Before that Congolese artists were only using conga's and maracas. Its only after Tabu Ley's Olympia that all Congolese bands switched to drums and all mbonda players and those who were using maracas becoming 2nd rang artists.
This song btw mad made the late Bruno Coquatrix who was head of Olympia in Paris contact Tabu Ley Rochereau to perform at his mythic musichall Olympia and even came to visit them in Kinshasa. After Bruno Coquatrix's visit in Kinshasa they abandoned the contra-bass for the bass-guitar. After Tabu Ley's Olympia all bands adopted the bass guitar.
31:27 min
According to Seskain Molenga, Tabu Ley was really mad in the studio and said that the drums messed the song up.
The concert took place at London Stratford Rex having Bill Clinton as only atalaku. INA Congo had a short part of it on his channel because it was put as bonus part of the VHS where concertpromoter/businessman Claude Maluma explained why he and Werrason felt out, being interview by Yves Kambala.
In that short extract they sung Adolphe's La Vie and Adolphe presenting all singers one by one.
I noticed that many Bana Kintambo (Nono Monzuluku, Djuna Mumbafu, Ekokota) prefer to do animation on their own instead of having someone next to them and when someone comes to join that doing everything to get the person out of the group.
Thinking back about Maika Munan declarations about Bosco Mwenda being the creator of Tchatcho, who is one of Maika rolemodels. Maika Munan himself arranged a few songs on Koffi's albums (Loi, Noblesse Oblige & Les Prissoneirs Dorment) which are Mbabula, Iteneraire, Etat Civil and indeed Phaseur that is used during the polemic to compare it to one of Bosco's tracks. Koffi himself used to play it differently on the guitar before it's release. Normally Koffi had to credit him as composer of Phaseur. I won't still forgive Maika for the way he messed the singing part of Micko up, putting the fire out from the song by making it slow
There's polemic about Koffi's music-style Tchatcho and the even the word Tchatcho, from the moment Naty Lokole made an interview with various artists (Maika Munan, Djudjuchet, Souzy Kaseya, etc.). From then people claiming that Koffi created nothing and just copied Bosco Mwenda (I think that Koffi himself don't even know a song from him) and that even the name Tchatcho came from Bosco stealing it from Tchatché. Others saying that it comes from donor Tchatcho Mbala (They forgot that Koffi already started to his music Tchatcho since the Diva album (1985), Tchatcho Mbala wasn't known at that time he came around 1990-91).
So when thinking about it, I remember that Koffi had an interview with Ado Yuhe 2 years ago and said that he took the word Tchatcho from Armando who used to play mbonda for Tabu Ley Rochereau. The same Armando participated to Koffi's first album Ngounda and was the one who started the album with his mbonda partition.
I guess that Armando was screaming "Dédé Dédé Tcha-Tcho !!!" like the way Nono Monzoluku, Djerba Manzeku and Cele Mbonda and many other folkloric mbonda players used to do before starting a partition. If I remember well it's in Kimbala.
from 0:08 min
About the creation of the music-style Tchatcho. In my opinion there are two different Tchatcho Style's the one of 1987-1991 and that of V12-Noblesse Oblige which development already started slowly from Les Prissoniers Dorment and that most artists copy nowadays because of being lazy.
That of 1987 - 1991 has three creators Rigo Star, Manu Lima and Koffi Olomidé. After Diva and Ngobila, Koffi wanted to create his own identity and music-style. In Rue d'Amour he played rhythm-guitar by himself. You can hear that the songs Stephie & Petit Frere ya Frere are his own creations. The start of Stephie is played the almost the same way in many Koffi songs. Examples are the intro of Medecin de Nuit and the second part Fouta Djallon, but in a fast way.
Like many Congolese people of that time, Koffi Olomide was a huge fan of Julio Iglesias. With help from keyboard player/arranger Manu Lima they started something totally different than the original Congolese music. Which total dominace of the keyboards.They already worked on Rue d'Amour which was more live. But in the albums Henriquet, Elle et Moi and Les Prissoniers Dorment he had more freedom. The stopped working with each other after Les Prissoniers Dorment, because Manu Lima wasn't happy that Koffi wasn't crediting him as composer of all songs he arranged for him. From then he started to work with Phillipe Guez. It stopped music-scene Koffi used to have in the late 80s, because Manu Lima's way of playing keyboard was unique.
The second Tchatcho-genre was created by Koffi Olomidé, Maika Munan and Phillipe Guez. Which is basically tracks who are the style of the song five songs Fouta Djallon, Zero Faute, Etat Civil, Mbabula and Koweit Rive Gauche. The song Koweit Rive Gauche having his child S.O.S. and others. Etat Civil having his child Papito Charme and (a song Wazekwa made in his album sponsor but I forgot the title). Zero Fauté having his child Non Assistance, etc. Mbabula having Sef and Iteneraire as part 2. But Mbabula and Etat Civil having not many replica's compared to Fouta Djallon, Koweit Rive Gauche and Zero Faute
The problem with Roga Roga is that he sees himself like Nyoka Longo, being the one who kept the name of Extra Musica alive. The difference between both guys is that Roga Roga brags about it, while Nyoka Longo doesn’t brag about it, except during the war of Familia Dei vs Nkolo Mboka (often saying Zaïko C’est Nyoka Longo).
