Top 10 kwasa kwasa Music From Congo DRC



Koffi Olomide

Antoine Christophe Agbepa Mumba (born 13 July 1956), known professionally as Koffi Olomide, is a Congolese soukous singer, dancer, producer, and composer. He has had several gold records in his career. He is the founder of the Quartier Latin International orchestra with many notable artists, including Fally Ipupa and Ferré Gola.


  • 1Background
  • 2Education
  • 3Musical career
  • 4His music
  • 5Controversies
  • 6See also
  • 7Photos
  • 8References
  • 9External links


Olomide, was born on 13 August 1956 in Kisangani, DRC. His mother named him Koffi because he was born on a Friday. He grew up in a middle-class family, without any musical background. During his youth, Olomide improvised by singing popular songs with his own lyrics and altered rhythms until a neighbor taught him how to play the guitar.


Described by fellow students and his teachers alike as “a very bright student,” Olomide got a scholarship to study in Bordeaux, France where he obtained a Bachelor’s degree in business economics. He is also reported to hold a master’s degree in mathematics from the University of Paris.

Musical career

Upon his return to the Congo in the 1970s, Koffi joined Papa Wemba’s band, Viva la Musica, initially as a composer and songwriter, and later as a lead vocalist. In 1986, he formed his band known as Quartier Latin International, which celebrated its 20th anniversary in 2006. Since then, he has performed and recorded both with the group and by himself. Over the years, he built up a faithful fan base internationally, particularly in Africa and Europe. Koffi popularized the slower style of Soukous, which he dubbed Tcha Tcho. His music can be quite controversial, taking on current events and topics considered taboo in some conservative societies. He also participated in the salsa music project Africando. For his effort, Effrakata, released in 2001, Koffi received four awards on a single night at the annual Kora Awards in South Africa for 2002 and 2003, including the award for Best African Artist, which he won in 1998. More recently, he won the Kora Award for “Best African Artist of The Decade”. This established one of his many aliases, the ‘Quadra Kora Man.’

His music

Olomide’s album Haut de Gamme: Koweït, Rive Gauche is listed in 1001 Albums You Must Hear Before You Die. In March 2003 Olomide released “Affaire D’Etat”, a double CD album featuring 18 tracks.

Olomide was part of the Papa Wemba musical, in the early 1980s. He has trained many young musicians, some of whom have since left his Quartier Latin band and gone solo. Some of those who have left are Fele Mudogo, Sam Tshintu, Suzuki 4×4, Soleil Wanga, Bouro Mpela, Fally Ipupa, Montana Kamenga, Ferre Gola. However Suzuki 4×4 has recently showed up once more in some of Quartier Latin shows, along with new recruits like Cindy Le Coeur, a female singer with very high pitched vocals, recorded here, in the song L’Amour N’existe Pas (Love doesn’t exist).

Koffi – who mostly refers to himself as “Mopao” – has a new release known as La Chicotte a Papa, having recently excelled in hits like Lovemycine, Diabolos, Grand Pretre Mere and Soupou, Cle Boa, among others. Koffi’s talent could be compared to the once king of African rhumba, Luambo Makiadi, who also saw many artists pass through his expert hands during his days. Today, he is one of Africa’s most popular musicians.


In 2012 he was convicted of assaulting his producer, and received a three-month suspended sentence.Four years earlier, in 2008 he had been accused of kicking a cameraman at a concert in Kinshasa though the matter was resolved out of court.

His new hit single “Selfie” is reported to have been banned in his country, Congo due to the use of the word “Ekoti te” which is believed to locally mean “It has not entered” (Direct translation)

On 22 July 2016 while on a concert trip to Kenya, Koffi Olomide was arrested by Kenya Police after a video emerged of the musician apparently kicking one of his female dancers at Jomo Kenyatta International Airport, soon after arrival in the country. His planned concert at The Bomas of Kenya was cancelled. He was deported on 23 July 2016, after spending the night in police custody.

On Tuesday 26 July 2016, Koffi was arrested at his home in Kinshasa, on the orders of the DRC Attorney-General. After a speedy trial, the singer was convicted and sentenced to one and half years in prison for kicking his dancer, one Pamela Eyenga Bengongo. After the intervention of the Congolese head of state, the sentence was commuted to three months, without the option of a fine.

See also

  • Fally Ipupa
  • Quartier Latin International


Koffi Olomide With Grand Kalle


  1. ^ Jump up to:a b Dan B. Atuhaire (21 April 2014). “10 Things You Didn’t Know About Koffi Olomide!”. Kampala: Retrieved 3 January 2016.
  2. ^ Jump up to:a b PAA (2002). “Koffi Olomide Biography”. Pan African Allstars (PAA). Retrieved 3 January 2016.
  3. ^ Jump up to:a b c d AMS (November 2011). “Koffi Olomide – Dance The Night Away With Congolese Soukous”. African Music Safari (AMS). Retrieved 3 January 2016.
  4. Jump up^ Parker, Steve (2005). “1001 Albums You Must Hear Before You Die”. London: Retrieved 3 January 2016.
  5. ^ Jump up to:a b c BBC News (23 July 2016). “Koffi Olomide case: Kenya deports singer over airport ‘kick'”. London: British Broadcasting Corporation. Retrieved 24 July 2016.
  6. Jump up^ Mutamu, Bernadine (23 July 2016). “Congolese musician Koffi Olomide deported after alleged JKIA assault”. Daily Nation. Nairobi. Retrieved 24 July 2016.
  7. Jump up^ Nigeria Vanguard (24 July 2016). “Kenya deports Koffi Olomide who kicked dancer”. Vanguard (Nigeria). Lagos. Retrieved 24 July 2016.
  8. Jump up^ Amos Ngaira, and Hilary Kimuyu (27 July 2016). “Lingala maestro Koffi Olomide gets three months in prison”. The EastAfrican. Nairobi. Retrieved 27 July 2016.






Kanda Bongo Man




Kanda Bongo Man (born Bongo Kanda; 1955 in Inongo, Democratic Republic of the Congo) is a Congolese soukous musician.

Kanda Bongo Man became the singer for Orchestra Belle Mambo in 1973, developing a sound influenced by Tabu Ley. His solo career only started to take off after moving to Paris in 1979, where his music started to incorporate elements of then-vibrant zouk music popularized by Kassav (originating in the French West Indies). His first solo albums, “Iyole” in 1981 and “Djessy” in 1982, were hits.

He is known for the structural changes he implemented to soukous music. The previous approach was to sing several verses and have one guitar solo at the end of the song. Kanda Bongo Man revolutionized soukous by encouraging guitar solos after every verse and even sometimes at the beginning of the song. His form of soukous gave birth to the kwassa kwassa dance rhythm where the hips move back and forth while the hands move to follow the hips.

Like many African rumba and soukous musicians before him, Kanda Bongo Man also had an entourage of musicians. Many of Kanda’s musicians later moved on to start their own solo careers. Most notable of these was Diblo Dibala. Known as “Machine Gun”, Diblo Dibala was a vital part of Kanda Bongo Man’s lineup on several albums, including “Kwasa Kwasa” and “Amour Fou”.

Kanda Bongo Man still tours in Europe and the United States. On July, 2005, he performed at the LIVE 8: Africa Calling concert in Cornwall.


  • 1Discography
  • 2Notes
  • 3References
  • 4External links


  • Iyole (1981)
  • Djessy(1982)
  • Amour Fou (1984)
  • Malinga (1986)
  • Lela Lela(1987)
  • Sai Liza (1988)
  • Kwassa Kwassa (1989)
  • Isambe Monie (1990)
  • Zing Zong(1991)
  • Sango (1992)
  • Soukous in Central Park (1993)
  • Sweet (2010)
  • Welcome to South Africa (1995)
  • Francophonix (1999)
  • Balobi (2002)
  • Swalati (2003)
  • Non-Stop Feeling (2010)


  1. Jump up^ “Kanda interview with The AfroNew”.
  2. Jump up^ African Music Encyclopedia: Kanda Bongo Man Archived May 31, 2008, at the Wayback Machine.
  3. Jump up^ Chris Stapleton’s sleevenotes to Heartbeat Soukous


  • The African Music Encyclopedia: Music From Africa and the African Diaspora





Papa Wemba


download (1).jpg

Jules Shungu Wembadio Pene Kikumba  (14 June 1949 – 24 April 2016), known professionally as Papa Wemba, was a Congolese singer and musician who played Congolese rumba, soukou, and ndombolo. Sometimes dubbed the “King of Rumba Rock”, he was one of the most popular musicians of his time in Africa and played an important role in world music. He was also a fashion icon who popularized the Sape look and style through his musical group Viva la Musica, with whom he performed on stages throughout the world.


  • 1Musical history
    • 1.1Zaiko Langa Langa
    • 1.2Isifi Lokole
    • 1.3Yoka Lokole
    • 1.4Viva la Musica
    • 1.5Move to Paris
  • 2Legal troubles
  • 3Cultural influence
  • 4Film work
  • 5Death
  • 6Selected discography
  • 7Filmography
  • 8Notes
  • 9References
  • 10External links

Musical history

Papa Wemba’s road to fame and prominence began when he joined the music group Zaiko Langa Langa in the late 1960s. This was followed by his success as a founding member both of Isifi Lokole and then Yoka Lokole, along with a short stint as a member of Afrisa International for a few months. During these early stages of his career, he was establishing a style that included traditional Congolese rumba and soukous, infused with traditional African sounds, Caribbean rhythms, rock and soul. But Wemba gained international success and status with his band Viva La Musica, especially after he took them to Paris, France in the early 1980s. It was there that Wemba was able to achieve more of an “eclectic sound” in his work, influenced by western popular music that reflected a European flavor and style, referred to as “Europop.”Wemba spoke about this transition in his music during a 2004 interview:

“When I started singing pop music, I left religious music completely. But there was always the influence of religious music on my voice because, with religious music, the minor key always recurs. When I compose songs, I often use the minor key.”

