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Messages - Mfumu Vata

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« on: Today at 17:15 »
I don't know, I just saw his name being written on the credits.

« on: Today at 12:52 »
Oh ok I see. How would you rate the impact and success of this album as compared to Longue Histoire and Mboka Mboka?

In Kinshasa it was still a succes also due to the cri's Kotazo and Pigeon, in Europe it was also a succes but not like in Kinshasa. The impact of Le Jour le Plus Long was not the same like Longue Histoire and Mboka Mboka. The album was released in 2007, when the G-5 Revolution came of Fally Ipupa & Ferre Gola. Emeneya in those days hadn't the same impact, because many people had put him the label of being finished. He was then more known for talking much in interviews to attack Koffi Olomide & Papa Wemba, being present in every DVD-compilation of that era.

« on: Today at 12:48 »
Oh ok I see. How would you rate the impact and success of this album as compared to Longue Histoire and Mboka Mboka?

Not as much as big, but I remember in those days people were surprised that Emeneya could produce such top quality level, it was the beggining of the Nigerian rise and Emeny wanted to teach every musician from Africa a lesson om hoe good music and especially synthe was made, Mboka Mboka and Kolo Histoire especially for the football lovers Kolo Histoire was a masterpiece still to this day no artist in Congo has managed to blend soccer and music that well, when I was little I thought that Victoria Eleyson was an actual team and this is due to the emotion and storytelling that Emeneya was able to make you feel.

lol, Kolo Histoire is Papa Wemba's generic. I  think you meant But Na Filet which was the generique of Longue Histoire.

Victoria Eleison's philosophy soccer, which took from Viva La Musica (they used to call themselves in Viva La Musica the Argentine football-team that won the Fifa World Cup of 1978). From the birth they used to present them like they did in But na Filet and sometimes wearing football-shirts of Brazil when performing in concerts (for example the fara-fara of Victoria Eleison against Viva La Musica in 1985 at Intercontinental). But Na Filet is btw a remix-version of their anthem that was created in 1982 and released on vinyl in 1984.


It looks like they released all concerts of this tour on DVD.

Gisele Yamamoto wasn't present, because it was said that she broke her leg, but other people said that it was a way to hide her pregnancy (Werra made her pregnant and he was apparently scared that Sylvie Mampata would discover it).

« on: August 10, 2020, 23:13 »
Apocalyps never joined Victoria Eleison. The album "Le Jour le Plus Long" was for 80% recorded in Kinshasa with guys like Djudju-chet Luvengoka, Olivier Tshimanga, Dany Takezo and Auguy Lutula adding some sauce in France. You can hear Olivier Tshimanga on Nazeli.

The atalaku's were Ngonda Son, Papy Baroza and Mulo Scanto. The atalaku with that rough voice is Papy Baroza.

Those of the Longue Histoire-generation who were still around were Mulo Scanto, Willy Ebondaki, Zozo Malaba (he didn't go to Olympia 2008 and died in 2009), Yves Tshum Tshu and  Baby Mbonda.

« on: August 10, 2020, 18:13 »
Pitshou Santiango is the former lead-guitarist of Wenge El Paris, he & Pitshou tried to make a band called Parigo Vintange, but it didn't work out. from that moment they are attacking each other on interviews.

Btw Pitshou Santiango is 50% Angolan/50% West-African. The areas of Lingwala, Kinshasa and Barumbu were full of people coming from West-Africa (Sierra Leone, Ghana, Senegal, Mali & Nigeria) who they used to call them ba-popo or ndingari and people coming from Angola along with those coming from the Equateur-province (who were coming to Kinshasa with boat for a better life or joining other familymembers). Which made many coming from those 3 areas being 50% mongo/50% angola or 50%west african/50%mongo, etc. A good example is Babia Ndonga with his cousin Kisindjora who are 50%angolan/50% mongo.

« on: August 10, 2020, 17:06 »
Patou is attacking Pitshou for being 50% west-african, but he forgets that Depitcho who he's praising, is also 50% west-african (his dad from Guinee Conkary). I never like it when they attack people for being foreign, then crying that white people are xenophobic, but they are doing the same thing.