The thing that went wrong in 2013 during Extra Musica’s 20th anniversary, is that Roga Roga wanted it to be like the concept of Zaiko’s 18th anniversary in 1987. Each generation coming on stage until the one of Sorcellerie Kindoki. All co-founders agreed. But Roga himself messed it up by not showing up at rehearsals and sending Sonor Digital. Also he couldn’t accept to play guitar on stage with Quentin, Guy Guy Fall, Oxygene and co on stage. Having that superiority complex and seeing it as humiliation.
Zaïko’s 40th anniversary didn’t took place because of these kind of issues. Gina Efonge like Guy Guy Fall not wanting to accept that the anniversary would be centered around Nyoka Longo and hun getting the most money. It messed everything up because the Congolese government wanted that old Isifi team on stage. Nyoka Longo than celebrating it the next year on his own way with Wemba and Manuaku.
The one of 1987, took place because Zaïko had the late Laudert Londala as concert promoter who paid Pepe Felly Manuaku, Papa Wemba, Evoloko and Manvuela big money which made them all accept. Only Gina Efonge refused, who tried to influence the rest to boycott the event but it didn’t work.
Ado Yuhe noticed that I've always been saying that Guy-Guy Fall's voice is closer to that of Reddy Amisi than that of Werrason. But because Extra Musica following Wenge's style in the beginning, the public immediately linked Fall's voice to that of Werrason. It's Herman Ngassaki's voice who closer to that of Werrason and almost the same, but heavier.
I didn't really like the interview. Guy Guy Fall was arrogant here and often off-topic by not immediately answering Ado's questions. Guy was right about his songs because I already heard the first song that he wanted to put in Nouveaux Missiles in one of those rare Extra Musica cassettes which had the last verse of Zangul Zangul the song. But that was a long time ago, was it also the same song from which Roga Roga used the intro in his own song Polemic Generale ? It's sad that his second song which was accepted didn't make it on the tracklist of Confirmation, while they recorded it in the studo. Roga Roga and Espe Bass did Guy Guy Fall dirty by deleting his song he dedicated to Ma'Dany (Kongolo Mobutu's wife) from the tracklist. It was already strange to see that all songs were 10 and 9 minutes long, while a cd has 80 minutes as limit. So they already knew what they were doing. Also Guy-Guy Fall not more singing as lead singer in most songs compared to their first album Nouveaux Missiles, new members like Doudou Copa and Herman Ngassaki getting that opportunity.
Adolphe used to be the leader of Wenge Maison Mere when it got founded. Werrason and Didier Masela gave him the role of president because they feared that Adolphe would join BCBG who was about to go to Europe for Bataclan & Titanic. In order to lure him they made him president. Spokeman Sankara de Nkuta often praising him on tv and calling him "the most handsome bandleader of Congo" and other musicians also coming on tv to praise him. But in reality it was just Werrason who was leading Maison Mere. With months going on the staff around Werrason and also donors said to Werrason that it was better to function of president, because the rivalry of BCBG against Maison Mere was about JB Mpiana vs Werrason. In their opinion to fight better JB Mpiana better, Werrason had to be president of Wenge Maison Mere.
Another role thing was that they fearing that Adolphe popularity would grow more. Werrason got the function president just before the release of Force d'Intervention Rapide and Adolphe switching to the role of Finanical Director, but he didn't the same control Werrason had in Wenge 4x4. Because it was Werrason who was getting the money and not even contacting Masela and Adolphe when receving a contract. Werrason would get the most of the money and giving Adolphe peanuts, this was frustrating Masela even more.
In meantime Werrason was manipulating Ferre, Bill and Baby Ndombe and ordered them to overpraise him in concerts, to show Masela (who was in open war with Werrason since the first months) and Adolphe Dominguez who was the real boss. Didier Masela didn't want to accept it and started to show late up during concerts, to show Werrason that he was the boss. But it didn't had any impact in reality because everybody in Wenge Maison Mere was behind Werrason and Werrason was already the natural leader from day 1 being the most popular from the 3 admins. Adolphe Dominguez didn't really care, but he felt that his end in Maison Mere was coming. Despite that he let himself manipulate by Werrason to do Masela dirty.
I think that the majority on this forum are to young. Kwedy Mayimputu was one of the biggest actors/comedian in DR Congo. He was very popular in the 70s, 80s & 90s and co-founder of the group Salongo.
Kwedy also knew how exactly how to imitate Haitians, Senegalese and Ivorian people.
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