From my point of view. Koffi made some strange decision for Danger de Mort. I do not understand why he accepted Modogo, Bouro Mpela and Mbochi back. Why did Brigade just animated one small part of the generique? Why did he keep bebe gout for his next album? Why didn‘t he leave asso‘s vocal in?
I do not who said that during the Ado Juhe interview but Koffi wanted to record a song only with Fally and Ferre but wanted to keep it for his own album but he should have included it already in Danger de Mort.
If i remenber correctly did Mirage already leave during the recording process so that Bouro Mpela took over his vocal…
Fally took a lot of Momentum from the Album with Droit Chemin. Moustiquaire just sounds like Jugement Dernier like an End of an Era Track.
Not going to lie, this album pissed me off for a while. My initial thought was “you had assembled the equivalent of the Avengers and this is what you release?? In addition you cut the vocals of your popular recruits?”
Another way to put it is listen to ADE, then play DDM right after and see the level of drop-off in production.
As time passed and releases got limited I started to better like the album. The compositions were solid and the limited sebene enjoyable . For the difficult recording problems, producer challenges , and ngulu affair problems - it was the best of what could have been done for the circumstances. Agree Mbetenge and JC Tshituka saved their asses with the arrangements.
Droit Chemin especially and Sous Sol made this album sit in waiting till the buzz died a bit on those releases. Wazekwa was also fairly hot at that time following Faux Mutu Moko Boye and the single Mosapi Liboso. JB also was cooking Kipe Ya Yo then and doing previews and gaining momentum. With Koffi losing most of the QL team and this album flopping, he was in shambles at the end of 2006.
I’ll be real it took me 18 years to like the album, I hated it in the beginning. I was expecting a double disc and more sebene so I was disappointed. I was also looking forward to hear Mirage and Asso in the album because they were credited but only to discover their vocals were erased. I was expecting it to be like Force De Frappe or ADT level but I felt let down. It’s only now that I can say the album is good Mbetenge did a really good job the sound was excellent.
Why wasn’t the album a double disc? I feel like they could’ve added more songs and even another Generique which was normal since Effrakata.
« Last post by Mfumu Vata on October 12, 2026, 23:58 »
I believe that King Kester Emeneya's concert at Zenith de Paris on 13 october 2001, was the best concert ever in his music-career after the one at Palais du Peuple in 1990. It's only a shame that Guy Moller, Eric Masudi, Zoe Bella, Anthony Sampaio and Sweet Elesse weren't there. Except Guy, they all admitted that they regretted for missing out on the show. Emeneya showed his strenght as bandleader by putting on a great show within a few months with new singers.
The male and female dancers did also a great job by showcasing the Pende culture and Engundele-dance of the Mbunza. They were just missing traditional outfits. Since concerts came back in Europe, I haven’t seen dancers have their own moment like in concerts of Emeneya, JB, Koffi, etc. dedicating 5 or 7 minutes to showcase a specific ethnic group or culture.
In my opinion it is the best concert of 2001. ACMCO itself voted it as the best concert of the year 2001. I saw Lolo Mutima and his friend Guy Kimvula doing interviews about Emeneya's life. But it would be great if they could invite different bandmembers to talk about the Zenith-show, as it's now 25 years ago that it took place.
I still hope to see the full cassette of Volume 2 uploaded someday. 7ion uploaded Volume 2, but many parts are missing. I believe he put different extracts that were on YouTube together.
In my opinion, it wasn’t necessary for Emeneya to re-record the Zénith show in the studio as Rendre à César. The original Zénith sound was already great. I would have preferred a double-CD with two volumes of the live show, instead of having one CD from Zénith and one from Olympia. Many people weren’t even aware of the album having the two shows because the succes around Rendre à César overshadowed it
« Last post by Mfumu Vata on October 12, 2026, 23:24 »
Now, 20 years later (13-10-2006 / 13-10-2026), I’m still of the opinion that Danger de Mort deserved a better reception. People were too harsh against it.I’m still grateful that Koffi finished the music videos and even filmed some footage in Kinshasa, while many of the singers had already left. While during Droit de Veto, he only shot Rond Point, Droit de Veto and Sens Inverse. Would y’all have believed in 2005 or 2006 if someone told you that Danger de Mort would be Quartier Latin’s last album?
Until this day, I wonder why Philipe Guez didn't participate to the album, while he participated to albums like Faux Mutu Moko Boye, Temoignage and Droit Chemin, who were all recorded in that period. Although his absence, Mbetenge and JC Tshituka did in my opinion a good job
It is crazy that Mbetenge had to wait until B.E.K. to get recogition from the public, while his work on Danger de Mort was titanious. Koffi even credited Mbetenge next to him and JC Tshituka among the arrangers of the album. I recently saw an interview with Mbetenge and Popol Mopasula, where Mbetenge said that Koffi was on the plane and asked Fally about him, only to find out that he had left Mbetenge behind in Kinshasa. He was surprised by because he needed Mbetenge to finish the work they did in Kinshasa in Paris. Rumors say that there was a rhythm-guitarist (I won't cite his name) went to a witchdoctor to be on the Europe-list, which apparently why Mbetenge got left behind
I’m a big fun of Congolese music with a little bit of modern rnb, Afro and some French hip hop mix…that’s why I probably like Fally’s songs more than anyone in Congo
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