Zaiko Langa Langa

Papa Wemba was one of the first musicians to join the influential rock-rumba band Zaiko Langa Langa (ZLL) after it was created in December 1969 in Kinshasa, by many well-known Congolese musicians including Nyoka Longo Jossart and Bimi Ombale, among others. He remained with the group for four years.

Papa Wemba (then known as Jules Presley Shungu Wembadio) helped contribute to the success of Zaiko Langa Langa so that, by 1973, it was one of the more successful Congolese groups. By that time, ZLL’s shows and performances featured a string of their popular hits, some of them written by Wemba. The latter included “Pauline”, “C’est La Vérité”, “Chouchouna”, and “Liwa Ya Somo”.

Zaiko Langa Langa had gained a strong and popular following even in a Congolese musical world that, in those days, was already dominated by various musical acts including Franco Luambo and his band TPOK Jazz, or Tabu Ley Rochereau’s various ensembles. ZLL was also vying for an audience with other (at the time) new musical acts such as Bella-Bella and Empire Bakuba.

Isifi Lokole

In December 1974, at the pinnacle of their fame (and just a month after the Rumble in the Jungle between Muhammad Ali and George Foreman in Kinshasa),Papa Wemba (usually called ‘Shungu Wembadio’ at this point in his career) along with Evoloko Lay Lay, Mavuela Somo and Bozi Boziana, left Zaiko Langa Langa to establish their own musical ensemble Isifi Lokole. Wemba later claimed that ISIFI was an acronym for “Institut du Savoir Ideologique pour la Formation des Idoles,” a claim that has still not been given total credence. In July 1975, Shungu Wembadio officially adopted the soon-to-be-well-known-worldwide name Papa Wemba. The “Papa” (father) part of his name had already been given to him as a traditional and cultural rite because he was his mother’s first-born son. But in assuming a new name and public persona, “Papa” was now re-emphasized as an allusion to the demanding family responsibilities that Wemba assumed at very young age, since both parents were now deceased: Wemba’s father in 1966, followed by his mother in 1973. Isifi Lokole would only last a year together as a group, with the single “Amazone” (a Wemba composition) as its biggest commercial “hit” record.

Yoka Lokole

In November 1975, Papa Wemba, Mavuela Somo and Bozi Boziana left Isifi Lokole to create the group Yoka Lokole (also known as The Kinshasa’s Wa Fania All-Stars). Yoka Lokole contributed to the African pop music wave with their hit songs including “Matembele Bangui”, “Lisuma ya Zazu” (Papa Wemba), “Mavuela Sala Keba”, and “Bana Kin” (Mavuela Somo).

Like Isifi Lokole, the electronic-instrument-driven Yoka Lokole would not last much longer than a year. After a year of modest success, controversies within Yoka Lokole over money and prestige were also complicated by Wemba’s arrest and brief incarceration in Kinshasa Central prison in December 1976  for the “crime” of being suspected of having had physical intimacy with an army general’s daughter.The band continued to tour without Papa Wemba. For whatever reason (or reasons), whether it was personal or professional (with one source speculating that he was perhaps feeling diminished in the public’s eye), by 1977 Wemba had formed a new group, and called it Viva la Musica.

Viva la Musica

In 1977-78, back home now in the Matonge neighborhood of Kinshasa, Papa Wemba set out to create his group Viva la Musica. This new band’s name was suggested to him in 1974, when he attended a concert in Kinshasa that featured the New York-based Latinos, Fania All-Stars. During the concert, one of the singers would shout to the audience “Viva La Musica!” to an enthusiastic response. Wemba’s vision was to structure Viva la Musica around young, talented but largely unknown artists, including the singers Prince Espérant, Jadot “le Cambodgien” Sombele, Pepe Bipoli and Petit Aziza, and various guitarists such as Rigo Star, Syriana, and Bongo Wende. The new group included the traditional instrument lokole. There was also an associated dance, the mukonyonyo, as well as a fashion style.

The band achieved immediate success and, during their first year performing together, the Kinshasa newspaper Elima named the band “best orchestra” and their single, “Mère Supérieure,” best song. During the following three years, Viva la Musica built on these initial accolades with more hit songs including “Moku Nyon Nyon”, “Nyekesse Migue’l”, and “Cou Cou Dindon”. As time went by, it was revealed that Antoine Agbepa was the unknown writer of many of these songs, when Papa Wemba said, “Ooh! l’homme idée” (Oh! the idea-man!), thereby on-the-spot renaming the impressive young singer-songwriter Koffi Olomide – and the name stuck.

After his success already with three influential groups, in 1977 Papa Wemba established a kind of commune for musicians. To accomplish this, he used his family home (on Kanda-Kanda street) as a fashionable gathering place for Matonge youths. He named it “Village Molokai” and declared himself to be its tribal chief (chef coutumier).

Move to Paris

Beginning in the late 1970s and early 1980s, Wemba (both by himself and with Viva la Musica) started traveling to Paris, believing there was a potentially wider audience for the music he had been helping to create during the preceding decade. As Wemba biographer Craig Harris put it:

“Determined to capture a European following, Wemba and Viva La Musica vocalist Rigo Star took a six-month sabbatical from the band in 1979 to join Tabu Ley Rochereau’s group, Afrisa International. Relocating to Paris in the early ’80s, Wemba formed a second version of Viva la Musica.”

Papa Wemba, photographed in 2009

By the late 1980s and early 1990s, Wemba’s style was more readily identifiable even as it had become an amalgamation of rhumba, soukous and ndombolo, Latin and rock, melded to a European-oriented pop style. But still wanting to expand their musical horizons, and move in new musical directions, Viva la Musica took on a dual-identity. Wemba now maintained one group in Kinshasa (called at times “Nouvelle Ecriture”, “Nouvel Ecrita” and then again “Viva la Musica”) and another one in Paris (“Nouvelle Generation,” “La Cour des Grands” and now “Viva Tendance”). The group consistently maintained a high profile in world music with hits like “Le Voyageur” (1992), “Emotion” (1995), “Pole Position” (1996) and “Somo Trop” (October, 2003)

By this time, Wemba’s use of African, Cuban and Western influences was not only one of Africa’s most popular music styles, it was crossing cultural boundaries and attracting a more diverse audience outside of Africa. In 1993, Wemba joined with Peter Gabriel for the latter’s Secret World Live tour, and this drew attention to Wemba’s unique style and groundbreaking sound. The aforementioned Emotion album, released in 1995, showed that he was achieving a global following. This album appeared under Peter Gabriel’s Real World record label, and sold more than 100,000 copies.


Wemba died at the age of 66 after collapsing on stage in Abidjan, Côte d’Ivoire, during the FEMUA urban music festival on Sunday, 24 April 2016. On Monday, April 25, it was reported that his widow, Mama-Marie Luzolo Amazone, flew to Abidjan “accompanied by family members and government officials.” In Wemba’s hometown of Kinshasa, both fellow musicians and fans gathered together as a tribute to his legacy. Similar tributes also took place in Paris, London, Brussels and Nairobi.


  1. ^ Jump up to:a b c d e f g h i j Ray, Rita (25 April 2016). “What made Papa Wemba so influential?”. BBC News. Retrieved 27 April 2016.
  2. ^ Jump up to:a b nostalgie ya mboka. “Papa Wemba & viva la musica – dances”.
  3. ^ Jump up to:a b c d Musician Guide Musician Biography: Papa Wemba”. Musician
  4. ^ Jump up to:a b “Papa Wemba, Congo music star, dies after stage collapse”. BBC News.
  5. ^ Jump up to:a b Errol Barnett, CNN (9 November 2012). “Congo’s fashion cult: Cut from a different cloth”. CNN.
  6. Jump up^ Andreas Preuss (24 April 2016). “Papa Wemba, Africa’s ‘King of Rhumba Rock,’ dies”. Retrieved 25 April 2016. He dressed his band, Viva La Musica, in the style, and fans across Africa soon followed suit.
  7. ^ Jump up to:a b c Margalit Fox (April 25, 2016). “Papa Wemba, Congolese King of ‘Rumba Rock,’ Is Dead at 66”. The New York Times. 26 April 2016.
  8. ^ Jump up to:a b c d e Auzias, Dominique; Labourdette, Jean-Paul. Congo Brazzaville 2012-13.
  9. ^ Jump up to:a b “African Music Encyclopedia: Papa Wemba”.
  10. ^ Jump up to:a b c d e Gates, Henry Louis; Akyeampong, Emmanuel; Niven, Steven J. Dictionary of African Biography.
  11. ^ Jump up to:a b c d e f g h Harris, Craig. “Biography: Papa Wemba”. Allmusic. Retrieved 15 June 2010.
  12. Jump up^ “Final Call for Papa Wemba”. Daily Nation. 25 April 2016.
  13. Jump up^ Steve Huey. “Bimi Ombale”. AllMusic.
  14. ^ Jump up to:a b c d e f g h i j “Papa Wemba-Official Website-Bienvenue”. this website is in French (top of the page) and English (bottom of the page).
  15. Jump up^ “Isifi – Amazone”. Discogs.
  16. ^ Jump up to:a b “Obituary: Papa Wemba”. BBC News.
  17. ^ Jump up to:a b Stewart, Gary (2000). Rumba on the River: A History of the Popular Music of the Two Congos. Verso. p. 224. ISBN 978-1859843680.
  18. Jump up^ “10 Things You Didn’t Know About Koffi Olomide!”.
  19. Jump up^ “Imdb Biography: Papa Wemba”. Imdb. Retrieved 27 April 2016.
  20. Jump up^ “The Real World of Peter Gabriel (TV Movie 2009)”. IMDb. 6 August 2009.
  21. Jump up^ “Peter Gabriel’s ‘Secret World’ Revisited on DVD, Blu-Ray”. Music News.
  22. ^ Jump up to:a b “Congolese singer in French court”. BBC News. 26 October 2004. Retrieved 27 April 2016.
  23. Jump up^ Robin Denselow. “Papa Wemba: Congolese music’s dandy with a dark side”. the Guardian.
  24. Jump up^ “Papa Wemba: The Daddy of them all”. The Independent. 3 July 2004.
  25. Jump up^ Oppenheim, Maya (24 April 2016). “Papa Wemba dead: Congolese musician dies after collapsing on stage aged 66”. Independent. Retrieved 28 April 2016.
  26. ^ Jump up to:a b “Remembering African Singer And Style Icon Papa Wemba”. 25 April 2016.
  27. Jump up^ “Idole des Congolais et roi de la rumba, Papa Wemba est mort sur scène”. Le Parisien. AFP. 24 April 2016. Retrieved 27 April 2016.
  28. Jump up^ nostalgie ya mboka. “Papa Wemba & Viva La Musica – Enter the Sape”.
  29. ^ Jump up to:a b “Pahan Silu Homepage – Member Biographies”.
  30. Jump up^ “Papa Wemba: Stars remember the ‘voice of Africa'”. BBC News.
  31. ^ Jump up to:a b njaj1 (15 June 1988). “Life Is Rosy (1987)”. IMDb.
  32. ^ Jump up to:a b “Papa Wemba: Filmography”. IMDb.
  33. Jump up^ Kenneth. “NYFF 2012: Kinshasa Kids”. PopOptiq.
  34. ^ Jump up to:a b “Papa Wemba’s body to be flown home”. Daily Nation. 26 April 2016.
  35. Jump up^ Dilip Barman ( (5 April 2005). “Les habits neufs du gouverneur (2005) – IMDb”. IMDb.
  36. Jump up^ meterlinka (18 March 1998). “Wild Games (1997)”. IMDb.





