Wasn’t it something about papers and people in Fally’s circle not being happy about it and him also openly criticizing Alain Nzambe on tv. Anyway, he has an interview with Ado Yuhe which on YouTube and him talking about his departure.
Back in those days I didn’t knew any bandmember of F-Victeam. Only Kassangidi, just because of his cri. Back then I though that he & Kabuya were the same person. It’s only years later that I discovered Alvarito when someone explained to me that was in Wenge Kumbela. I knew Equalizar ‘s name because of Bjone always posting about him on his Facebook and skyrock page. But I didn’t know who he was
F Victeam didn't take the initiative to make themselves known the way previous generations did like how QL and Wenge members went on TV to defend their group or promote themselves.
I hope that he can finally learn how to market himself to Americans and not waste the opportunity by giving his petit ya quartier the chance to become marketers and ruined his career again
He needs to learn English, Americans are notorious for being close minded to music they can't understand unless it's K-Pop or Latin music. But maybe he could change that, he needs to collaborate with a popular rapper or singer from here (Drake, Rihanna, Chris Brown, Cardi B, ect)
I think he was fought "ndenge ezalaka" either by koffi or whoever because as you know since forever its never easy to just come and succeed like that in front of elders some might "test " you and once you handle it you are ready for a long solo career but the vieux around him surely advised him to go with such a big list so that they can all have ngulus in it if he asked 20 for example or 15 he would not be under such pressure that they had to track every move of equa,ronsard,zagalo,konga,choumen,mijo synthe,kasangidi,tony,pitchou luzolo and if just one left the french authorities threatened to strip him off his papers on an another field he was extremely smart in bringing his group a lot of times even just "pona ko creer kaka mua actualite" it has paid off with french authorities now having a lot of respect and confidence towards him and making him get 30 35 visas which is a lot by the post-ngulu standards
Do you know why Ronsard and ibrahimovic left F Victeam? They had so much promise, didn't they end up in QL?
while its a sad news it put a smile on my face to see him with werra like that, they were the only from the big 6 who had never talked anymore until the amadou project their grudge was strong and i am happy to see that they have gotten over it,same with nsone and blaise who are closer than ever
Does Marie Paul and Mande Chante get along with Wenge Musica 4x4 today?
Was it Arc en Ciel who used to animate in Victoria Eleison that he's talking about ? Btw was it Arc en Ciel or Mulo Scanto who started his career in Depitcho's band ? It seems that a big part of the new recruited musicians of Victoria just before Zenith came from Depitcho's band (Fila Basele and Yannick Zenith who was recruited as back-up drummer for Signore Depatra but didn't make it for Zenith).
I dont remember if it was in Ado Yuhe's interview or somebody else, where Equalizer said that he came with the most cri's in Kipala Nzonzaku. Citing the cri's toko mela primus pona makasi ya mokongo (which was first toko mela tangawisi ya mere mado pona makasi ya mokongo), pantalon ngumba, muana bato and delapatria. Roi David also claims to be part of the many atalaku's that were in Gentamicine circle and said that he created the part "tala ba nzele batonga nzoto pona primus eeh" in Primus Ngwasuma which originally "tala ba nzele basi bazo sambuisa nzoto pona portable eeh". If you look well, most generiques are not created by the atalaku's themselves and them working with a whole team. This make those who are pro-bandmembers saying when there discussions about copyrights and why generiques are credited to the atalaku's but to bandleaders, them giving this as arguments why bandmembers credit the generiques to themselves because the atalaku's not being the original creators of it.
Back in the days wasn't liking Equalizer. I used to hate his voice and saw him as a faux atalaku. It's only when he did the generique with Fabregas and later joining Quartier Latin with the cri "Azo lia na nani" that I started to like him. I wasn't liking Fally's band at all (singers, guitarists, atalaku's, the looks of most musicians, etc.), seeing most of his concerts as boring and prefering Ferre's band. I was doubting Fally's skills of recruiting musicians, only to hear him admit in an interview he did with Saint Marc during the Olympia-days that most of the musicians were his childhood friends when Saint Marc asked Fally if his musicians are really competent when comparing to bands like Maison Mere, Quartier Latin and co.
