Why was the 1982-1987 generation of Viva la Musica that had singers like Lidjo Kwempa, Luciana Demingongo, Reddy Amisi, Maray Maray and co not really into Sape like that the precedant of Emeneya, Djanana, Debaba, Bipoli and co ? Was it because of them not really having Papa Wemba and Viva la Musica-artists as their idol before joining it or was it because of not having experienced the 1980 Europe and meeting those sapeurs in Paris ? I remember years later Papa Wemba complaining often in interviews about artists like Depitcho being called "Roi des Crocos" and Adolphe Dominguez "Le Roi Sapeur", but Reddy and Stino doing nothing to counter them.
However, when I think back about those old concerts in Europe back in the 1990s, I can say that late Cele le Roi and Gloria Thukadio were defending Viva la Musica well in Religion Kitendi. But them not having same aura like Reddy, Stino or even Jolu Mubiala.
Talking about spirituality, ramadan, islam and that having sex with a woman without being married is a sin and that Allah would not listen to your prayers. Also saying that all Stade des Martyrs are spiritually prepared and that Wazekwa failed because of not doing that.
Also talking about his collaboration with Madilu. Saying that Madilu was about to get arrested when coming from Europe, because of the chiefs of OK Jazz making a story up that he was talking bad about the authorities, etc.
Him explaining that Marie Paul doesn't have the right to talk bad about Werrason, giving then multiple examples of the past in Wenge 4x4, adding that if he couldn't mention Werrason, then he had not to mention Adolphe for the things Adolphe said about Marie Paul's mother when she passed away. I wonder what Adolphe exactly said.
When being asked about why he could not return as Marie Paul's spiritually advisor. He said that he struggled very hard when being the head. Explaing that when working on spiritually in the band, its not easy because many are fighting for the n1 spot as spiritual advisor. Giving the example, how he was in conflict with Francis Kalombo who used to be the president of Wenge El Paris. Francis Kalombo was the person who brought Wenge El Paris to Kinshasa in 1992 for a few concerts (Intercontinental, Bar moto na moto abongisa in Bandal and Mobutu's daugther wedding) but him being fired in 1994 by Zing Zong & Marie Paul. In their opinion, Francis Kalombo was scamming them by getting a big part of the money from Kongolo Mobutu. Francis Kalombo then not being happy because next to be spiritual advisor, he was also president of the band and said that Hassan that he would do nothing from the moment he left. But Hassan kept fighting and in his opinion he did more work than Francis Kalombo because, in 1992 they came for just a few concerts but when they came in 1993 they stayed for a long time (them on the end ending up by getting blocked in Kinshasa by Kongolo Mobutu) and even confronted their rivals Wenge 4x4. Marie Paul for like 7 years being nominated for the category "best star of the year". But since he left nothing happening in El Paris. He also talked again about how people of El Paris' staff tried not get him out, by trying to connect Marie Paul to other spiritual advisors when he moved to Europe. In meantime Hassan meeting Marie Paul's ex donor/sidechick Zulu 21, her explaining to him why their relation went off, but Hassan still convincing her to let Wenge El Paris to Europe. But Marie Paul when coming in Europe not listening to him anymore, because of being influenced by other spiritual advisors. Hassan not wanting them to perform at LSC, saying that they have to prepare the concert spiritually since that "terrain ezalaki miné" and the tour may flop if the concert would not sold out. But Marie Paul not listening and saying that his spiritual advisor in Kinshasa said that it would rain and the big amount of rain would be the big amount of people in the hall, the concert later ending up by flopping.
Towards the end they talked about bandleaders and Hassan explaining that bandmembers could not do nkisi on their bandleaders because of the bandleaders being spiritually suprior to them. Saying that its bandleaders choice himself to bring x or y to Europe and not that he was influenced trough nkisi, giving the example how Mustapha took Babia's clothes before Bercy, because of Babia being distracted, saying that Mustapha said the story to Hassan himself (version about Mustapha change everything, the other time they he went in the place of Chikito, then Spino, etc.). Also giving them the example of how Manda Chante tried to make from El Paris his band and before leaving sending a 2ème voix singer (I think Kene-Kene) to go a sorcerer and the sorcerer saying that he had to give Marie Paul a handshake and that he would have fame by stealing his power through the handshake. But when meeting Marie Paul, getting scared and the singer snitching everything.
I was often who Wabalonzo was. In the last years that I was following Digitalcongo on their website, I saw articles writing about him and some of a man called Shangostar or something like that. I think that ShaddyRaddy even uploaded two albums of Wabalonzo back in the days. But I will look it later up.
Wabalonzo said that he grew up in Makala and later went to live in Masina, adding that he grew up with Reddy in Makala. Later in the interview he said that Reddy kept saying that he didn't had time to sing on his first album which backed by Viva la Musica. Also adding that he was already accepted to join Viva la Musica, but Reddy Amisi refusing to let him sing. This made me think back, about Wabalonzo that he knew Reddy already in his childhood in Makala. There some people who don't like to be associated with people that know them during the time of struggling, espcially when they present a different image. Reddy for example always says that he's from Yolo, because of being ashamed to say that he's from Makala. Many people from Makala don't like that and sometimes attack him in the comments when saying that. He's not the only one. Many people that grew in areas/quarters that were construced after 1960 are ashamed of it. Them often citing the area/quarters next to it who were constructed before the Belgians left Kinshasa, when being asked where they are from, others replying by citing the quarter/area where aunt/uncle/cousins live. Today it's not really an issue anymore, because of the state of Kinshasa today. But back in the days it was really and thing, some saying it because of not wanting to get bullied or discriminated by those coming from the pre-indepedence areas/quarters. For example, many people from Ngaba used to say that they are from Lemba, those coming from Selembao lying that they are from Bandal, those of Bumbu saying Ngiri-Ngiri, Kisenso lying that they are of Matete and those of Kimbanseke saying that they are bana N'djili.