download (2).jpg

Werrason, real name Noël Ngiama Makanda born December 25, 1965 in Moliambo, a small village in Bandundu province in the Western Democratic Republic of Congo, Kwilu District is a musician from the Democratic Republic of Congo and also leader of the band Wenge Maison Mère (WMM). By age eight, Werrason was singing at his local church, the Protestant Church of CBZO (Communauté Batiste du Zaire Ouest-Batism community of Western Zaire), Kinshasa. He loved martial arts and was a martial arts champion by age of 12. In 1981, in between his studies (for a degree in Accountancy), Werrason and his college friends Didier Masela, Aimé Buanga, Alain Mwanga among others created an innovative musical band “Wenge Musica 4×4 B.C.B.G Tout-Terrain”.


  • 1Werrason forms Wenge Musica Maison Mère
  • 2The fall and rise of Werrason
  • 3The success of Werrason ‘Le Grand Formateur’
  • 4Early history: Werrason in Wenge Musica 4×4 B.C.B.G Tout-Terrain
  • 5The split of Wenge Musica 4×4 B.C.B.G Tout-Terrain
  • 6Werrason’s music awards
  • 7Charity
  • 8Discography
  • 9References
  • 10External links

Werrason forms Wenge Musica Maison Mère

Their band Wenge Musica 4×4 B.C.B.G Tout-Terrain split in December 1997. Werrason and his two friends Adolphe Dominguez and Didier Masela, created Wenge Musica Maison Mère (WMMM)”, with its headquarters at Zamba Playa in Kinshasa, D.R.Congo, with Werrason as head. With most band members gone with JB Mpiana Werrason and his two friends, had to build Maison Mère from scratch, with assistance from a number of people especially Sankara de Kunta and Zachary Babaswe. Werrason went round the country recruiting several young talented musicians and also taking back some old colleagues from JB Mpiana’s band. Werrason’s original band members were Didier Masela, Adolphe Dominguez, Ferre Gola, Baby Ndombe, Seseli Adjani, JDT Mulopwe, Celeo Scram, Bill Kalondji, Serge Mabiala, Didier Lacoste, Lay Chou, Michael Shendu, guitarists Flam Kapaya (solo), Japonaise Maladi (rhythm), Christian Mwepu (bass), drummers Papay Kakol and Ali Mbonda. His first album, Force d’Intervention Rapide (Rapid Intervention Force) was released end of 1998. His song “Chantal Switzerland” was voted Song of the Year, while his animator Bill ‘Clinton’ Kalondji was voted the best animator. His second album Solola Bien of 1999 took the African music scene by storm. Solola Bien was rewarded with the Golden Record in France. In the same year, his band Wenge Maison Mère was voted the Best Congolese Group, with Werrason as the Artist of the Year. In June 2001, Werrason released his first solo album Kibuisa Mpimpa, a double CD with 17 titles. This was work that had taken him 5 years of preparation, 4 months of studio work, and over 2000 hours of compositions and philosophical reflection back to his roots. Kibuisa Mpimpa was described as “culturally revolutionary” by observers of African music. This album won him two Kora Awards in South Africa including Best Artist in Africa and Best Album in Central Africa. Later that year Werrason gave one of his very best performances at a double concert (two days) at “the Zenith de Paris,” one of the largest concert halls in France, with a seating capacity of well over 20,000. He also toured extensively major European cities like London, Amsterdam, Brussels, Dublin, Rome and Stockholm. Through his musical innovations, Werrason attracts a new public to embrace the black cultural awareness without being militant. The United Nations have awarded him with the title of Universal Ambassador of Peace. In 2001, Werrason was received in audience by Pope John Paul ll. Since then, he dedicates part of his time to all the UNESCO campaigns against AIDS and all sorts of discriminations, and in campaigns against early marriages and promoting education for the girl child. During his world tour he shared performances with great African artists among the Manu Dibango who invited him in his concert at the Paris Olympia. Others were Passi,Doc Gynéco, Benji and Akil who asked him to take part in their musical projects. Werrason also collaborated with international artists like  Shaggy. In the same year, Werrason also did a large concert at the Stade des Martyrs which was attended by over 100,000 people. The year 2000 also saw Werrason do one of his best-ever live performances at Bercy in front of over 17,000 fans

The fall and rise of Werrason

In 2003, Werrason’s musical career took a major blow when he lost a large number of key band members. These were his deputy and composer Ferre Gola, his chief animator Bill Kalondji, and singer JDT Mulopwe. These members left a few months after other key members (Baby Ndombe, Serge Mabiala and Japonais Maladi) had also left for varied reasons. These former members grouped together and formed a rival musical band called les Marquis de Maison Mère. This period coincided with the time, Werrason could not get European visas for his musical group to go and produce his next album Alerte General and to perform to his fans abroad, who to this day remain one of the key sources of revenue for his band. The following year Werrason parted ways with his then sponsor Bracongo, producers of beer ‘Skol’. Werrason was forced to, for the first time, produce an album, Alerte Generale in studios in Congo, which are inferior in quality compared to his favored studios in France. Werrason weathered this storm, rebuild his band and secured a lucrative sponsorship deal with Bralima, producers of beer ‘Primus’. In 2004, he finally released Alerte Generale a single with 4 tracks with new talents, Heritier Watananbe, Bonbon Kojack, Taddet, Teka Diabanza, Jitrous etcand then proceeded on a European tour to promote the album. In 2005 in the midst of performances in Africa and Europe and as he reorganized his band Wenge Musica Maison Mère, Werrason continued work on his second solo album Temoignage de Miracle a 14-track double CD which he released early 2005. It was evident that Werrason had bounced back in a big way and by this time had regained his position as the musician with the highest number of fans in Central Africa. That year (2005) Werrason won a KORA award for the best artist in Central Africa beating off a strong field of contenders including Koffi Olomide. To crown his comeback, Werrason visited his province of birth, Kikwit, and did a concert attended by over 200,000 people, and this remains one of the biggest music concerts ever in the African continent. He followed this by another mega performance at Masina.

The success of Werrason ‘Le Grand Formateur’

True to his nickname “le grand formateur” Werrason dropped his next single Sous Sol an album with new dance styles, guitar and drums that proved revolutionary. Counting on his new talented musicians Heritier Watanabe, Eboa Lotin, Miel de son, Cappucino Bogard,solo guitar master Flam Kapaya, his longtime drummer Papy Kakol, animators Brigade Sabatini and Celeo Scram, seasoned dancers Anya Star, Bibisia Mfwengi, Gisele Yamamoto, Linda Kalome among others, the band enjoyed great success and did a number of major performances attended by tens of thousands in Brazzaville, Angola, Kikwit, Stade de Matadi, Bukavu,Masina, FIKIN among others.

Werrason joined forces, in 2002 in Kinshasa, with the Jamaican superstar Shaggy who, during an interview in CNN recognizes Werrason as “The greatest current African artist”. The album Sous Sol was followed closely by another great album Temps Present-Mayi Ya Sika also a double CD with 15 tracks, in which he gave his band members a chance to develop their singing and composition prowess. Werrason is recognized for his ability and desire to promote, nurture and expose his band members as a way of encouraging them to later confidently pursue their own solo careers. In that album Temps Present – Mayi Ya Sika this was evident as he gave not just the singers, but even the instrumentalists a chance to make their own compositions. Heritier Watanabe once again shone with beautiful songs “Sol demi amour” and “Confession Intime”, the young singers Cappuccino Bogard and Eboa Lotin composed beautiful love songs “Point Carre” and “Bula Wa Yo” respectively while his experienced mi-solo guitarist Corean ‘Polystar’ Acompa, drummer Papy Kakol and Mimiche Bass also got a chance to do their own compositions. A number of former members of Werrason’s Wenge Musica Maison Mère have benefitted from this kind of exposure and have now gone independent. They include Ferre Gola, a high flying former chief d’orchestra in WMMM who presently leads a band called ‘les Marquis de Gaulois’, Bill Kalondji, former animator now leader of the band le Samurai, JDT Mulopwe a former singer with WMMM presently leading Le Marquis de Maison Mère, and Celeo Scram with his orchestra ‘Plus 9’, among others.

