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Messages - Wenge1995

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So it's safe to assume that Fally Ipupa doesn't own the rights to his master recordings for his work under Universal Music?

Congolese Music / Affaire d'Etat (REVIEW)
« on: August 20, 2019, 04:58 »
As far as accoustics are concerned, Piwawa is one of the best sounding generique Koffi has produced for the entire album. Felly Tyson's lead guitar really begins thirty seconds into the song with simple and sweet licks and slowly transition into an orgasmic rock solo to wrap the track. The melodic canvas is courtesy of a hypnotic bassline from Binda Bass and rhythm section by Fofo Collegien that keeps the groove going. The icing on cake is Titina's thunderingly sophisticated drum passage throughout which makes the audio fit for speakers and on a large stadium. Furthermore, the lyrics that preceed the sebene promotes having a good work ethic and genuine love among our people to make Congo (and to be honest any society) a better place to live in. If only the rest of the album had a diversity of thought given to the texts other than love and excessive donor dedication, perhaps I would rank this album a bit higher on the list of my favorite Quartier Latin group albums.

My second favorite sebene is Code Pin; I love the interplay between Fofo Collegien's rhythm guitar and the percussion section in response to Bebe Kerozene's cries at the 3:15 to 4:05 and then Brigade gives it try 5:08 to 5:32! This one is straight banger; a must have for parties.

Titina's thundering Danao ranks as my third favorite and it's tied with Juif Noir, depending on what day you ask me it'll switch between the two for third place. Both feature the classic chorus structure we've come to love the group for, as they break in between with each singer getting to flaunt their unique voice. As of writing this review, I'll go with Juif Noir for third place because Rama's solo partition to Bebe Kero's "musala yo, yo, yo" goes a long way in keeping the dance floor busy @ 6:40! The animation was so catchy, he used it for Wanted by Pipiyus.

My only gripe about Danao is that niether Paparazzi Toto nor Michaux Chamberton really meshed well in the band. Granted they are respectable singers in their own right, but the team of Effrakata was more cohesive. I would have even prefered Jordan Kusa's participation over Chamberton and Paparazzi, because he had more charisma as a singer and live performer than those two regardless of people's doubts in his vocal ability. You'll feel his absence especially in the clips, because he was close behind Fally and Bouro when it came to dancing skills.

As for the remaining sebenes, they were good. However, I believe Felly Tyson is at his best as a soloist when he adopts an aggressive style. Take for example Je T'en Prie, his partition is played with much determination during their concert of Brixton in 2002 to much better effect. Just observe the part when Fally dances and the drum passage prior to Bouro's dance solo.

The album version is played slower and the drums are played with less dynamic compared to the concert footage. Also the guitar tones used for this album feature less variation used on Effrakata and even Force de Frappe, which can effect the amount of times this album will be relistened to since the sebenes will begin to sound the same unlike prior albums that benefit from the soloist adjusting their sound to give each lead partition a distinct flavor while revisiting the themes of the main generique.

Lastly before I touch on the rhumbas, I had more expectations for the animations to be as engaging as the last group album Force de Frappe. In my opinion, Brigade and Bebe Kerozene were handicapped by the general avoidance of interplotating popular cries at the time of the album's recording. Perhaps Koffi could have encouraged the duo to spent more time around shegues to achieve inspiration for a new dance like Wemba did for Somo Trop with "Kila Mogrosso" if they wanted to avoid copying Masion Mere's ko-yimbiko. In Tous Pepele, Brigade had a frenetic rap that I enjoyed quite a lot but aside from the instrument break at "ya Fofo" and the "quadra kora" cry, there's no quotables like previous albums.

Stay tuned for the second half...


But excessive mabanga can ruins songs

Thanks everybody for the suggestions, I've been listening to a lot of Quartier Latin recently with Koffi releasing Papa Ngwasuma earlier this week. So expect ADE review tonight, but Kibusia will take a bit longer maybe later in the week.


The irony of this whole polemique over animation is that Wenge Musica Masion Mere didn't create the damn dance nor the cries, it was Patrouille Des Stars lmao


The Koyimbi-Ko dance was huge in Africa, but other groups avoided incorperating the dance into their animation because there wasn't the same solidarity between our artist like before. Congolese artist were giving each other a hard time about stealing "their" animation, just look at the way Bill Clinton of Masion Mere feud with Bebe Kerozene, Gessac, and later Bercy Mwana as an example. ADE would have benefited greatly if Koffi let his atalakus use those cries in conjuction with the dance (6:50-8:25 minutes of video below)


My bad, bro lol. What were your favorite tracks from ADE? I was thinking about doing a review for the album, yall think I should? Any suggestions for albums I should review?


What happened to Fofo Le Collégien? Did he participate in Monde Arabe or did he already leave the group?

What was your favorite sebene and rhumba from ADE? My favorite rhumba was that of Bouro Mpela "Calvaire"  and my favorite sebene was "Juif Noir" by Ramazani. I might be in the minority, but I didn't like "Tendrement" at all. The music was nice, but Lola stopped singing with his natural voice.

I liked his voice in Attentat and he sounds really good in Jordan Kusa's song in Force de Frappe, but he kept doing that sheep like voice in ADE. It got on my nerves lol


Since now we have digital streaming, will Congolese artist recieve genuine plaques for album sales? As of today, where do we fall short in terms of getting recognition. I see that many of clips from our musicians official Youtube channels recieve views by the hundreds of thousands and their albums are on Spotify/Tidal.

I feel like European music industry doesn't want to acknowledge successful artist birthed in Africa, cause they seem to always move the goal post.

Can't forget Pierrette Adams of Brazzaville and King Kester.


Secteur A was quite ambitious with those proposed tours in Francophone Africa and French West-Indies, can you imagine where Academia could be if they trusted their label's long-term plans back then?


If social media was around in the 90s and 2000s, those polemics between Wemba & Koffi, JB Mpiana & Werrason, and JB & Koffi could have been really bad. You already know how crazed their fans can be, so the amount of instigating would be insane with round the clock access to musicans lol


Doesn't Sectuer A have A&R to monitor their signed artists and group? If my memory is correct, they had to part ways with their first manager Jimmy Mukelenge to join Sectuer A in the first place, so what happened to their new management?  I'm surprised a high profile music label would allow Quartier Latin Academia to break up so quickly under their watch.

Because the Europe based clips are put together so well and you can tell money was spent filming. With the new members they saw on tour, they should have been suspicious of Mustapha, Lebou, and Sukuzi absence from most of the clips.


Koffi doesn't promote his band like before, so Montana's career wouldn't change for the better if he joined Quartier Latin at this point.

We've already seen how Fally neglects his old bandmates that's done business with him, remember Cambodge Mutu and Eric Tutsi on FVicteam?


To your knowledge, is Team Wata working on an album? What about the atalakus from the previous album? I liked them, will they work alongside Bercy or do you think they'll lose considerable space to accomodate Bercy?


Do you think he's ready to be the #1 atalaku on Team Wata?

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