Its always strange and crazy to hear that many atalaku/singers started all together and know each other. But when joining other groups, them attacking each other and not greeting, also acting like they dont know each other
When seeing the DVD of A2BM I was wondering why Fally did the clip of the generique on his own with some girls. I wasn't liking the way the girls were dancing in the clip.
The period after Abacadabra was the right moment for Koffi to release a new group-album and give his singers, guitarists and atalaku's light. You had Ronsard Kanza who came also from Fally's band, Omba and Poupa Mystique who started to make alot of tv-appearances. I remember Koffi announcing an EP with only generiques and two or 1 rumba (it was made to fight Power and Boite Noire) for december 2012 and a group album called Suprematie for 2014. But instead of that he changed his mind and replaced the voices of his atalaku's by that of Cindy in the generiques to make from the project Cindy's solo album. To not lose Cindy like Fally with Droit Chemin, he didn't gave her the freedom to record new songs, but just let her record remix versions of some of his old songs. The album ended up by flopping and only the generique Libebe with was orginally that of Equalizer doing a little bit well.
Equalizer her changed the version of the reason why he left. In in the years just after his departure, he claimed that he left because of Koffi started to do 12 on him after having praised both Fally and Koffi in an interview he made Noella Madinga, when being asked about who having succes among Congolese artists in Ivory Coast at that moment and him replying that it were Koffi and Fally.
I was surprised by how weak Fally's group was, they're limited in dancing and lack personalities. You'd think he'd be very good at spotting talent because of his time with Koffi
I think this is a bad move. He should of put this after the stadium concert. What if those musicians run away in the US and put the stadium concert in jeopardy, it just doesn’t make sense.
The United States is not like Europe. It's difficult to live in my country without papers and securing refugee status is a long and headache process
When watching those extracts of Maison Mere's concert in Tottenham, I didn't see Celeo. So the concert we see on youtube with Celeo animating was their 4th or 5th concert in UK ? Hearing the sound of the rhythm-guitar made me remember that it was actually the audio-version that Jmkstar Dsquared once put on youtube, but the video dissapearing after a few months because of copyrights. Its weird to see hear Bill Clinton animating "Kilumbu ka kiesse" and also sounds totally different. Imagine if Celeo decided to listen to all people in London that adviced him to stay after getting abandoned when WMM moved to Canada. Btw, what's the name of Masela's backup player. I saw him also with Maison Mere in the Villejuif video and their intro at La Madeleine.
Receiving $300.000 from Bracongo/Skol is big money. I see now why Bill was really mad about it behind the scenes of receiving nothing while him having done most work in Tindika Lokito. It would be interesting to hear what Werra's real vision for Miracles was. Because here he says that he wanted to do it in a different rhythm and only 10 songs not more.
It was rare to see a musician of maison mere giving someone of bcbg a shoutout in that era and vice-versa. Did Kakol not get punished later for giving Seguin a shout-out in this interview ? Because I remember both BCBG musiciansand Maison Mere musicians getting problems for greeting or meeting donors who were pro-BCBG or pro-Maison Mere in the years that the beef was hot (1999, 2000 & 2001). I'm surprised to hear Kakol saying that he had 4 back-up drummers (him naming a guy called cocks. what a weird name. i've never heard about him). I only knew Nicolas Wagadugu.
Interesting to hear from Jus d'Ete Mulopwe that he didn't like tour for months in Europe anymore, him prefering short stay of 3/2 weeks in Europe and this trip to UK being the start of it. I remember people in Europe at time also starting complaining about bands over-staying in Europe.
