Its possible him and wazekwa had a very special bond joss knows his family more than any member maybe eclipse now,knows many secrets like his wife,powerful women who tried the best to be with him and so on if he left like 6 month later he'd have been given access to one of wazekwa's accounts to pay musicians(and of course a big amount would be there so that it keeps paying 30 plus members for a while without ever going down not many leaders would do that and let their musicians see a bigger amount that what they'll receive
Why did Joss wasted away all of this? I mean he should have chosen a side and stick to the Koffi the hardest, to be honest he is not someone made for solo career for me he should be like Kakol, or Seguin those guys who are powerful in-groups because the boss likes them and never leave the band
Joss Diena had everything to be a solo artist. He could sing, dance, play instruments, and do animation (are we forgetting his contribution to Cinq Etoile). He didn't have aa good producer for his first album. It wasn't promoted well and you know, first impressions are lasting impression!
Just look at Droit Chemin or Ferre's first album by comparison, there's a difference in quality and marketing. The clips were well made and they wasted no time touring to spread awareness of the album.
You misunderstood me. Papa Wemba went on a trip to Europe which lasted 6 months. Then suddenly a rumor was spread in Kinshasa that he died in Europe at prison. Then when he returned, he got received like a king with plenty people at the streets and performing that 2x times at Cine Palladium in Kinshasa. He didn't had any trouble with Mobutu's regime.
Mobutu wasn't interested in Wenge Musica and Koffi, he was only liking Franco & Tabu Ley who were of his generation. Koffi, Zaiko and Wenge Musica started to perform at his parties, because his children were fans of them, but wasn't really paying attention at time and found Wenge weird because they were wearing sunglasses all the time when performing live.
King Kester Emeneya used to be a Viva La Musica-member from 1977 and 1982, they recorded plenty songs together also one with Pepe Kalle. After the creation of Victoria Eleison in 1982, they multiple historic fara-fara concerts from 1983 until 1993 many in Kinshasa, Lubumbashi and Paris. Since 1991 there were producers interested to have a duet-album, because of their long rivalery and the album already being named "Disque d'Or, but they couldn't produce it because the money Wemba and Emeneya were asking was to high for them. Then when Koffi started to rise he ended up by recording Wake Up with Wemba. Wake Up was a huge succes, but fans saw it more as a Koffi-album because of Koffi doing alot of vocals and most songs credited to him. They wanted a real duo-album and still dreaming about that Emeneya-Wemba album. Then around 1999/2000 JPS Production contacted both guys for a duo-album, wanting to offer both guys 200.000 franc francais which is like 35.000 dollars and both Emeneya and Wemba refusing, seeing not enough.
from 1:08 min
How much were they demanding? Honestly, both were legends and selling out venues so 35,000 USD is too low. I can't believe JPS Production would low ball them like that
I wish Franco lived another decade or so, I wonder how he would evolve with the introduction of QL, Victoria Ellison, and Wenge Musica. Maybe he would have went the way of Madilu and follow the trend of sebenes and atalakus, or do you think he would stick to his original style like Simaro?
He probably would have adjusted better than his contemporaries, because he was known for polemic as well and sending shots through his music.
JB - TH which made JB Mpiana reach another dimension after the departure of his friends Blaise Bula and Alain Makaba and also the huge impact it had at that time despite the country and the diaspora being divided in Werra vs JB. Werrason - Kibuisa Mpimpa also like JB reaching another dimension it's impact and the way it influenced a whole generation and the artistic field on long term Koffi Olomidé - V12 having alot of classics (you noticed in interviews made at his home from 2012 to 2016 that his phone had hitsong Aspirine as ringtone), including Fouta Djallon which made from then 75% of his rumba's being based on it.
King Kester Emeneya is dead, but if he was alive it think that he would say Nzinzi from 1987 he would in 90% of his interviews always mention Nzinzi. Saying that impact it had in the world, how it made him know around Africa and how most Congolese artists would from then would programmed songs instead of recording live (he used to claim that Nzinzi was the first album with programmed keyboards, while Wemba already did it with Siku ya Mungu in 1986 and Proclamation in 1984).
Papa Wemba is like Emeneya not more on earth, but I don't think that he would refer to albums, but more to his singles ('aka 45 tours). In the time the he was on his prime (1977-1982), he used to release more singles instead of LP's with 4 songs. I think that he would mention Bokulaka of 1977 which made him feel like James Brown and having crowds being him when walking in the streets or the single Evenement of 1982, while people though that he died in prison when staying for 6 months in Europe, when coming back to Kinshasa a big crowd awaiting him and immediatly recording the song Evenement. After the creation of Nouvelle Ecriture, he started to play the song again (mostly towards the end of his concerts, but it would mostly be the second part of the song).
from 0:30 min Wemba talking about Bokulaka saying that it was his "chanson fétiche"
unfortunally there is not any footage of Wemba singing Bokulaka live on Tele Zaire in 70s, jumping, being almost in trance and Rigo Star doing the rock-guitar. Those videos very rare.
