Yoka Lokole
| Company type | Music ensemble |
|---|---|
| Industry | Music |
| Founded | 1975 |
| Founder | Papa Wemba and associates |
| Defunct | 1978 |
| Headquarters | Zaire (now Democratic Republic of the Congo) |
Area served | Zaire (now Democratic Republic of the Congo) |
| Products | Soukous music |
Yoka Lokole was a soukous ensemble originating from Zaire (currently the Democratic Republic of the Congo), established in 1975 by Papa Wemba and associates, and dissolved three years later in 1978. Although its lifespan was short, Yoka Lokole held a significant position in Zaire's mid-1970s music scene, featuring prominent soukous artists such as Papa Wemba, Bozi Boziana, and Mavuela Somo. The group's vocal section, dubbed the Fania All-Stars of Zaire, included its principal members. Most participants had previously played with Zaiko Langa Langa, situating Yoka Lokole within the "Clan Langa Langa," a network of Zaiko offshoots.
The term "Yoka Lokole" translates to "listen to the lokole," referencing a traditional log drum used for communication in the Congo River basin.
History
Following a rift within Evoloko Jocker's Isifi Lokole in November 1975, Yoka Lokole was formed by Papa Wemba, Mavuela Somo, and Bozi Boziana who departed after disagreements. They were later joined by Isifi members Shora Mukoko and Otis Koyongonda.
At first, Yoka Lokole operated under the shadow of leading soukous bands like Zaiko Langa Langa and Isifi Melodia (the new name for Isifi Lokole). However, in 1976, with the addition of vocalist Mashakado Mbuta, the band began to gain recognition. Their debut success was Matembelé Bangiì (June 1976), composed by Papa Wemba. Subsequent popular tracks included Maloba Bakoko (Somo), Mabita (Mashakado), along with Lisuma Ya Zazu and Mama Walli (both by Wemba). The group also originated the dance style known as Mashakado-Au-Pas, which gained popularity alongside Zaiko's Choquez and Isifi Melodia's Lofimbo. During this period, singer Djo Issa, formerly of Lita Bembo's Stukas, joined the ensemble.
In December 1976, Papa Wemba was detained on allegations of an improper relationship with General Mobutu Sese Seko's daughter. While incarcerated, Yoka Lokole continued to perform without him, which led to public disagreements among members. Mavuela and Mashakado asserted their Kinshasa ("kinois") heritage in opposition to Wemba, who hailed from Kasai-Oriental, subtly marking him as an outsider. This discord was reflected in Mavuela’s song Bana Kin, released late that year.
Following Wemba’s release from jail, he was unable to rejoin Yoka Lokole due to a legal conflict over the band's name. This dispute concluded when Wemba founded Viva La Musica in February 1977, adopting a phrase inspired by Yoka Lokole’s performances.
At the start of 1977, guitarist Syriana and drummer Otis Koyongonda departed Yoka Lokole to join Viva La Musica. The band welcomed new talents including singer Kanza Bayone (formerly of Kiam), guitarist Sec Bidens, and Gabonese percussionist Baroza, nicknamed "La Gabonnia". This formation produced several hits and helped popularize the Mékroumé dance style.
Eventually, Viva La Musica surpassed Yoka Lokole in popularity. Critics targeted Somo and Mbuta for their apparent contempt toward those not from Kinshasa ("mowuta"). After releasing one final successful single, Mandolina, key members Bozi Boziana and Mbuta returned to Zaiko Langa Langa in August 1977, signaling Yoka Lokole’s decline.
By late 1977, Somo remained the group’s leading figure. He brought in fresh artists such as Packi Lutula (from Tabu National), Fabrice Fanfan, Shimita Lukombo El Diego, Lifelo Moto Moto, and the Fataki siblings. They released singles including Testament (December 1977) and Tubela (July 1978). Nevertheless, Somo exited in December 1978; guitarist Sec Bidens assumed leadership briefly before the band swiftly disappeared from the music landscape.
Footnotes
References
- Viva and Dance: Exploring the Rhythm of Molokai Archived 2008-05-09 at the Wayback Machine