Its a shame that Baby Ndombe got suspended just a few days before the trip. I wonder if already gave all his clothes away to his pire-petit and friends. Ferre did him dirty by snitching him to Werrason about Les Marquis. Baby having at the same time bad luck that late Monib and Elliot Mondobe invented stories to Werra about him to be careful with Baby, because of him being sent by Koffi to take sweat off his face and bring it to Koffi for occult reasons, them later bringing a witchdoctor to werra's house claiming that Baby was about to sleep his wife to get his fame, werrason getting scared and mad at the same time. The fight at la samba against bodyguards being the right occassion to suspend him for two weeks and them modifiying it to a indefinite suspension when coming back from UK to get rid of him. Using the reason of Baby doing an interview in kinshasa when they were in UK to attack Aimelia (the new chief of disicipline). In the interview he justified that he didn't do anything wrong and that Aimelia didn't had the same intellectual capacities like him. In the period of it, Baby started to get broke, not being able to pay rent and chased from the place he was living. He was forced to live at the family-house again, in meantime he did his best to meet Werrason through Emeneya and later Lutumba Simaro to short the problems out. But Werrason was escaping him and refusing to take his calls. At the same time wild rumors were spread everywhere that he had an affair with Werra's wife which wasn't true. The rumors kind of killed his solo-career already before starting it and would follow it almost his whole career. Werrason only making it worser and people thinking that it was true, by saying in interviews "if I will tell you what Baby did wrong, you will started to hate him" while it totally something different and not about his wife but in reality the affair Baby Ndombe had in the past with Mbilia Bel who was Tabu Ley's ex' second wife, a story that dates back from the solola-bien days.
If Celeo Scram decided to stay in London, who would have taken his place? Did Werrason have someone in mind? I'm glad the rest of the band defended him and that Celeo didn't give up.
I noticed JDT only had two vocals on Intervention Rapide Force and Solola Bien (Chantal Switzerland, Kalayi Boeing, Koffi Ayinaa, & Rendezvous). Was Werra not convinced by his singing yet? How does he select which songs his artist get vocals on, do they prepare them separately and the best gets recorded? Or do they bring their songs they rehearse in private and get modified as they record? I'm curious how the songs are created from the beginning to the recording.
Also, who was y'all favorite keyboardist in all of Wenge Musica Masion Mere history?
Those Baby vs Lacoste confrontations didn't start today lol. Lacoste throwing shots to Baby.
It would have been better for Baby Ndombe to join Les Marquis even they didn't acknowledged about being the brain in the first interview. From there you make a good jump for a solo-career. Because here he left WMMM without hype after months making multiple interviews to beg Werrason to get him back in WMMM. He left WMMM without hype and that bad story was following him everywhere. For years he couldn't start an interview without a question about Mampata. Btw why is Baby Ndombe not putting Tour de Babel on digital platforms. The album had good songs like Tony Winkele, Tour de Babel, Mapendo, Adelya and Lets Dance
There will be no artist that would create such events in Masina like Werrason and annoy people for hourse who had to take their plane at N'djil-airport and/or those coming back from a trip. Its a shame that the project of Stade Charletty didn't happen anymore. To be honest, I dont believe Werra's explaination about the way the pushed the concert-date of Stade Charletty.
So it was true that Guy Moller went to Europe on his own for a moment ? Hahaha that transformation in no time. Akomaki matama mbala moko. The food of Europe is totally different than that of Europe. Its crazy to hear him mention the name of Bercy Muana who used to animate for him 1:13:27 min
From the moment that JB Mpiana peformed at Boulevard Triomphale followed by Werrason the week after, created an obsession for artists in 2004 to perform there. Its a shame that Wemba couldn't maintain the succes he had. This were his last moments of real fame. The dance Banzonkion took Kinshasa by storm like the dance Enterrement the previous year.
Rest in Peace Mbuta Nzaya Nzayadio.
Did you think Werrason was finished when Les Marquis first formed or were you too young at the time to follow the drama? I figured as long as he had Flamme Kapaya, Heritier, Celeo, and Kakol then they could bounce back.
A good song. But I can't take But na Filet serious for whatever reason. The question is if this song will be a succes. I hope that it will open the eyes of other bandleaders to make more kind of these songs instead of only focussing on love.
