the album, this song is just mind blowing as Viva La Musica's dubbed "Rumba-rock frenchen" style has been totally evolved to a new style incorporating funk-rock, electronic, hip hop and soukous, the vocals are excellent and lively as usual and Dally Kimoko's rock attempt paid off his partitions were brave and brilliant also with the synthesizer added in as well as the programmed (electric) drums this song will largely appeal to all sets of fans whether they are African or Western people from Europe.
"Bravo Cathy" traditional Molokai joint also slightly developed, what is so amazing is that this song could be played by previous Viva generations for examples the 70's and 80's squad. Joli Mubiala evoked memories of the late great influential Molokai member King Kester Emeneya and it was success, the melody was superb thanks to Timo-Lolo on rhythm and Ikonolo with the percussions. Yves Demoukousse demonstrated his ability his lead partitions was impressive as the sebene's were laid back, TYPICAL VIVA HEY!
"Nzete Ya Sequoia" in my opinion this song bridges the unforeseen radiance as a début in this album. Wazekwa's lyrics is comparable to Papa Lutumba's story-telling capacity (gives me an idea of Lutumba and Tabu Ley collabrating), Papa Wemba's vocally ability shines as an introduction in this album, I think he sang his heart out, maturity and calmness of his vocal capacity stands out as I think he followed his teachers singing fashion obviously Tabu Ley, Maika Munan pivotal as he arranger this whole song. "Sequoia" ejects the electric Rumba-rock Frenchen but infiltrates the African-rumba system which is evocative of OK Jazz and Afrisa and by the way Maika Munan ending lead partition was bright and calm this song is a full-bodied success, this style is not stopped at all the Trio (Wemba-Wazkewa-Munan) strike again on "Reference" an overdrive of acoustic finesse especially with Sam Mangwana's insertion which reminds of "Faute ya Commercant" but mellowed and tranquil another song of perfection in this album and text is full of wordplay and proverbs even through words of Papa Wemba, top-notch lyrics by Wazekwa and once again "Reference" is total success. (IF FERRE WANTS TO DO RUMBA'S OR ANY OTHER ARTIST THEY SHOULD LISTEN TO THESE SONGS REFERENCES TO MAKE A RUMBA'S INTO PERFECTION)
Nzete Ya Sequoia
Reference
"Aladji Djambo" is an interesting which gives me memories of Mbilia Bel's "Manzili Manzili" due to sort of Swahili folklore methodology added in to this song however Papa Wemba and Asta Paola compliment each other well, the music keeps on to a OK Jazz Lutumba composition before a fitting sebene but the instrumentations was totally exceptional.
"Latin Lovers" connected many musical mediums starting of with a slow typical Viva culture tune, somehow this tune conjures up the thrilling "Evenement" song by Viva in the early 80s for a minute but through-out the whole Papa Wemba satisfied me with his singing (high-pitched, calm, adventures at times, typical and composed) after this "Latin Lovers" finishes with a satisfying salsa/Cuban and Rumba style.
"Moyi" takes me back to Viva's traditional Molokai tradition plus a change in topic praising the creation of sun created by God once again Felix Wazekwa epitomizing his writing abilities and the song also ends with fitting sebene.
Overall, the album touches many genre's of music, it also a highly ambitious album but as a whole it qualifies was artistic masterpiece which will live long in the memories of the Soukous fans and neutral too a definite milestone in the 90's and further decades for me this album is totally excellent so to end this I give this album A STRONG 9.1/10