Werrason’s next album Techno Malewa Sans Cesse was released in October 2010. Making use of the continental style ‘Coup De Calle’ and new dance moves, the album received great success across Africa and in Europe, and in it Werrason’s versatility was shown. His new young singer Deplik Filla, Fabrice Energie and Cafe Roum were given an opportunity to star in songs composed by Werrason. Werrason followed the release of Techno Malewa Sans Cess with his energetic performances at a packed‘Zenith de Paris’ in March 13, 2010. He later visited Holland, Brussels, Lyon among others. His African performances including at Bukavu‘s Stade de Kadutu will remain long in the memory of many African music fans. In June 2011, Werrason gave a grand performance at Stade de France’s Africa Night alongside other Great African artists including Meyway, Magic System and Passi and in the same month released a single Primus Diata Bawu (Werra Son Diata – JUGEMENT Primus – Merlin BOUTON) which introduced the young Merlin Bouton as a lead singer. Merlin displayed maturity of voice, hitting different notes throughout the song in a leading role. Merlin Bouton joined Wenge Musica Maison Merre in 2010. His next album Techno Malewa Suit en Fin was scheduled for release in July 2011. He later on did wonderful performances before he got an accident and was taken to India for treatment. Werrason organises a new album called Desert India Fletche Ingeta. Before the release of this, he released a short maxi single called satellite.

Early history: Werrason in Wenge Musica 4×4 B.C.B.G Tout-Terrain

The early part of Werrason’s musical career, starting from 1981 was spent in Wenge Musica 4×4 B.C.B.G Tout-Terrain, where he was the deputy band leader and the finance director. Initially, between 1981–1985, the band was like a holiday hobby for the members who were all students. In 1985 they began to curtain raise for then big music performers before they decided to begin recording some of their compositions in 1986. Werrason’s musical ability begun to show very early in Wenge Musica 4×4 B.C.B.G. In 1988, the band released an album, Bouger Bouger that topped charts in Congo for three years and propelled Werrason and his friends to national fame. In this five song album Bouger Bouger Werrason was credited with composing the song “Nicky D”. The album had a theme chant called “mulolo”, which was elected Song of the Year, but which until today it is not clear who between Werrason and JB Mpiana, composed though each of the two claim it was their original idea. In 1991 the group produced another master class titled’Kin e Bouge’ an album that was voted ‘Album of the Year 1991’. In it Werrason composed the song “Kaskin”. However 1993 was the year that Werrason gained international recognition when he composed the song”Kala Yi Boeing”, which was also the title of the group album, an album which received international acclaim. For ten years (between 1987 and 1997) the band enjoyed incredible success throughout Africa and Europe. As the deputy band leader of Wenge Musica 4×4 B.C.B.G Tout-Terrain, Werrason was credited with composition of key beats that took the African music scene by storm, bringing in great talents like Ferre Gola to the band and also his energy during live performances.

The split of Wenge Musica 4×4 B.C.B.G Tout-Terrain

In 1995, problems begun to emerge in Wenge Musica 4×4 B.C.B.G Tout-Terrain. Sources of this were, personality clashes, interference from other big bands in Congo that felt threatened by the rise of Wenge Musica 4×4 B.C.B.G, disagreements about money and the direction of band and producers and promoters who wished to take advantage of the new stars once they went their separate ways. Band members begun to align themselves around JB Mpiana the band leader and around Werrason, his deputy. The band’s tours of Nairobi and later Abidjan revealed growing tensions in the band. In the Nairobi tour where the band was hosted at the grand Marble Arc Hotel, and performed at among others Carnivore, Club Makuti and Safari Park, when not on stage performing, Werrason kept a low profile and could only be seen in company of Adolphe and Didier Masela. In the tension-filled performance in Ivory Coast’s commercial city of Abidjan, Werrason and JB Mpiana could not even share a stage leading to the band doing two-part performances with Werrason and JB Mpiana leading each separate session. Apart from Alain Mpela, the musicians that shared the stage with Werrason during this tour (Aimélia, Ferré Gola, Adolphe, Masela) all later joined Werrason’s band. Upon return to Kinshasa, JB Mpiana released his solo album Feux De L’Amour with support of the band and also with participation of Papa Wemba. This followed an example set by another leading light Prince Alain Makaba, who had in previous year, 1995 released a solo album Pile ou face with the support of the group. However it was during the release of Faux de L’Amour at the Grand Hotel Kinshasa in December 1997, that the band disintegrated. Musicians aligned to the two rivals exchanged words on stage, with Blaise Bula, who was then aligned to JB Mpiana sarcastically telling Werrason, “my friend, you dream, and in your dreams, you would like to be Blaise Bula, JB Mpiana Alain Makaba … it is allowed to dream, my brother.” These happened in presence of Papa Wemba who was a guest.. The concert has come to be known today as’le Concert de la Separation.’ This become the turning point for Wenge Musica 4×4 B.C.B.G Tout-Terrain because it meant that Werrason’s position in the larger group was not tenable.

After the split of Wenge Musica 4×4 B.C.B.G Tout-Terrain, J.B Mpiana took with him most band members. These were Prince Alain Makaba, Blaise Bula, Alain Mpela, Aimélia Lias, Ficarré, Patient Kusangila, Titina, Al Nzimbi, Theo Bidens, Burkina Faso Mboka Liya, Ekokota and Tutu Calugi. Some key members whom werrason had recruited into the band therefore assumed would join him, instead chose JB Mpiana. This was a very testing time for Werrason and at this time he even contemplated leaving music altogether. After much reflection he decided to soldier on and begun massive recruitment drive of new talent. he brought on board the likes of Bill Kalondji, Papy Kakol and even some members like Ferre Golla who had originally chosen JB Mpiana’s band came back. This split brought with it tension between JB Mpiana and Werrason’s band. JB Mpiana was the first to release his album titled Titanic on whose cover jacket him and his associates are seen escaping with floaters from a large sinking ship. Observers were quick to link that Titanic to the big band that was the original Wenge Musica 4×4 B.C.B.G which JB now considered a sinking ship. Werrason responded by releasing an album titled, Force de Intervention Rapide. As per tradition of competition between the two, when Werrason released his second album, Solola Bien which in the local language meant ‘speak well’ JB Mpiana launched TH (meaning always humble) in an apparent reaction to Werason’s growing success (and some say ego too). Whereas music rivalry is not a new thing, the musical rivalry between Werrason and JB Mpiana of Wenge BCBG, and later with Koffi Olomide of Quarter Latin International has served to shape Werrason’s approach to music. It has inspired him to always try to produce very high quality albums and better live shows so as to remain at the top musically.

Werrason’s music awards

WERRASON’S ACHIEVEMENTS AT KORA MUSIC AWARDS, SOUTH AFRICA 1. Best Artist Central Africa (2001) 2. Overall Best Male Artist (2001) 3. Finalist Best Arrangement (2002) 4. Best Artist Central Africa (2004) 5. Overall Best Male Artist (2004) 6. Nominated Best Artist (2005) 7. Won best African Artist at NAFCA in United States (2014) 8. Won Kunde Awards as best African artist (2015)