This song fits really to Reddy. He have just replace But na Filet voice with that of Reddy. It are these songs that Reddy needed for his album Bailo Canto. He needs just need to put his pride aside and accept to work with ghostwriters. He's limiting himself for years
Why don't you like But Na Filet? I don't like the way he sings, he sounds like a woman crying lol
This version of Danger de Mort that the guy is dancing on sounds different. apart the part that the guy modified himself by talking on koffi's space (00:26 min to 00:34), you will hear no mabanga. The drum sounds different, the bass being stronger and the lead guitar having that steinbeiger-sound. The keyboards not really being audible. It seems that its the final version just before the mix. I wonder if its also not the version that got leaked on internet a few weeks before Danger de Mort's release.
From 3:56 min you can hear Apocalyps animating on Brigade's space by animating on that part "betu tu kwendila ba tata ba maman kuna Camp Luka". But that part getting erased and Koffi talking on that part in the final version "aaaah systeme eza ya 4/4 bien basé sur endurance, veut dire keba na but ya prolongation nde". Also the part where Apocalyps screams Tshouba along with Brigade to end it by screaming "elengi eeh"
Did they not have enough time to prepare the generique, because there's a lot of starts and stops. Fally Tyson doesn't play the sebene as long as he does with previous albums. There's a lot of breaks to the rhythm guitars.
There's only two sebene songs on Danger de Mort, Titina's song and Felly Tyson (which we know was modified when they toured in Europe).
Yes, his ex’wife Liliane used to live in France along with her children and the children Emeneya had with his first wife Francine (Afimiko, Yannick and Samantha). Btw Liliane’s dauthger Marily Emenya got recently married to JB Mpiana’s son Abraham. Here you can see Emeneya with his two sons Kevin & Miles Emeneya in a barbershop when being interviewed by Addy Londole
from 27:25 min
Kevin Emeneya sadly became paralysed in war of Afghanistan. He was shown in a documentary on the French television. Miles Emeneya often appears in anniversaries of Emeneya death to represent the children. He also appeared a few times in the media to attack Lolo Mutima.
I dont think that his ex’wife Liliane pushed him to stay in Europe. I think that Emeneya himself was not really motivated to spent a lot time in Kinshasa to fight against Papa Wemba, Koffi Olomidé and co for the n1 spot although making alot of noise on tv. But the same Emeneya would a few years later ending up by spending more time in Kinshasa than Europe.
Emeneya was barely touring abroad when being in Congo. He was mostly spending time in Kinshasa. He was not the only one, most of these Kinshasa-based artists were spending most of the time in Kinshasa. In a year they would apart Brazzaville just go to 1 or 2 african countries in a year (on rare occasion 3 in a year). It were only Koffi Olomidé and Defao who would go to multiple African countries. Apart from the concerts in Kenya, Tanzania & Zambia in 2000. Emeneya only went to Mbanza-Kongo in Angola and Brazzaville in 2001. In 1999 he gave a concert in Pointe Noire.
You will never go forwards financially by performing in Kinshasa. Some of these concerts in the early 2000s were organized by bandleaders themselves to still exist. It were those tours in Europe, the ngulu’s and donors/fans of Europe that were saving bandleaders and the big amount of money they were getting from diamond businessmen based in Lunda. Its only when giving concerts at l’Esplanade de Palais du Peuple, Stade 20 Mai or Stade des Martyrs that there were opportunities to get some big money. Most of these concerts also generated peanuts. In the era of LD Kabila, most artists didn’t had contracts anymore with beercompanies like Unibra (Bracongo later) and Bralima like it used to be in time of Zaire, them only collaborating for some shows. Its from 2003 that it started to come back and bandleaders being able to breathe a little bit more, especially that the success of europe-tours started to become less.
Do those artist today still enjoy those contracts with beer companies like Primus, Skol, and so on? I don't think any of the recent concerts were sponsored by them. I haven't seen songs like Tindika Lokito or Pelisa Ngwasuma since Extra Musica had their collaboration with that water company.
