I have recently been watching these old interviews for Zacle and Mopao but can't seem to find out why they reached this point. Anyone in the know, what is the Origin of their conflict. I hope it's not makambu ya mwasi .
In summary: He is asked the now all too familiar question of why no former BCBG member has had a succesful career as compared to WMMM in answer he says the problem is that at BCBG everything starts and ends with the leader, so if the leader relaxes everyone relaxes while in Maison Mere its not like that, even when the Leader is in relax mode them musicians would be seriously working. He goes on to say the secret to remaining relevant is being organised the way Ferre, Fally and Himself are organised musically and also outside music.
He goes on to appreciate the young animators coming through nowadays particularly the one who did animation in Deplick's song Kabongo and Cedar Capo. Further regrets that the same guy is no longer with Deplick's orchestra. He is asked the secret to staying long in one group for an atalaku, he says the problem with atalakus nowadays is that they are in a hurry to reach Bill's level but what they need to ask themselves is whether their leader has the capacity to take them to that level in a short period of time.
Naty Lokole tells him that ever since He left Maison Mere the level of animation has dropped and if he would consider going back to help out. In answer he says he cant go back in Maison Mere because now he has his own group of about 30 artists. But that if invited by Werra to do something a feature or so, he wouldnt hesitate becoz Werra is his Old Man.
He goes on to praise atalakus who came before him such as Vieux Nono, Djuna Mumbafu, Roberto Ekokota, Tutu Callugi. He is also asked about Celio Scram and his contribution to memorable cries, he says Celio has some good cries as well. He is asked about which cries from QL he appreciates in answer he says mostly in QL they have a habit of stealing cries and rush off to the studio to record , they dont originate. He says they copied the "ndombolo crie". But he goes on to appreciate animators such as Somono Dolce and Mboshi.
Like title says, i read that when this song came out it was politically censored due to what the authorities deemed as lyrics likely to incite the population to rise against the newly formed government of Mzee Kabila. And who is the original composer?
Nice acoustic, this Univers TV group is doing fine with these kind of shows. Voyage never misses on the playlist of Tata and nice group of musicians he has there. Député élu.
Starting at 37 minutes he talks about how those who have left BCBG particularly Abraham and how there solo careers seem not to be taking of as expected and how they feel like returning but forgetting that Abraham in particular has been going on taking shots at his former patron JB even went as far as calling himself Abraham Igwee. Says JB should not assist Abraham since that he never showed gratitude to JB since leaving BCBG but now that career solo is not happening, he wants assistance from JB. Goes on to say how musicians of this generations deceive themselves about a solo career even though musically within a goup they have nothing to show for like it was with Fally and Ferre, Heritier et al at the time they left QL AND MM respectively, to pursue solo careers. Says musicians nowadays look themselves in the mirror and see that they have a potbelly like Mbuta, locks and choko and then say to themselves that " i am going solo".
Ya Archos translation please. The French parts are throwing me off course. I remember this name from the "Laureates deux Mille" song by Marechal Mukulu. I have only realised now how sensational and the star that was Bébé Tshanda a l'epoque. I will appreciate the translation for the whole interview. Merci.
I stand to be corrected but i have never heard of any Extra Musica rumba as good as this one. Normally when someones hears the name Extra Musica we normally associate it with top generiques not rumbas. Everything is just top notch in this track. Been on repeat for some days now.
I always find it difficult to differentiate between solo and mi-solo guitar in a song. Ramazani explains the two in simple terms starting at 12:30. Very insightful interview.