  1. ^ Jump up to:a b “3.0”. Retrieved October 19, 2011.
  2. Jump up^ “La rumba congolaise”. RFI Musique. Retrieved October 19, 2011.
  3. Jump up^ “3.0”. Retrieved October 19, 2011.
  4. Jump up^ “3.0”. Retrieved October 19, 2011.
  5. Jump up^ “Winners”. Retrieved October 19, 2011.
  6. Jump up^ “Werrason – Grand Entrance – Zenith Paris”. YouTube. November 10, 2006. Retrieved October 19, 2011.
  7. Jump up^ “3.0”. Retrieved October 19, 2011.
  8. Jump up^ “3.0”. Retrieved October 19, 2011.
  9. Jump up^ “Werra Son In Hd Titre Les Filles Allez A L’Ecole / Djomegabp”. YouTube. April 21, 2011. Retrieved October 19, 2011.
  10. Jump up^ “3.0”. Retrieved October 19, 2011.
  11. Jump up^ “Werrason – Artiesten 2011”. The Hague African Festival. Retrieved October 19, 2011.
  12. Jump up^ “Shaggy A Kinshasa !”. Retrieved October 19, 2011.
  13. Jump up^ “Video Werrason – Stade des Martyrs Kinshasa, RDC Concert van Werrason (Official Myspace) – Myspace Video”. October 13, 2011. Retrieved October 19, 2011.
  14. Jump up^ “Entrée des danseurs – Bercy 2000 – Wenge Musica Maison Mère – Werrason – Congo – Dombolo”. YouTube. June 16, 2009. Retrieved October 19, 2011.
  15. Jump up^ “3.0”. Retrieved October 19, 2011.
  16. Jump up^ “3.0”. Retrieved October 19, 2011.
  17. Jump up^ “3.0”. Retrieved October 19, 2011.
  18. Jump up^ “50 Years of Congo Music – Werrason – Winner Five Kora Awards (African Grammy) – Style Moomberg”. YouTube. December 31, 2010. Retrieved October 19, 2011.
  19. ^ Jump up to:a b “Werrason & Wenge Maison Mère – Live a Masina 2005”. YouTube. January 4, 2011. Retrieved October 19, 2011.
  20. Jump up^ “Bibisia. Toujours likolo”. YouTube. January 14, 2007. Retrieved October 19, 2011.
  21. Jump up^ “Werrason – Live Concert Series 5 – Matadi – Temoignage”. YouTube. February 3, 2007. Retrieved October 19, 2011.
  22. Jump up^ “Congo – Werrason – Sol Demi Amour”. YouTube. January 28, 2009. Retrieved October 19, 2011.
  23. Jump up^ “Congo – Werrason – Point Carre in WS”. YouTube. January 28, 2009. Retrieved October 19, 2011.
  24. Jump up^ “Congo – Werrason – Temps Present – Bulawayo (Eboa Lotin)”. YouTube. June 15, 2007. Retrieved October 19, 2011.
  25. Jump up^ “Mitterand Champagne [Deplic] – Techno Malewa”. YouTube. August 13, 2009. Retrieved October 19, 2011.
  26. Jump up^ “Diego Music – Werrason – Techno Malewa – Clip”. YouTube. August 13, 2009. Retrieved October 19, 2011.
  27. Jump up^ “Salon D’honneur [Café Roum] – Techno Malewa”. YouTube. August 13, 2009. Retrieved October 19, 2011.
  28. Jump up^ “werrason zenith 2010 youtube.mp4”. YouTube. Retrieved October 19, 2011.
  29. Jump up^ “Werrason à Bukavu 2010”. YouTube. November 3, 2010. Retrieved October 19, 2011.
  30. Jump up^ “Werrason Live”. YouTube. June 12, 2011. Retrieved October 19, 2011.
  31. Jump up^ “Clip Werrason Diata Bawu – Techno malewa suite et fin (Musique congolaise)”. YouTube. Retrieved October 19, 2011.
  32. Jump up^ “Wenge Musica – Kin e Bouge”. YouTube. Retrieved October 19, 2011.
  33. Jump up^ “Wenge Musica 4×4 – Kala Yi Boeing by”. YouTube. January 8, 2011. Retrieved October 19, 2011.
  34. Jump up^ “Wenge Musica 4×4 Live in Abidjan, Ivory Coast, 1997, Djodjo Ngonda”. YouTube. June 9, 2010. Retrieved October 19, 2011.
  37. Jump up^ “3.0”. Retrieved October 19, 2011.
  38. Jump up^ “3.0”. Retrieved October 19, 2011.
  39. Jump up^ “3.0”. Retrieved October 19, 2011.
  40. Jump up^ “3.0”. Retrieved October 19, 2011.
  41. Jump up^ “3.0”. Retrieved October 19, 2011.
  42. Jump up^ See “Werrason Portrait”


Franco Luambo Makiadi


download (3).jpg

François Luambo Luanzo Makiadi (6 July 1938 – 12 October 1989) was a major figure in twentieth century Congolese music, and African music in general. He is widely referred to as Franco Luambo or, simply, Franco De Mi Amor. Known for his mastery of rumba, he was nicknamed the “Sorcerer of the Guitar” for his seemingly effortless fluid playing. As a founder of the seminal group OK Jazz, he is counted as one of the originators of the modern Congolese sound.


  • 1Formative years
  • 2The 1980s
  • 3TPOK Jazz
  • 4Discography
  • 5See also
  • 6References
  • 7Further reading
  • 8External links

Formative years

He was born in 1938 in what was then the Belgian Congo. His mother had a market stall in Ngiri-Ngiri, and he played harmonica and other instruments to help attract customers.

In 1955 Franco formed a band that debuted in the OK Bar. The following year the band was renamed OK Jazz in honour of the place it had begun.

The 1980s

In 1980, Franco was named a Grand Master of Zairean music by the Mobutu government, an honor that linked him with the ruling elite that was responsible for much of the economic problems beggaring the country. The subject of his songs shifted dramatically in this period to patriotic songs and praise songs to wealthy fans.

Franco only toured the USA on one occasion, in 1983.

In 1985, Franco released his biggest hit ever, Mario, an account of a gigolo who lives off his older lovers.

He died in 1989, resulting in four days of national mourning in Zaire.


His band, TPOK Jazz dominated Congolese music from 1956 until 1989.


Contributing artist
  • The Rough Guide to Congo Gold (2008, World Music Network)

See also

  • Music of the Democratic Republic of the Congo
  • Soukous
  • List of African musicians


  1. Jump up^ Al Angeloro (March 2005). “World Music Legends: Franco”. Global Rhythm. Zenbu Media. Retrieved 14 July 2012.
  2. ^ Jump up to:a b “Franco: biography”. allmusic. Rovi. Retrieved 9 February 2014.
  3. Jump up^ Ted Giola. “The James Brown of Africa (Part One)”. Retrieved 28 December 2011.



Le Grand Kallé


download (4).jpg

Joseph Athanase Tshamala Kabasele (16 December 1930 in Matadi, Belgian Congo (now Democratic Republic of the Congo) – 11 February 1983 in Paris, France), popularly known as Le Grand Kallé, was a Congolese singer and bandleader, considered the father of modern Congolese music. He is best known for his role as leader of the band, Le Grand Kallé et l’African Jazz, in which capacity he was involved in a number of noted songs, including Indépendance Cha Cha.


  • 1Background
  • 2Career
  • 3Political influence
  • 4Death
  • 5Musical influence
  • 6Discography
  • 7External links
  • 8References


Le Grand Kallé was born Joseph Athanase Tchamala Kabasele in Matadi, Bas-Congo in what was then the Belgian Congo, modern Democratic Republic of Congo. He came from a prominent Congolese family, which included Cardinal Joseph Malula Kallé went to secondary school and became a typist at a succession of commercial firms in the capital of the Belgian Congo, Léopoldville.


In the early 1950s at a new recording studio called Opika he received an opportunity to pursue a career in music. His first group was OTC, led by George Doula.

In 1953, disillusioned with the lack of modernisation at OTC, he formed l’African Jazz which thought to be the most important Congolese band. L’African Jazz was one of the most popular early African Rumba bands. At its height, L’African Jazz included big names like guitarist Dr Nico Kasanda, saxophonist Manu Dibango and singers Tabu Ley Rochereau, Sam Mangwana and Pepe Kalle.

In 1960, he established his own label, Subourboum Jazz, which was home to Franco Luambo’s TPOK Jazz. Grand Kallé was responsible for striking deals with European record labels to ensure high quality recordings of his band’s music for the Francophone market.

In the mid-1960s, Kallé suffered his first major setback when two of his protegés (Tabu Ley Rochereau and Dr Nico Kasanda) left to form their own group called Africa Fiesta. Kallé never recovered from this setback, concentrating on nurturing the talent of singer Pépé Kallé.

Political influence

As a prominent figure in the Belgian Congo, Kallé was chosen as a member of the Congolese delegation at the “Round Table Conference” on Congolese independence in 1960. He composed several songs on a political themes, notably “Indépendance Cha Cha” and “Table Ronde”.


Le Grande Kallé died in a hospital in Paris, France on 11 February 1983. He was buried in Gombe Cemetery in Kinshasa.

Musical influence

Kabasele was one of the great African singers of the twentieth century. He was the first musician to mix Cuban rhythms with a traditional African beat to create what is now known as Soukous. He was also the first African musician to create his own record label. He has been referred to as the “Father of Congolese Music.”


Contributing artist
  • The Rough Guide to Congo Gold (2008, World Music Network)

External links

  • Grand Kallé: The founder of modern Congolese music
  • Rumba on the River, the Grand Kallé


  1. ^ Jump up to:a b c d e f “Grand Kalle: The founder of modern Congolese music”. Kenya Page. Retrieved 14 March 2013.
  2. ^ Jump up to:a b c d Stewart, Gary. “Kabasele, Joseph”. Rumba on the River. Cold Run Books. Retrieved 14 March 2013.
  3. ^ Jump up to:a b “Grand Kalle – Music Artist Band Bio”. Encyclopedia of Popular Music. Retrieved 14 March 2013.




M’bilia Bel

download (6).jpg

M’bilia Bel (born 1959) is a Rumba/World Music singer from the Democratic Republic of the Congo. She is known as the “Queen of Congolese and African Rumba”. She rose to fame after first being discovered by Sam Manguana and later by Tabu Ley Rochereau who really helped her to gain confidence, matter full control of her powerful soprano-voice and to reach to the summit of being one of the best Congolese female singers.


M’bilia Bel became successful in the early 1980s when she joined Tabu-ley Rochereau’s band (Afrisa International). Both of them have made several tracks together included her own solo albums. In the mid 80’s due the birth of her child with her mentor and husband Tabu-ley prompted her to take a break from performing for a year, however and after a last album with Tabu Ley in 1988, she moved to Paris. There she started working with guitarist Rigo Star Bamundele and Between 1989 and 1990 she went on touring the United States, Europe, and West Africa. With a combination of beauty, an angelic soprano voice, really good dancing/dancers, and tremendous agility on stage, M’bilia Bel stole the hearts of music fans all over the continent and every where outside of the African continent. She was Africa’s first female transcontinental diva. And also became the first notorious female singer from Africa who could claim popularity all over the entire continent. In fact, one could argue that there has not been any female singer from Africa who has captured the imagination of music fans across the continent as much as M’bilia Bel did in the eighties. South African Miriam Makeba known as “Mama Afrika” popularity peaked in the 1960s but could not attract as many fans as M’bilia Bel did later.

At the age of seventeen Mbilia Bel began her performing career singing as a backup-singer for the Queen of (perfumed-Soukous) as she used to call her own music’s style the one and only Abeti Masikini and later with Sam Mangwana. She really burst into the music scene when she became Tabu Ley’s protegee. And the combination of Tabu Ley’s composing genius and Mbilia Bel’s heavenly voice resulted in high sales of Afrisa records. Their couple as performers was phenomenal with plethora of hits. Mbilia Bel’s first song with Afrisa, released in 1981, was “Mpeve Ya Longo”, which means Holy Spirit in Kikongo. It was a moving song about spousal abuse. In the song, she sang the part of a woman who had been abandoned by her husband and has to raise the children by herself. The song was very popular, especially among women in Zaire.