Probably because he didn't had money to let them return back to Kinshasa. Often bandleaders abandon their musicians in African countries when they are scammed by concert-promoters or when a concert goes wrong. The bandmembers (and dancers if they are present) collect money by getting sidechicks (dancers finding a boss) or finding someone with a good heart and them paying tickets on their own to return back to Kinshasa. But the musicians of Victoria were not being able to do that, having an angry CEO of a hotel wanted his money back and still believing that Emeneya would return and bring them to the US but him ending up by staying for like 6 months abroad. Because before things went wrong Emeneya told them that they would perform in Kenya first before joining Guy Moller and co who were abadoned in the US (the question is if he would really let his musicians go the US and him also having the problem with the tourpromoter of the US because of not respectingthe contract and running away without giving any concert).
Emeneya and Victoria didn't enjoy the succes of Longue Histoire which is really sad because they spent all the time abroad when the album had crazy succes in Kinshasa. The hype of the album was already over when they came back, because back then Force de Frappe & A La Une came out. They did one concert at Cinemax after 8 months of absence but nobody showed up because of bad promotion and those newspapers again writting bad about Emeneya. But they quickly erased that bad image by performing the following week at a packed YMCA.
There was alot of frustation in the band because of hard times they went through in Kenya and Tanzania. Also because they were meant to perform at La Madeleine in Brussels and tour in Europe which was organised by tourpromoter José Kapesa, them having to join Europe from Tanzania where they were staying. But Emeneya decided to cancel the tour on the last minute and all bandmember being mad. When coming back to Kinshasa there was still alot of frustration and they were paid peannuts/nothing for the time they spent abroad.
The trip Emeneya did in 2001 to Europe was to finish the clips of Longue Histoire and bring them on the market also to sign new contracts for upcoming tour but he ending up by staying months long. In meantime some of his musicians decided to leave the band. When Emeneya finally signed the contract for Zenith those who left didn't believe it and thought that it was to lure them back. Emeneya himself returned two months prior to Zenith back to Kinshasa, to prepare the show and recruit news musicians. He did his best to convince all members who decided to leave to come back. But they kept all refusing, even when their parents, girlfriends or familymembers got involved. When they would accept the offer they always getting lured back into Dream Team.
What was in Europe that kept Kester months long away from his band? I'm guessing his family was based there, but doesn't he lose money if he's not touring? I don't blame Guy Moller and the others for leaving, it seems as if Kester wasn't focused to protect his spot.
After Mboka-Mboka Emeneya went to resettle in Europe, because his vision was not live in Kinshasa. It were btw his fans in Kinshasa pushed him to return in 1997 and Mambo de Panama who recruited his musicians. Like in 1997, in 1999 people pushed him to return back to Kinshasa saying that he could not let the succes of Mboka-Mboka go away like that. When going back to Kinshasa he started to prepare Longue Histoire. After that he went back to Europe with the prerecording and producers who wanted to produce his album, wanting to release the album for summer 1999. However, when meeting those producers he disagreed with the amount of money they wanted to give and the contracts. So he decided like Mboka Mboka to do the album on his own with his friends. In meantime he released the EP "Never Again Plus Jamais" which flopped. After that he went again to Kinshasa to finish the album, adding the new dance Kiwanzenza, the songs going from 13 to 15 tracks. When coming back to Europe, his staff in Kinshasa said that there was a new dance called "Tchaku-Libondas". Emeneya didn't want to miss the opportunity to not have that dance in his album like in Mboka-Mboka (when finishing Mboka Mboka there was a new dance called "Pain na Pain" which all bands danced but Victoria Eleison being the first to make the dance known. However they weren't able to put the cri in the album because of the album already being mixed which made them only dance it in the clips). After getting the call Emeneya went once again back to Kinshasa to add those cri's in the album and adding 3 new songs (Basali Nteke, But na Filet, etc.). This made the album being released in June 2000 after postponing the release date for 1 year (everytime he kept pushing it for 3 months). People had first doubts before the album came out, but when it came out it took Kinshasa by storm and it used to be n1 in the musicharts of historic panafrican radio Africa N1.