The way Werrason talks about the two shows really gives you the desire to come to the two shows, saying that both shows will not be the same a different from each from each other. Is there someone on this forum who attend both ? It reall sad the way the first show went (the solo-guitar not being audible for the most part of concert, which ruined the show and the concert starting apparently late, but was not stated by the press. I heard that the show of day 1 was broadcasted live on RTNC).

Oh the concert at YMCA was Wenge 4x4's last concert before the split and not the one at Intercontinental, I saw a extract of 2 seconds on youtube without sound in a Skol-commercial of 1997/98.

from 3:58 min, before switching to Defao dancing with his two dancers. (I hear Caludji animating on the background, did Skol ever released those rare commercial instrumentals and songs of the 90s on cassettes?)

oh yeah i forgot about he cabinda trip,many the roads back in the days were something

What is or was the problem between Baby Ndombe and Chou Lay, because it seems that they can't stand each other. I remember Chou Lay ignoring him in an interview back in the past and Baby Ndombe getting attacked in a radioshow of Cesar Ngadi by a spectator because of having attacked Chou Lay (I don't know what he said, because the extract started on that moment).

nayibi yango koyiba kiekiekie.

I saw on facebook a picture of Koffi, Defao, JB and Awilo along on one table but I can't find it anymore back (Koffi sitting next to JB Mpiana with Kaludji and Mpela on the other side). Also one of Bouro, Depitcho, Koffi & Defao.

What Celeo said towards the end of the interview or the middle about him going with his Vitara to the rehearsals of rivals is true(BCBG at Milhouse which was in front of Zamba Playa and El Paris at Bibi Play in Kintambo). Pitshou Santiango of El Paris recently talked about that, saying really pissed off that Celeo used to follow them with his Vitara trying to drive over them hahahah (That must really hurt them, because they never went to Europe)

It was like Werrason brought everybody who participated on Solola Bien to Mayumbu, because they had all reached another dimension of fame when they came back from Europe. They were like mini-leaders, because everywhere where they came they would attack big crowds.

Choulay left because of the trip to Cabinda. After having performed in Point Noire, they started the recordings of Force d'Intervention Rapide and they received a contract for Cabinda during the recordings. The way they went to Cabinda wasn't pleasing all musicians especially Choulay who came from Europe. They went in a truck with pigs, chickens and goats from Kinshasa to Cabinda, back in those days the road of Kinshasa to Matadi was really bad, let alone the one of Matadi to Boma,  the one that brings you from Boma to Muanda/Banana and the boarder of Cabinda being of sand (when it rains you do 4 days to get there).

When Maison Mere returned to Kinshasa, Choulay went to Manda Tchebwa announcing his departure from Maison Mere, calling Wenge Maison Mere a faux orchestre, that travels with animals and other stuff (I forgot it since that it's more than 20 years ago). Shortly after it they deleted the few vocals he had in Force d'Intervention Rapide giving it to other musicians. Back in those days Choulay wasn't really believing anymore that Maison Mere would get the fame, that they it got after Force d'Intervention Rapide. Because back in those days the had alot of mpiaka in those public concerts they were giving in the areas of Kinshasa, teaming up sometimes with Marie Paul to get some public.

During the same trip to Cabinda Werrason did 12 on Masela, using Adolphe (many people say that Werrason was manipulating Adolphe to do some dirty jobs on Masela, but Adolphe still deny it until this day). I forgot a big part of the story, I remember that Werrason had to go along with Didier Masela on a jet or helicopter to Cabinda, but Werrason went without him with Masela ending up to get in that truck with those animals (he was very pissed off that day) along with Adolphe and the rest of Maison Mere. When they had came in Cabinda, Masela and Werrason argued about it like the way they did in Pointe Noire. From that moment the war between Werrason and Didier Masela really started. Christian Mabanga often refusing to give the bass-guitar to Didier Masela or if Masela had just played 2 songs, Christian would come agressively to him say that he had to hand the guitar to him and disrespect him. Didier Masela then also coming later then Werrason to concerts, to show Werrason that he was the real leader and founder of Wenge. (I guess you saw his entrance at Palais du Peuple, but just a part of the audience paying attention to him).

Congolese Music / Re: IS THIS STORY TRUE?
« on: August 08, 2020, 00:08 »
They started recording Temps Present when Celeo, J3 and Flamme were still around. They still kept some rumbas and they didn't erase the song Caresse & Retour Interdit which had Flamme on the lead.

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