Mbilia Bel’s ever first album, released in 1982 was the extremely popular with the title “Eswi yo wapi”, one the song in the same album which roughly translates to “Where did it hurt you?”, composed by both Tabu Ley and M’bilia Bel. The song won the award for the best song of 1982 in Zaire, and M’bilia Bel won the award for best new-comer. And the rest of the songs in th same album such as Tabu Ley’s “Lisanga ya Bambanda”, “Kelhia” and Dino Vangu’s “Quelle Mechancete” were all huge hits to point that Afrisa International popularity started soaring. Even songs that did not feature M’bilia Bel were receiving more exposure. The stranglehold that Franco’s band TP.OK Jazz had held in the music scene was now being loosened, as Afrisa could now match TP.OK Jazz in popularity and notoriety, thanks to the arrival of this new sensation who was now being referred to as ” The Cleopatra of Congolese music”.

M’bilia Bel quickly became the main attraction when she appeared in each of the Afrisa’s concerts in the Congo and everywhere that they were touring. Often she drew huge crowds into a frenzy. She was a talented stage performer and often tantalized crowds with her exceptional dancing ability when she would join the Rocherettes (dancers) in their dance routine.

By the mid-eighties, Mbilia bel officially married Tabu Ley and was a refined and mature performer. Her songs continued to dominate the scene. Among them was “Mobali na ngai wana”, which roughly translates to “This Husband of Mine”. The song was composed by Tabu Ley and Roger Izeidi and is an adaptation of a traditional song in Kikongo. In the song, M’bilia Bel praises her husband as being handsome and successful and stresses the fact that even though he has the opportunity to choose from any of Kinshasa’s beautiful women, he chose her. Other songs that blazed the charts during her reign in Afrisa included “Balle a terre”, “Bameli soy” “ba gerants ya Mabala”, “Keyna”, “Cadence Mudanda”, “Bafosami”, Nakei Nairobi”, “Ba jeux de Coin”, “Paka Wewe”, “Boya Ye”, “Yamba Ngai” ShaWuri Yako” “Beyanga”, “La Beaute D’une Femme” and many more…

In 1987 Tabu Ley recruited another female artist to accompany M’bilia Bel. Kishila Ngoyi was her real name, but she was known by her artistic name, Faya Tess. It was with this new lineup that Afrisa embarked on a tour of East Africa that took in Kenya, Tanzania and Rwanda, culminating in the album Nadina, which had Lingala and Swahili versions of the title song. The tour was well received by the crowds. M’bilia Bel took centre stage, overshadowing other Afrisa artistes including Ndombe Opetum who had returned from T.P OK Jazz. Upon their return to Kinshasa, rumours started surfacing about a rift between Tabu ley and M’bilia Bel. Apparently their couple(Tabu-Ley -Mbilia Bel), got into misunderstanding of some private or personal conflict and often Both publicly denied having any problems when they were both interviewed by different journalists in the country .

M’bilia Bel quit the band late in early 1988 to embark on a solo career. She briefly joined with a Gabonese producer in Libreville before leaving for Paris where she joined with guitarist Rigo Starr Bamundele. Her first album with Rigo Star was entitled “Phénomène” and was a huge success in Kinshasa as well as abroad. Subsequent releases such as Desolé, 8/10 Benedicta, Yalowa, and Exploration have met with limited success.

Following the departure of M’bilia Bel, the popularity of Afrisa International as a band plummeted substantially. Tabu Ley himself seemed to lose inspiration for composing as is evidenced by the substantial reduction in the number of albums released. With the exception of her debut album, Phénomène, Mbilia Bel’s career also took on a downward spiral when she left Afrisa.

Her more recent work has involved taking her usual style traditional African rumba|rumba and soukous and mixing in Rap (music)|rap and other modern elements.


  1. Jump up^ Phull, Hardeep (2017-01-07). “The best international music you’ve never heard of”. New York Post. Retrieved 2017-03-06.
  2. Jump up^ “Times of Zambia | Mbilia Bel coming”. Retrieved 2017-03-06.


  • 1982: Eswi Yo Wapi
  • 1983: Faux Pas
  • 1984: Loyenghe
  • 1984: Ba Gerants Ya Mabala
  • 1985: “‘Keyna/Cadence Mudanda”
  • 1986: Boya Ye”
  • 1987: Beyanga”
  • 1987: Contre Ma Volonte
  • 1988: Phénomène
  • 1991: Bameli Soy
  • 1991: Désolée”
  • 1993: Ironie (with Rigo Star)
  • 1997: 8/10/Benedicta/8/10
  • 1997: Yalowa”
  • 2001: Welcome
  • 2004: Belissimo
  • 2011: Queen
  • 2014: Pantheon”



Sam Mangwana


Sam Mangwana (born February 21, 1945), is a Congolese musician, born to a Zimbabwean migrant father and an Angolan mother. He is the frontman of his bands Festival des Maquisards and African All Stars. Mangwana was a member of François Luambo Makiadi’s seminal band TPOK Jazz, and Tabu Ley Rochereau’s bands African Fiesta, African Fiesta National and Afrisa International.


  • 1History
  • 2Band memberships
  • 3Discography
  • 4See also
  • 5References
  • 6External links


He was born on 21 February 1945 in then Leopoldville, now Kinshasa, the capital of the Democratic Republic of the Congo, and the largest city in that country. His father was a native of Zimbabwe and Sam’s mother was a native of neighboring Angola.

Mangwana’s professional debut occurred in 1963 with the Congo-Kinshasa rumba band, African Fiesta, owned and led by Tabu Ley Rochereau. Mangwana moved across the Congo River to Brazzaville where he formed a short-lived group called Los Batchichas. He also worked with the more established Negro Band and Orchestre Tembo. He then crossed back to Kinshasa where he joined Tabu Ley, whose band was now known as African Fiesta National.

In 1967, Mangwana again left to form Festival des Maquisards. The band included notable recording artists; vocalist Dalienst, guitarist Dizzy Mandjeku and lead guitarist Michelino. Two years later, Sam Mangwana was on the move again. He recorded duos with a guitarist called Jean Paul “Guvano” Vangu, until 1972.

In 1972 he joined TPOK Jazz, led by the legendary Franco. Mangwana often played lead singer on compositions by OK Jazz guitarist Simaro Lutumba. His popularity increased tremendously during this time. The collaboration with Simaro yielded three extraordinary hits: “Ebale ya Zaire”, “Cedou” and “Mabele”. He left OK Jazz and briefly to re-joined Tabu Ley’s band, now called Afrisa. He then left again, this time moving to Abidjan, Côte d’Ivoire, in West Africa. In 1978 he formed, along with others, the band African All Stars.

When the All Stars broke up in 1979, he became a solo artist. He recorded and toured with varying combinations of musicians. “Maria Tebbo” (1980) with remnants of the All Stars, “Coopération” (1982) with Franco, “Canta Moçambique” (1983) with Mandjeku, and albums with saxophonist Empompo Loway under the names “Tiers Monde Coopération” and “Tiers Monde Révolution” were highlights of his career in the 1980s.

Due to his frequent goings and comings, he won the nickname “pigeon voyageur” (travelling pigeon). In the 2000s, Sam Mangwana spends most of his time in Angola, emerging periodically to perform concerts in Europe.

Band memberships

  • African Fiesta, 1962
  • Festival des Maquisards, 1968
  • TPOK Jazz, 1972
  • African Fiesta National
  • Afrisa International
  • African All Stars, 1978


With Festival des Maquisards
  • Waka Waka, 1978
  • Maria Tebbo, 1979
  • Georgette Eckins, 1979
  • Matinda, 1979
  • Affaire Disco, 1981
  • Est-ce Que Tu Moyens?, 1981
  • Cooperation, 1982
  • Affaire Video, 1982
  • N’Simba Eli, 1982
  • Bonne Annee, 1983
  • In Nairobi, 1984
  • Aladji, 1987
  • For Ever, 1989
  • Lukolo, 1989
  • Capita General, 1990
  • Megamix, July 1990
  • Rumba Music, 1993
  • No Me Digas No, 1995
  • Galo Negro, 1998
  • Sam Mangwana Sings Dino Vangu, 2000
  • Volume 1 Bilinga Linga 1968/1969, June 2000
  • Volume 2 Eyebana 1980/1984, June 2000
  • Very Best of 2001, March 2001
  • Cantos de Esperanca, April 2003
With TPOK Jazz
  • Lufua Lua Nkadi – Sung by Sam Mangwana, Michel Boyibanda, Josky Kiambukuta and Lola Checain in 1972.
  • Luka Mobali Moko -Sung by Sam Mangwana, Josky Kiambukuta, Michèl Boyibanda and Lola Chécain, in 1974.
Contributing artist
  • The Rough Guide to Congo Gold (2008, World Music Network)

See also

  • Ndome Opetum
  • Josky Kiambukua
  • Lola Checain
  • Michel Boyibanda
  • Yolou Mabiala
  • Wuta Mayi


  1. Jump up^ Harris, Craig. “Sam Mangwana: Artist Biography by Craig Harris”. Retrieved 12 April 2014.
  2. Jump up^ Clandos, Rosemary (10 November 2000). “Sam Mangwana – Mangwana’s Music Has Roots On Both Sides of The Atlantic”. Los Angeles Times. Retrieved 12 April 2014.
  3. Jump up^ Stewart, Gary (2011). “Rumba On The River”. Cold Run Books. Retrieved 12 April 2014.
  4. Jump up^ Musica (10 April 2012). “Sam Mangwana”. Retrieved 12 April 2014


Wendo Kolosoy

download (7).jpg

Antoine Wendo Kolosoy (April 25, 1925 – July 28, 2008), known as Papa Wendo, was a Congolese musician. He is considered the “Father” of Congolese rumba, also known as soukous, a musical style blending son cubano, beguine, waltz, tango and cha-cha.