Why did Kester abandon his group in Kenya after the release of the album and again prior to getting the contracts to perform at Zenith? It was like he was self-sabotaging his own success from the album, because he lost most of the important members by the time 2001 Zenith happened
Wym about competition being the same like back in the days? By the way do you think that if Koffi felt that he was about to be forgotten right now, would have adapted to the current Kinsahsa House/Afro House trend? Because on the other side Zaiko never adapted to modern times but they are still strong after more then 50 years of activity.
Back in the days artists used to release every year top-albums. 1 or 2 flops in a row could already mean your grave in the Congolese music-world. Like Adolphe for example, Affaire Mouna was so/so and in no time Wazekwa passed him. He had a dance to be back on the race, but he missed that opportunity because of his album Jugement Dernier "25 Minutes" flopping.
If you would miss out for 1 or 2 years on the market as Congolese artist it would immediatly have effect on your succes. Good example is King Kester Emeneya. He was back in the race after Stade des Martyrs and Mboka Mboka but it took him 2 years to release Longue Histoire after Mboka Mboka in meantime his fans started to get impatient and those who were young decided to move towards Werrason. Spokemen King Tekila used to be a Emeneya-fanatic before joining Maison Mère. JB Mpiana was lucky that he had a solid fanbase and feeling sorry for the way he was blocked in Kinshasa because of having alot of enemies in both music and politics. His sponsor Bralima/Primus started to doubt of him. If he didn't release the single Pelisa Ngwasuma in 2003 they could have cut or change his contract. Him not listening to his fanatics made a few years later, a part who were young and only wanting to be on the winning side going to Ferre Gola and a part to Fally Ipupa, when the G-5 Revolution started.
Zaiko is a legendary band. Nothing can break them because they have a solid fanbase. Most fans being +60 years +70s years old and always thinking back about nostalgia and them not having anything to prove the public a point like Bana Ok back in the days. Also it is not that Zaiko had only succes from the start until this day. There were multiple times that they were in a big dip. Its their past that makes them exist and when a single or album hitting the topcharts them in no-time being back. For example the period of Sans Issue (1996) which flopped followed by Backline Lesson One (1997) until Nous Y Sommes (1998) which brought their succes back. Another example is the period when they got stuck in Europe because of Nyoka Longo's problems with justice (2003-2009). Multiple articles being written about Zaiko being dead, what Zaiko would be without Nyoka Longo, etc. Then when Zaiko finally returned the succes didn't return immediatly. It came back when their concert at GHK (2010/11) got on the market where they presented the new dance "Vimba" and the release of EP Bande Annonce bringing back where they were. The lack of new dances of huge impact in other bands made Zaiko dominate for like 3 years in Kinshasa with DVD/videos of their concerts being huge succes (FIKIN 2012 & Masina 2013), with the dance Maman Siska in 2012 & Voler n'est pas Bon in 2013. Since that there's no sebene-band anymore, even youngster started to dance Zaiko from 2012-13 at parties. The old generation now even complaining that they dont have a moment for themselves at parties/weddings, because of the dancefloor always being full. Something that nobody could imagine 15/20 years ago. Because youngsters would never dance on Zaiko which was/is seen as a band of old people. Them only dancing on Clan Wenge, Quartier Latin and Nouvelle Ecriture. Zaiko now doesn't have to release anything with pressure. It took them 8 years to release Sève. Before Nyoka Longo joining Socoda, Zaiko was always booked to perform every week from thursday to sunday.
Koffi Olomide in Legend adapted on Tokoos music by making multiple featerings with Davido, Tiwa Savage, Ninho. Which is/was on vogue in Kinshasa for several years next to Nigerian music. The new generation is mostly listening to French-speaking artists living in Europe (Damso, Ninho, Aya Nakamura, Dadju, etc.). Legend is not a project of today. It's just that it took some time for him to get it on the market. If he would work on an album today it would surely be on the rhythm of Brazza-music and the new tchatcho rumba.
What took King Kester so long to release Longue Histoire? Did he have trouble finding a producer? It's sad how Adolphe destroyed Tonya Tonya, I can't believe he let so much talent leave during the 2002 tour. Just looking at the credits on Mouna, it's only him, Diego Cao, and Shella that have songs to their names
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