No disrespect for Viva La Musica "Cour des Grands", but it was really time for them to leave, they were to old and looking all like looking like bandleaders who had already a band in Kinshasa. Their show missed fired compared to the one of Zenith de Paris, I guess that they felt less pression, knowing that Nouvelle Ecriture wouldn't be present. However, they still put a good show.
The part with Tony Sad went totally wrong, it was better if they sung O'koningana in live. Looks like Wemba didn't took time them to rehearse this show with Viva La Musica and his guests Emeneya, Evoloko and Nyoka Longo well.
from 1:19:15 min this was the moment for Lidjo Kwempa to stop bleaching his skin, but he still continued and now if you see him you will think that he's in the 80s. Sad to see the late Djodjo Bayinge (1:20:02 min). The Japanese guy Masuta used to follow Viva La Musica often, I remember him being present when they toured in 2001 to the United States.
The part of Molokai has more fire compared to that of Zenith de Paris. Looks like Wemba listened to the criticism he received, something that's missing with the artists of today. People would for example say to x artist that his lyrics for world music is to basic, but him still continuing with it and calling them jeaous. Other people would say to artist y that his music is to monotonous, but he wouldn't listen and still continue with that.
Is it true that the expression "tala muisi ya Zaza " was inspired by him ?
do you know the history of this expression?
Yeah, but I don't know the story behind it. It started with Dindo Yogo saying it in concerts and songs "Tala muisi ya Zaza, Tula muisi ya Zaza" and later on it became a synonym of running away.
So why was Vieux Bokul solicited to join Tabuley's Afrisa even though he already had a group, was the group struggling or its that thing were large group leaders wanting to kill competition by taking small group leaders to join big groups.
No, they had huge succes in 1978 and 1979. It was just that Amazone had enough of Wemba's behaviour of sleeping with all girls, so she went to Europe and she said that she would only come back if he would x amount of money. Tabu Ley was aware about that and promising him to pay Wemba x money for a contract of 1 year. It made him and his guitarist Rigo Star joining Afrisa in 1979, leaving Viva La Musica behind. Tabu Ley needed him, because he wanted a star next to him. Tabu Ley went with Wemba and Afrisa to Senegal, Ivory Coast, Belgium, France and Germany. Wemba was able to get Amazone back and come through Tabu Ley in contact with the European media. Viva La Musica on his side started to have problems, Bipoli, Jadot and Djanana leaving Viva briefly. But they fought back and started to release succesful single and dances and the three guys coming back. Wemba on his fed started to be fed up, because he spent already some months in Afrisa, but he was never paid. So after 6 months he decided to leave Afrisa and rejoined Viva La Musica, Esperant Kisangani was furious, because didn't want him back lol. But Emeneya and Dindo saying that it's Wemba's band so they hadn't any choice.
But about CNN he's right, because CNN never animated his own cri and was always taking the cri's from other atalaku's. In Attentat all cries were of Kaluji, Reagan, Guy Moller, Mboshi Lipassa and Bill Clinton. In Force de Frappe he animated the cries of Djuna Mumbafu, Theo Mbala and Bizima Kondos. In Monde Arabe he did Brigade's cri Sorobondo, Kerozene's cri of Anissa in Affaire d'Etat and the one Acide was doing in concerts. In Quartier Latin Integral he took the cri of Victoria Eleison (Tchalufu making from it Bulufu), the one of Gessac & Papy Louange, that of Kerozene did in Suivez le Guide and the cri that Bizima was meant to animate at Bercy and Bizima's cri dedicated to his late grandad wele (coco wele).
I always thought that R.D.C. was a song made by Pascal Poba, Adricha here says that the refrain and the mbala-folklore is part of a song made by Senado. People often think that most hit songs of JB Mpiana in T.H. and Feux de l'Amour were written by Pascal Poba, but it turns out that most songs were done by Senado and Jules Kibens.
Lol he finally admits that he used to be a huge JB Mpiana-fan and that he had a grugde towards him for the way he treated him, when he wanted to contact him for his album. I was always thinking that, because the way he used to attack JB on tv in that era wasn't normal. He named his album H.T. just to piss JB off who just released T.H. and later on Anti-Balles just to react on Anti Terro. I noticed that most hardcore Maison Mere-fans of the Solola Bien-days are often former JB-fanatics. I think that "petit na nga tanaka koki" is also a JB-fanatic, but him being hurt for something in the past, which makes him react in every BCBG-video.
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