  • 1Biography
    • 1.1Early life
    • 1.2Stage name
    • 1.3“Father” of Soukous
      • 1.3.1Victoria Kin Orchestra
      • 1.3.2Marie-Louise
    • 1.4Congolese popular music
      • 1.4.11950s
      • 1.4.250 year hiatus
    • 1.5Later life
  • 2Discography
    • 2.1Compilations
  • 3References
  • 4Bibliography


Early life

Wendo was born in 1925 in Mushie territory, Mai-Ndombe District of western Congo, then under Belgian colonial rule. His father died when he was seven, and his mother, a singer herself, died shortly thereafter. He was taken to live in an orphanage run by the Society of the Missionaries of Africa, and remained there until he was 12 or 13, expelled when the fathers disapproved of the lyrics of his songs. Wendo began playing guitar and performing at age 11.

Kolosoy became a professional singer almost by chance after having worked also as a boxer, sailor and longshoreman in Congo, Cameroon and Senegal. From 13 Wendo traveled as a worker on the Congo River ferries, and entertained passengers on the long trips. Between 1941 and 1946 he traveled as a sometime professional boxer, as far from home as Dakar, Senegal.

Stage name

His birthname was Antoine Kalosoyi (also spelled Nkolosoyi), which he eventually regularised to Kolosoy. Later he was called “Windsor” (a homage to the Duke of Windsor and a play on the British Royalty theme of his band “Victoria Kin”) which evolved into “Wendo Sor” and simply “Sor“. He is most widely known as Wendo or Papa Wendo.

“Father” of Soukous

In the mid-1940s, he began playing guitar around the capital Kinshasa (then Leopoldville) with his Cuban style band Victoria Bakolo Miziki. He had met Nicolas Jéronimidis, a Greek businessman, on a steamer returning to Leopoldville from Dakar in 1946, and in 1947 Jéronimidis agreed to record Wendo’s music for his new Leopoldville based record label Ngoma.

Victoria Kin Orchestra

Imitating the bandleader Paul Kamba, Wendo and Me Taureau Bateko created the “Victoria Kin” orchestra, which later became “Victoria Bakolo Miziki”, recording for Ngoma, but also other Congolese labels Fronted by Wendo’s echoing and soaring vocals, the group was also famous for its dancers, called “La reine politesse” directed by Germaine Ngongolo.

Wendo and Victoria Bakolo Miziki released their first full record in 1949, “Mabele ya mama” which Wendo dedicated to his late mother.


His first international hit, in 1948, was “Marie-Louise“, co-written with guitarist Henri Bowane. Through the publicity of “Radio Congolia”, along with the controversy which followed the song (a back-and-forth between Wendo and Henri over Wendo’s pursuit of a girl, thwarted by Henri’s wealth, with salacious undertones), the song became a success throughout West Africa. With its success came trouble: the song had “satanic” powers attributed to it by Catholic religious leaders. Stories from the time even claimed that the song, if played at midnight, could raise the dead. The furor drove Wendo out of Kinshasa, and resulted in a brief imprisonment by the Belgian authorities in Stanleyville and his excommunication from the Catholic Church. The combination of African lyrics and vocals with Afro-Cuban rhythms and instrumentation (particularly son cubano) spawned one of the most successful African musical genres: soukous, popularly known as “Congolese rumba”. Wendo’s time on the ferries also contributed to his success as one of the first “national” artists of the DRC: he learned the music of the ethnic groups up and down the river, and later sang not only in his native tongue of Kikongo, but also in fluent Lingala and Swahili.

Congolese popular music

Cover of the 1996 re-issue of Ngoma records early singles, including “Marie-Louise“. Wendo is pictured, c. 1950, in the center, in front of the Ngoma Records touring van.

Wendo’s success rested upon the burgeoning radio stations and record industry of late colonial Leopoldville, which often piped music over loudspeakers into the African quarters, called the “Cite“. A handful of African clubs (closing early with a 9:30PM curfew for non-Europeans) like “Congo Bar” provided venues, along with occasional gigs at the upscale white clubs of the European quarter, “La ville“. The importation of European and American 78 rpm records into Africa in the 1930s and 1940s (called G.V. Series records) featured much Cuban music, a style that was enjoyed by cosmopolitan Europeans and Africans alike. One writer has argued that this music, sophisticated, based on Africa music, and not produced by white colonialists especially appealed to Africans in general, and newly urban Congolese in particular. Greek and Lebanese merchants, a fixture in colonial Francophone Africa were amongst the first to bring recording and record pressing equipment to tropical Africa. Jéronimidis’ “Ngoma” company was one of the first and most successful, and Wendo was his star artist. Jéronimidis, Wendo, and other musicians, barnstormed around Belgian Congo in a brightly painted Ngoma van, performing and selling records. The music culture this created not only propelled Congolese rumba to fame, but began to develop a national culture for the first time.


The “Trio Bow” recording of “akeyi na zandu” (1956) on the Ngoma records label. Wendo, Antoine Bukasa and Manuel D’Oliveira, stars individually, were combined into this supergroup in 1955 by Nicolas Jéronimidis.

In 1955, Wendo, along with two other singer/guitarists (Antoine Bukasa and Manuel D’Oliveira) formed an all-star orchestra known as the “Trio Bow“, recording new variations on the rumba and other dance musics for Ngoma, with hits such as “Sango ya bana Ngoma“, “Victoria apiki dalapo“, “Bibi wangu Madeleine“, “Yoka biso ban’Angola“, and “Landa bango“. Although he never achieved comparable international success similar to that of Papa Wemba or Zaiko Langa Langa, he played throughout Africa, Europe and the USA and is recognized as one of the fathers of modern African music and an elder statesman of Congolese Soukous. In reviewing the recent film on Wendo, a writer in the Kinshasa daily Le Potentiel wrote that “One cannot speak of modern music without evoking the name of Wendo Kolosoy.” Soukous musicians who have come after him have referred to the 1940s and 1950s as “Tango ya ba Wendo” (“The Era of Wendo” in Lingala).

50 year hiatus

At the height of his fame, Wendo developed friendships with some of the DRC’s future independence leaders, most notably Patrice Lumumba. The murder of Prime Minister Lumumba in 1961, followed by the 1965 seizure of power by Lieutenant General Mobutu Sese Seko, soured Wendo on politics, music, and public life. He decided to stop performing, citing use of music by politicians as his reason.

“Because political men at the time wanted to use musicians like stepping stones. That is to say, they wanted musicians to sing their favors. Me, I did not want to do that. That’s why I decided it was best for me, Wendo, to pull myself out of the music scene, and stay home.”


When Laurent-Désiré Kabila returned to power in 1997, he (and later his son Joseph Kabila) supported Wendo in restarting his recording and touring career. Performing with old members of his Victoria Bakolo Miziki band and his “Dancing Grannies” backup dancers, Wendo toured across the Africa and Europe, recapturing audiences in a fashion similar to the Buena Vista Social Club and Orchestra Baobab. Original members of Victoria Bakolo Miziki who returned to Wendo’s reformed big band included Antoine Moundanda (thumb piano), Joseph Munange (saxophone), Mukubuele Nzoku (guitar), and Alphonse Biolo Batilangandi (trumpet).

Later life

Kolosoy gave his last public appearance in Kinshasa, DR Congo in 2004. The last known recording from that time, the album Banaya Papa Wendo was released on the IglooMondo label in 2007. A compilation called The very best of Congolese Rumba – The Kinshasa-Abidjan Sessions was released in 2007 with Papa Wendo and two other soukous/rumba legends; Antoine Moundanda and the Rumbanella Band. In 2008, prior to his death, French filmmaker Jacques Sarasin released a biographical documentary about Wemba’s life, entitled On the Rumba River.

He became ill in 2005, and ceased performing publicly. At the time he returned to his disgust with politicians, claiming that the Kabila family, who had resuscitated his career in 1997, had abandoned him financially. Wendo Kolosoy died on July 28, 2008, in Ngaliema Clinic in Kinshasa in the Democratic Republic of Congo.

A state funeral in Kinshasa for Wendo is planned, and expected to be “amongst the biggest the city has seen.”