Remix version of it when Martin Messoniers discovered Wemba and introduced him to world-music
The song Evenement, Wemba singing that it's was not yet the time to die and mentioning Otis Redding and co in his song
Live version of Evenement done in 2000 with Nouvelle Ecriture
Oh wow, I never knew Papa Wemba went to prison! I'm guessing there was trouble with the Mobutu regime? As far as you know, did Mobutu like Wenge Musica and Koffi? I feel like he preferred the classic like OK Jazz and Rochereau, because I know his son used to be into Wenge.
One of the biggest dropped ball was that Wemba and Kester never did songs together. The one time I saw them duet was amazing!
I wonder what JB Mpiana, Koffi, Werrason, and the others would answer as their proudest music achievement? I suspect that Werra and JB Mpiana would say Kin E Bouge, because the entire crew was together and they took Kinshasa by storm.
As for Koffi, it's hard to say...he has a very very long career. I wonder what he thinks of his albums from the 70s and 80s? Maybe he would cite either V12 or Koweït, Rive Gauche. That album was a game changer!
Joss also shot himself in the foot by not having a closer relationship with Koffi. He once said in an interview that Koffi would often complain that Joss wouldn’t go over to his house just to have a chat like the past chefs like Fally and others used to do and stuff like that, whilst just wanted a professional relationship. I’m not saying that’s the way to go, but if he chose to become closer to Koffi things might’ve been different. Also almost every chef d’orchestre in every band in history weren’t just chefs for a professional reason, they were chefs due to a special relationship with the boss.
I'm assuming Joss felt some guilt about leaving Wazekwa in such a nasty way, so maybe it hampered any type of relationship with Koffi outside music. In y'all opinion, what group was difficult to find a place in? Wenge, QL, or Cultura Pay Vie? I feel like Wazekwa couldn't make stars out of his group, because he played it straight in an industry of ndoki and polemic. At the same time, Werra seems more difficult to please than Koffi. As long as you work hard and don't touch the dancers, Koffi will get along with you.
I don't believe that, I think rather that he would become like Willy Bula in his last days in Quartier Latin if he stayed in Quartier Latin. If the tension detween Fally and Koffi after Droit Chemin didn't became high like Werrason vs Ferre in the Vieux Jaloux-days, it's because Fally never reacted to Koffi's provocation. Koffi really tried to kill his career. He tried to rent Olympia on the same day like Fally after Fally announcing that he would perform there (you see it in the bonus of the Danger de Mort-clips and Swi-clips, Koffi announcing that he would perform on 7 Avril 2007 at Olympia), but it didn't work. He tried trough his friends in Ivory Coast to mess his first show in Abidjan up and many others things behind the scenes. He also dissed him in the songs Salopette and Diabolos. In Diabolos he went even far by threaten him with the death and mocking that Fally sarificed his parents for fame. I remember that Fally being really mad against Koffi and also wanting to cry on the same time when he was asked about the song Diabolos by journalist Marius Muhunga in 2008, but him pretending that he didn't know and don't believe that it was made against him. If Fally reacted strongly against the two songs that Koffi made against him he would end up by Suzuki and Academia. He was smart by not reacting because he hadn't a strong fanbase yet and 75% of his fans at that time were Koffi-fans. If he reacted he would end up slowly like Academia.
from 4:15 min to 4:37 min (other artists would lose control and react immediatly)
I've always wondered why Fally was the one that broke the curse for people going solo, because many came before him yet few successful. He must of had a great staff to advise him not to respond. Did he ever officially announce his departure from Quartier Latin or did he pursue this album as a side project but continued solo as a result of the success.
I was young when Droit Chemin came out, so it came as a surprise to me. There was just a few months btw that album and Danger de Mort
Suzuki was really important for Quartier Latin chorus. On Droit de Veto you could feel that his voice was missing in chorus when they were trying to hit high notes, sounding like Sam Tshintu and Bouro were fighting against each and a brigde between them missing.
from 1:42 min
from 2:16 min
Maybe Eric Tutsi should have participated in Droit de Veto rather than Babia, because his voice is closer to Suzuki. There's not a lot of singers that have a nasally voice but sound so melodic like him
Mboka Liya is the most underrated soloist of the golden generation of Wenge
I don't think so. He gets alot respect sometimes even more than Makaba by the generation of today due to his little contribution in Maison Mere and Zenith 1999 of JB Mpiana, youngsters trying to replicate his solo's. Btw this concert he didn't lead play much, here he played mostly rhythm to play lead only towards the end of the concert during Titanic.