There are many people that got in Europe through Angola in the 1980s and early 1990s. Back in those days it was so easy. Looks like before the hype of Turkey and Morrocco, that the majority of people in Europe came from there, followed by Nigeria and Benin being 3th of having brought many Congolese people in Europe. I have also many relatives that managed to come here, through those tourist visa's. Many people would be ashamed for the story Wabalonzo said, that he got deported from Prague to Luanda and being put for 60+ days and then the second time finally succeeding.
It's the first that I hear a singer singing with late Eseperant Kisangani's voice. Often its always Emeneya and Papa Wemba and on a few occassions Bozi.
The part of Papa Wemba saying "Nazwi ba chanteurs na coté ya bino ya Bayaka wana" killed me. Wabalonzo then replying "Vieux ba coté nini ya Bayaka wana ?. Te ba coté na ya bino na Masina, nazwi mwa ba chanteurs ebele". It would have been a good move to join Nouvelle Ecriture like Wemba requested him, seeing that Reddy kept blocking him.
The show is tomorrow. I'm sad that I'm discovering only it only now. Otherwise I would have bought a ticket to attend the show. The public will be probably white I think, otherwise other guitarists would have done alot of noise about it on different youtube-channels
I just discovered that the song Papy Gene puts of Zinago towards the end of his interviews being actually an old song recorded with Nouvelle Generation.
This album is btw Awilo's last album with Nouvelle Generation. He left because Fafa de Molokai punched him in the studio and Awilo's nose ending up by bleeding, after asking why he didn't show up at "concert du siecle" which was a fara-fara concert against Papa Wemba at LSC in Saint Denis
Is this how Code 36.15 Niawu switched from being percussionist to become atalaku, by performing with Vieux Nzenze, Egide and co at Nganda's in Paris ? Soukous-artists then starting to invite and in no-time becoming the most asked atalaku in Paris ?
Would be nice if Papy Gene or Teddy Mola could get him for an interview. Maybe it will open the door of Soukous-artists like Diblo Dibala, Yondo Sister, Dally Kimoko, Sakis, Caien Madoka and co starting to make interviews. Because they never really talked about their career on Congolese music-channels. Black people also die fast, look how Bopol Mansiamina, Nene Tchakou & Lokassa ya Mbongo passed away recently while having done alot for our music abroad, but nobody interviewing them.
Must be frustrating for Jolino. Wanting to make a band to breakthrough in Kinshasa, but the band becoming a "equipe pépinière" for bands like Wenge BCBG, Quartier Latin and Maison Mère. Its incredible the much of the talents that were part of his band (Bill Clinton Kalonji, CNN, Rio Kazadi, Chai Ngege, Chantal Mogao, Maguy Blanche Neige, Paparazzi, Jimmy Mbonda, etc.)
I wonder how Koffi was managing Babia, after hearing the way Babia was giving not only Jolino a hard time but also their producer General Dabira for his drugs-use. He didn't go into details what Babia exactly did in Brazzaville, but I can already imagine how it was. Also the story of Jolino giving Babia money to participate to the videoclip but him not showing up and going to buy drugs with the money. Them finally doing the clip later in Selembao. But Jolino being dissapointed about how the collaboration with Babia, Bendoson and Modeste Modikilo went wrong and him deciding to stop with music when coming back to Switserland. It is a miracle how Babia managed to stop with the use of heroine. He could done much more in his music-career. So sad how he messed his music-career up with his addiction and rude behaviour, while having inspired a whole generation with Manda Chante in the mid -90s. Most youngsters then trying to copy their voices, but many when getting known denying it and saying that they were inspired by Debaba not wanting to refer to Babia and/or Manda Chante. Its only after Babia passed away, that many singers started to admit that they were inspired by Babia. So far I know, it was only Ferre who said that he was inspired by just before recording Sens Interdit and when joining Quartier Latin requesting to sing Amen with Babia when being presented at GHK as new member.
After a succesfull vip concert at Showbuzz, Aya Nakamura went to give a public concert at Athénée de la Gombe. But she wasn't able to sell the place out. Only 2.800 people coming while it has a capacity of 10.000
What is the reasons of the flops that Francophone artists have during public concerts in Kinshasa ? Is it because of the tickets being to high (25 euros to 100 euros) for the population who are for the majority poor or bad promotion only promoting in areas like Ngaliema & Gombe, social media and French media, but no promotion in Tshangu & Kalamu ? Or are venues like Shark Club (20.000) & Athénée de la Gombé (10.000) they are taking for these artists just to big ?
It has been said that Dadju was saved from a flop by distributing free tickets before his show when being in Lemba.
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