  • Nani akolela Wendo? (1993)
  • Marie Louise (1997) — Indigo LBLC 2561 (2001)
  • Amba (1999) — Marimbi 46801.2 (2002) — World Village 468012 (2003)
  • On The Rumba River (Soundtrack) Marabi/Harmonia Mundi 46822.2 (2007)
  • Banaya Papa Wendo IglooMondo (2007)


  • Ngoma: The Early Years, 1948-1960 Popular African Music (1996). Includes the original recording of “Marie-Louise“, 1948 (Antoine Kolosoy “Wendo” / Henri Bowane)
  • The Very Best of Congolese Rumba – The Kinshasa-Abjijan Sessions (2007) Marabi Productions
  • The Rough Guide to Congo Gold—World Music Network 1200 (2008)
  • Beginners Guide To Africa—Nascente BX13 (2006)


  1. Jump up^ ANALYSE MUSICALE “Marie Louisa” Antoine WENDO NKOLOSOY. Interview and Review: Norbert MBU MPUTU, Congo Vision (2005)
  2. Jump up^ “Wendo Kolosoy, 62 ans de carrière musicale” (4 June 2005)
  3. Jump up^ Wendo Kolosoy – On The Rumba River, Artists page: Marabi Records. Retrieved 2008-07-30.
  4. ^ Jump up to:a b Banning Eyre interview (2002)
  5. Jump up^ Wendo Kolosoyi
  6. Jump up^ Banning Eyre interview (2002)
    “Evolution de la musique congolaise moderne de 1930 à 1950” (2005)
  7. Jump up^ Collector Lars Fredriksson has scans of a late 1940s era catalog from a rival company, (“Olympia“), featuring a sizable set of Victoria Kin records. Retrieved 2008-07-31.
  8. ^ Jump up to:a b c “Wendo Kolosoy, 62 ans de carrière musicale” (2005)
  9. Jump up^ The Lingala lyrics are transcribed in detail at ANALYSE MUSICALE “Marie Louisa”. Norbert Mbu Mputu, Congo Vision (2005) and in brief in Bob W. White (2002)
    The song is also analysed in Jesse Samba Wheeler. Rumba Lingala as Colonial Resistance, Image & Narrative, No. 10, March 2005
  10. Jump up^ ‘Father’ of Congolese rumba dies
    “Evolution de la musique congolaise moderne de 1930 à 1950” (2005)
    Wendo est mort. A.Vungbo, Le Phare Quotidien (Kinshasa), 2008-07-30
  11. Jump up^ Bob W. White, Congolese Rumba and Other Cosmopolitanisms (2002)
  12. Jump up^ Bob W. White, Congolese Rumba and Other Cosmopolitanisms, Cahiers d’études africaines, 168, 2002 details this process, and Gary Stewart’s Rumba on the River (1999) is the definitive English language work on these years, which made Kishasa the musical capital of the continent.
    See also the review of the 1996 compilation “Ngoma: the Early Years” at Ntama: Journal of African Music and Popular Culture. African Music Archive at Mainz University (1996)
  13. Jump up^ Quoted at Icarus Films.
  14. Jump up^ Nostalgie bien rythmée. Mia Ma, Jeune Afrique, 4 May 2003
  15. Jump up^ Wendo Kolosoy interviewed 2002. Banning Eyre, Afropop Worldwide, 2002.
  16. Jump up^ DR Congo’s dancing grannies. Mark Dummett, BBC news. 4 December 2002.
  17. Jump up^ Icarus Films.
  18. Jump up^ Cinémusique. Renaud de Rochebrune, Jeune Afrique, 11 May 2008.
  19. Jump up^ “Wendo Kolosoy entre la vie et la mort”(June 2005)
  20. Jump up^ ‘Father’ of Congolese rumba dies
  21. Jump up^ Global Hit: Wendo Kolosoy. The World: PRI/BBC Radio. July 30,
  • Wendo’s Biography, Music and Videos
  • On the Rumba River – A film by Jacques Sarasin
  • On the Rumba River: Papa Wendo’s Story. Village Voice, Julia Wallace. 3 June 2008.
  • Wendo Kolosoy interviewed 2002. Banning Eyre, Afropop Worldwide, 2002.
  • Papa Wendo, father of Congolese Rumba dies. AFP . 29 July 2008.
  • Papa Wendo chante l’idylle du Congo. Olivier Azam, 17 May 2008
  • Musique: Wendo Kolosoy entre la vie et la mort. Le Potentiel (Kinshasa) June 2005.
  • Wendo Kalosoy «On The Rumba River». Jeannot ne Nzau Diop. Le Potentiel (Kinshasa), 2007.
  • Evolution de la musique congolaise moderne de 1930 à 1950. Jeannot ne Nzau Diop. Le Potentiel (Kinshasa), 14 May 2005.
  • Wendo Kolosoy, 62 ans de carrière musicale. Jeannot ne Nzau Diop. Le Potentiel (Kinshasa), 4 June 2005.
  • Global Hit: Wendo Kolosoy. Radio broadcast and transcript from The World: Public Radio International//BBC Radio. July 30, 2008. Includes parts of the rare original 78 recording of “Marie-Louise”.
  • Bob W. White, Congolese Rumba and Other Cosmopolitanisms, Cahiers d’études africaines, 168, 2002.
  • Wendo Kolosoy artist profile, label-bleu records, (extracted and translated from Terre de la chanson, la musique congolaise hier et aujourd’hui, by Mpanda Tchebwa, Editions Duculot 1996)


King Kester Emeneya


download (8).jpg

Jean Baptiste Emeneya Mubiala Kwamambu (November 23, 1956 – February 13, 2014) was a Congolese singer best known as King Kester Emeneya.

He was born in Kikwit within the Democratic Republic of the Congo. While a student of political science at the University of Lubumbashi in 1977, King Kester joined the band Viva La Musica. After achieving success with several popular songs, he became the most popular African singer in the 1980s and created his own band, called “Victoria Eleison”, on December 24, 1982.

Emeneya Djo Kester was innovative with his music. He was the first musician in sub saharan region of Africa to initiate music programming and the use of (synthesizers) in his album entitled Nzinzi which sold millions of copies around the world in 1987. He has been credited for the introduction of African music to international audience because of his use of western instruments like music programming or synthesizer and his ties to Rhythm and Blues. After years of success with populars songs, in 1993 he released Every Body distributed by Sonodisc. Every body was a big success internationally. In 1997, after a seven-year absence, King Kester returned to Congo. Nearly 80,000 people attended the first concert after his return, which was a record-setting feat according to the Congolese media. Emeneya is considered by many analysts to be the greatest singer Africa ever had. He has more than 1000 songs to his credit and has performed on all continents. He initiated LA SAPE movement and promoted designers like Gianni Versace, Masatomo, JM Weston etc.. Emeneya was also an actor in the movie “Les habits neufs du Gouverneur”. His interest and innovation did not only end in music, King Kester Emeneya was an advocate of the African people and a fighter of civil right. He repudiated apartheid in South Africa and released a song supporting Nelson Mandela while praising his cause and morale in his album Succes Fous. During his last tour in the United States while performing in Los Angeles in 2007, he praised the U.S for making significant progress on justice equality and race. Emeneya was involved in charitable activities through his foundation. He was concerned about the level of poverty in the continent and wanted to make sure that Governments in different African nations managed enough efforts to improve the social lives of their citizens. A huge fan of Barack Obama, Bill Clinton, John F. Kennedy, Dwight Eisenhower, Franklin Roosevelt and Abraham Lincoln. Emeneya has praised President Obama in a number of his interviews for being an advocate of the poor. Emeneya performed a concert in Kinshasa in 2009 to help celebrate Obama’s inauguration as the first U.S black president. A friend of the United States, he has helped the U.S Embassy in Kinshasa celebrate July 4th several times especially during the tenure of U.S Ambassador Aubrey Hooks. King Kester Emeneya was also grateful to President Bush for his HIV and malaria initiatives in Africa. He released his album “Le Jour Le Plus Long D-Day” (The Longest day) in 2007 in order to praise the U.S invasion of Normandy during world war II in France. One of his son is named after Franklin Roosevelt.

From 1991 until his death in Paris in February 2014, King Kester Emeneya lived mostly in France with his family. Emeneya’s funeral was the largest in the history of Congo and was broadcast live on all channels in Congo and many others around the world. On April 6, 2014 Pope Francis welcomed Emeneya’s family to Vatican City to express his support. On March 2, 2014, Emeneya was awarded the presidential civic medal posthumously by President Joseph Kabila for his service and extraordinary contribution to Congolese nation and music. This is the highest civilian award to be bestowed by a Congolese president. The award is given by a presidential decree. King Kester Emeneya was also awarded the title of Ambassador of Peace posthumously by the University of Birmingham in the United Kingdom on February 21, 2015.

On April 25, 2014, a tribute concert held in his hometown of Kikwit ended in disaster, and at least forty people in the stadium lost their lives in a stampede following a power failure.


  • Milena (1977)
  • Teint de Bronze (1978)
  • Ndako ya Ndele (1979)
  • Musheni (1979)
  • Kayole (1979)
  • Fleur d’ete (1978)
  • Ngonda (1979)
  • Dikando (1980)
  • La Runda (1980)
  • Ata Nkale (1979)
  • Dembela (1981)
  • Naya (1982)
  • Ngabelo(1982)
  • Okosi ngai mfumu(1983)
  • Surmenage(1984)
  • Kimpiatu(1985)
  • Willo mondo(1985)
  • Wabelo(1986)
  • Manhattan(1986)
  • Deux Temps(1987)
  • Nzinzi (1987)
  • Mokusa(1990)
  • Dikando Remix (1991)
  • Polo Kina (1992)
  • Every Body (1993)
  • Live in Japan (1991)
  • Every Body (Remix) (1995)
  • Pas de contact (1995)
  • Succès Fous (1997)
  • Mboka Mboka (1998)
  • Never Again Plus jamais (1999)
  • Longue Histoire (Volume 1 & 2) (2000)
  • Live au Zénith de Paris (2001)
  • Live à l’Olympia (Bruno COQUATRIX) de Paris (2002)
  • Rendre à César … … ce qui est à César (2002)
  • Nouvel ordre (2002)
  • Le Jour Le Plus Long (2007)
  • DVD Olympia Bruno COQUATRIX live 2008


  1. Jump up^ “Le roi de la musique congolaise, King Kester Emeneya, est mort” (in French). France24. 2014-02-13. Retrieved 16 February 2014.
  2. Jump up^ White, Bob W. (2008). Rumba rules: the politics of dance music in Mobutu’s Zaire. Duke University Press. p. 49. ISBN 978-0-8223-4112-3. Retrieved 26 November 2010.
  3. Jump up^ “Deadly stampede at tribute concert in Democratic Republic of Congo”. Deutsche Welle. 2014-04-25. Retrieved 2014-04-29.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s