The one who's the most underrated solist is Maitre Fi-Carre Mwamba. He played hits like Kalayi Boeing, Pentagone-generique, La Verite, Masampu (who's sebene became the intro of Wenge during concerts of 1994 until 1996), Cresois, Danico, Filandu, Walay Danico and many others. But doesn't get the credits he deserve.
I suspect him being camera shy is partly to blame as to why he's not as well known. Where is he these days?
Here camionette mbola says that sonima should have been the producer of droit chemin but koffi called and got it cancelled and that musicians of quartier latin were not allowed to participate they had to hide and do it and that that album was fought physically and spiritually and in the long run koffi wanted to sing but he advised fally to refuse because for him koffi was coming to sing to spiritually ruin that album so they claimed the work was over despite koffi insisting for a while willing to pay extra sessions to sing
Was Koffi opposed to Fally making the album because he knew he wouldn't return if it were a success?
There were to much musicians, you could easily form 3 strong teams with it. Yeah this team was solid. But at that time many were not really believing in this team (me also), people had still the image of Sam Tshintu, Mboshi, Somono, Lebou and Bouro in their mind. I think that that made Koffi often change the atalaku-section after every 2 album, to prevent a certain idenity.
It's weird to see Fofo le Collegien and Beniko Popolipo next to each other, while the rest (except Do Akongo) were young musicians.
Looking back, were you satisfied with the team he ultimately chose for Bercy and going forward? Was there anyone you felt was a passenger? Depitcho or Lola Muana could have been easily swapped out for Spino.
What about the first one in 2003 with Brigade and Kero? Apparently that one was better
The press didn't talk alot about it, because people were focused on Papa Wemba's arrestation 2 months earlier and a few weeks after Koffi's Zenith, many fans died when Koffi performed at the football stadium of Cotounou (Benin). Even if it would be mpiaka or sold-out, it wasn't special anymore because Koffi already performed there twice (1998 & 2001). The last one marked everybody, because it was the first concert of a band based in Kinshasa performing in the Schengen-area after the ngulu-affaire (Koffi claimed to have paid 150.000 dollars to Maison Schengen) and it also marked the end of the era Congolese bandleaders performing at big halls for a moment. 2 months before it, Wemba gave his first concert at Zenith after being released from jail and it was also a huge mpiaka. Emeneya then mocking both artists, being also mad that Koffi stole his new dance "enterrement" which back then a huge succes in Kinshsasa at concerts.
Should they have canceled the concert? I was surprised how weak the show was, did they not hav enough time to prepare?
Is it true Affaire d'Etat is Koffi least favorite album? He rarely performs songs from that album
i have yet to watch it but reddy and naty is always fun to watch,i am sure he insisted to play separately from viva la musica because "ba mifiti baleki ebele" like he loves to say this will surely hurt guys like lidjo and make them say "ye alakisaka nini po kaka ye carriere solo esimbi mua muke nde amimoni different"
Reddy likes to act like a saint and acting like he never does somethign wrong, but he has a very bad and rude behaviour. Recently he humilated Maika Munan at Socoda in front of all artists, claiming that he had done nothing in his career and he's nothing worth , just because of royalties of Socoda. He forgot that Maika had the artistic direction of his best albums (Prudence, Injustice, Ziggy and Etoile) and arranged those songs, why didn't he then appoint Demukuse or Timololo as artistic director if Maika was nothing?
Before Emeneya's death he said that he wasn't his petit and starting shouting at Naty and Emeneya really being hurt. But 2 years after he's death, he came proudly "we are the petits of Emeneya" and Naty reminding him about what he said before Emeneya's death and him not knowing how to react switching quickly to another topic. 6/5 years ago he used to make multiple interviews about Socoda not being serious and paying the royalties well, until this day nothing changed, but why he's not making that noise anymore ? (he's getting the part of cake)
Is Reddy bipolar? I'm not even joking, because he was very unstable relationships
Didn't he play on Anges Adorables volume 1 & 2 ? Because he was present in all concerts of the tour they made in Europe in 1994 or did Wenge had 2 tours in Europe at that time ? Here he says that Pentagone was the first album where he played bass. I'm surprised to hear him saying the he didn't play bass on the Feux de l'Amour-album, while he credited as bass-payer in the credits alongside Didier Masela and Alain Makaba.
Maybe they played his creations on JB Mpiana's album, but he never recorded in studio. It seems like Didier Masela wasn't as prominent as a bassist going into the 90s...
Power was first announced in 2011 as a two part album. Power "Aller" which had to be a world-album and Power "Retour" which was the rumba-part. Featerings with Cecil, P-Square, 2Face, R. Kelly and Flavour were announced and some extracts being leaked on internet. Then if I remember well in december 2012 just before his birthday, the single Sweet Life "La Vie est Belle" got released as preview for Power "Aller". The song was a huge succes. A few days later Power 001 got uploaded on his youtube-channel. The generique had 8 atalaku's, but the generique got at that time heavily criticized for it's first 6 minutes intro before developing into a proper sebene. Later on rumors were spread about Brigade joining Fally band and a Power 002 coming.
Mid-March David Monsoh (who was like Fally's manager/impressario) went to Claudy Siar's Couleur Tropicals of RFI-Radio to announce the release-date of Power "Kosa Leka" for March 30th. He came with snippets of Ndoki, Bruce and Hustler is Back. I thought that it would be Fally's best album ever, when hearing to those snippets lol. The album ended up by getting released 5 days later after 30 March, due to problems with the distribution. Power "Kosa Leka" got in 3 versions, as a double cd with 22 tracks and as a two volume albums on Itunes having 27 songs. The album was number 1 on Itunes in his first days in France, Switserland, Belgium and Canada. When the album came out in Chateaux, combattans went to sell piracy version the same day and it resulted in a fight between Fally-fanatics and combattans.
When the album came out, it was first got roasterd in his first two months on youtube and social media. Music-fans having regrets about buying the album and claiming that it was Fally's worst album and wondering how Fally could release an album like that (including me kiekiekie, myself comparing it to Matou Samuel songs for the way Fally used to cry on most songs). Ferre's staffmember were partying about it on facebook, screaming "to gagner, to gagner" and claiming that Ferre Gola would slaughter him with Boite Noire. There was also some criticism about the amount of songs (27 songs), while before 2012 the maximum of songs was mostly 18. But after sometime the album started growing on people and started to be a succes. The succes even became bigger after that Ferre released Boite Noire and extended with the bonus-single Original which got released 1 year later.
In the same months when Fally released Power "Kosa Leka" his 3-album contract with David Monsoh came to an end. David Monsoh excepted Fally to extend the contract to 2/3 albums, but just after releasing Power "Kosa Leka" it announced in the press that Fallly Ipupa signed a 3-album contract with Universal AZ. David Monsoh who was already in conflict with Fally since 2011 felt like being backstabbed by Fally Ipupa and he started to sabotate the promotion of Power "Kosa Leka". Fans started to criticize Fally for not releasing clips with a good quality anymore like he used to do for Arsenal des Belles Melodies and Droit Chemin volume 2, not knowing that Fally funded the clips by himself. Having taken already some precautions during the recordings of Power by making a list for donors who wanted to have a song with a clip to have to pay x amount money.
In May 2013, Fally Ipupa would get the award for best African Artist of the year at the first edition of Trace Urban Music Awards. The succes of Power would bring Fally to Ivory Coast, Gabon, Cameroun, Congo Brazzaville and Angola.
Did Monsoh sue Fally because of the Universal deal? It seems like a breach of contract. Like you said earlier, Fally didn't expect to have a hugely successful solo career so when it actually happened, he wanted to profit from it and Monsoh was in the way.
Do you think Heritier and Monsoh will have a similar fallout? Or does Heritier have a good contract with him?
David Monsoh sued both Fally Ipupa and Universal AZ, claiming that the contract was illegal, because of being negotiated and signed when Fally Ipupa had still a contact with him. Despite Fally not working with David Monsoh anymore, David still gets 10% or 20% (I don't remember anymore) of Fally's albums who are released by F-Victeam Entertainement and Elektra Music. I don't know if it's due to the contract Fally signed in the Droit Chemin-era or the case.
I don't think that Heritier and Monsoh will get a similar fallout. Because back when Heritier signed with David Monsoh in 2015, David Monsoh reputation was badly damaged due to the fallouts with Fally Ipupa and DJ Arafat about the royalties. During the pressconference in Paris, David Monsoh and Heritier Wantanabe confirmed to have signed a fair 3-album contract. But seeing the way Mi Ange-Mi Demon is promoted, I think that it will result in a new conflict very soon, like that of JB Mpiana and David Monsoh during the promotion of Soyons Serieux. There were already short issues before and during Carierre d'Honneur, David Monsoh being against Heritier's strategy of having public rehearshals like Werrason and wanting him to adopt Fally's vision of rehearsing behind closed doors, David Monsoh being against Heritier attacking and responding his rivals and enemies, but Heritier not understanding it, etc.
I was very disappointed with the rollout for Mi-Ange-Mi Demon. Aside from the generique, the wrong songs recieved clips and he just made a couple media appearances -- did he really think that was enough to sell records?
Do you think David Monsoh lost his touch as a promoter or is Heritier too hard headed to take advice? Although Monsoh may be unethical as a business partner, he definitely helped elevate DJ Arafat and Fally Ipupa with proper clips and concert promotions.
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