If I'm not mistaken, Burkina Faso ran away during that UK tour right? His partitions had to be reworked in Kinshasa by Patou Solo (San Permission in particular).
During the European tour, several artists from Les Marquis were linked to a possible return to Wenge Maison Mère. The first was Serge Mabiala with the press reporting that he was about to return, while at the same time questioning how the roles between him and Jitrois would be divided. On the end, this return never happened.
Then there was Ferré Gola, who returned to Europe during that period in search of producers to produce the DVD of the show he made with his new band, Les Marquis des Beaux Garçons. At that time, Ferré was facing serious difficulties. He & Bill Clinton abandoned Jus d'Ete Mulopwe to start their band in Kinshasa, only to get abandoned by Bill Clinton on the end. Bralima rejected Ferre's proposal for sponsorship, Baby Ndombe refused to join forces and several potential donors hesitated to support him.
Even before any negotiations about a possible return to Wenge Maison Mere could take place, Koffi Olomidé offered him $15,000 to join Quartier Latin. It has been said that all three co-founders of Les Marquis — Bill Clinton, JDT and Ferré, were offered money to join Quartier Latin, but Ferré being the only one accepting it.
Ferré was officially presented in May 2005 as a new member of Quartier Latin in Werrason’s stronghold Masina. His move was badly received by part of the audience present, who saw it as a provocation and the concert ended up being interrupted due to stone-throwing. When the news became official in the press, Ferré’s decision angered many Maison Mère fans, who viewed it as a betrayal. Ferré Gola would later receive an official presentation at the Grand Hôtel de Kinshasa. Bill Clinton Kalonji would shortly after it accuse Koffi Olomidé as the one who destabilized Les Marquis.
In the weeks that followed, Koffi gave several interviews in which he attacked Werrason, criticizing his singing abilities and claiming that he was mostly profiting from the labor of his musicians, which only added oil to the fire. From then also the debate about "Encadreur - Formateur" starting. Behind the scenes, influential fanatics considered luring Fally Ipupa away from Quartier Latin or recruiting Jordan Kusa or Lola Muana, but none of this materialized. Upon Wenge Maison Mère’s return to Kinshasa, artists such as Céleo and Héritier responded in the press to Koffi’s provocations.
From the six shows Werrason performed during the 2005 edition of FIKIN, the most memorable were the fara-fara battles against Koffi Olomidé and, above all, against JB Mpiana.
The fara-fara against JB Mpiana would go down as the longest performance in Congolese music history. Both artists were competing to see who could last the longest on stage, but the event was sadly interrupted by the police. In contrast to JB Mpiana’s show, during which the police fired rubber bullets onto the stage and used tear gas against the musicians, at Werrason’s performance only the audience was targeted. This led JB Mpiana to accuse Werrason of having called in the police, especially since the intervention coincided with Maison Mère’s atalaku's chanting “beta bango masasi” (“fire bullets at them”) on stage.
The incident created intense polemique in Kinshasa with heated debates going on television. A conflict between artists who opposed Maisha Parc and those who supported it, became only worser with the FIKIN-incident with the dispute taking on a tribal dimension. Many of the opponents had backgrounds from Bandundu and Bas-Congo, while those in favor were largely associated with Kasai and other regions of the country.
When the DVD of JB Mpiana’s FIKIN performance was released in Europe, it contributed to portraying Werrason as being close to the Kabila regime, at a time when an anti-Kabila movement was gaining momentum among the Congolese diaspora in Europe.
In response to these allegations, a DVD was released in which Werrason presented his side of the story. He talked also about the fara-fara at FIKIN 2003 against JB Mpiana, during which his own fans were severely beaten by the police, leading to violent confrontations between fanatics and security forces. He explained that he had decided to stop the show to prevent further damage, while JB Mpiana claimed victory at that time, something Werrason chose not to contest at the time. He also expressed regret that Maisha Parc neither intervened nor showed solidarity. He also stated that he noticed, when preparing solo-album that complots are being made to fight his projects and the enemies being afraid for Temoignage. Nevertheless, the interview failed to convince public opinion.
Despite polemique, Werrason continued performing. From the FIKIN period through the autumn, several new cris emerged from Roi David, Kéné-Kéné, and Céleo, many of them directly linked to the JB-versus-Werra fara-fara, such as “Kwanza munu awa” and “Werra Champion.” However, it was the cri “Kisanola” that truly took Kinshasa by storm, reaching a level of popularity comparable to the hype surrounding Koyimbi-ko in 2001–2002.
In October 2005, Werrason returned to Europe with Wenge Maison Mère to complete his solo album. He also decided to shorten the album title to Témoignage, instead of Témoignage des Miracles. After spending some time in Europe, Werrason went back to Congo without Flamme, who remained in France to mix the album and take care of long-term administrative matters, as his partner had just given birth.
Three weeks prior to the release of Témoignage, Werrason attended the Kora Awards in South Africa, where he won the category “Best Central African Male Artist” with the générique “Alerte Générale.” During the event, he also met artists such as Shaggy and Missy Elliott. To celebrate his victory, he later held a major concert in his stronghold, Camp Luka.
Despite Werrason’s win, Koffi Olomidé used the occasion to take shots at him in diffrent interviews, having received the honorary “Decennium Award (1995–2005)” during the 10th anniversary of the Kora Awards. In several interviews, Koffi sought to denigrate Werrason by restarting the “encadreur–formateur” debate and labeling him a “musical invalid.”
After several months of enduring these attacks, Werrason eventually responded in an interview with Marius Muhunga. He argued that it made little sense to boast about a decennium award while losing in competitive categories such as “Best Central African Male Artist” and “Best Male Artist,” suggesting that the honorary prize was primarily a way for the Kora organization to encourage artists.
During the same period, Werrason also gave an interview with Jack Ndala in which he indirectly responded to Koffi’s “musical invalid” remark by playing bass, rhythm guitar, lead guitar, drums, and percussion, demonstrating his musical abilities.
The album, release, reception and aftermath
On December 22nd, Témoignage was finally released, produced by Sonima Nadim. The album immediately took the number one spot, overtaking Monde Arabe, which had achieved delayed success. Temoignage would remain eights months on the top of the charts to be replaced by Droit Chemin.
Despite the album’s huge success, the générique itself, although popular, couldn't equal the level of success that Alerte Générale had. At the same time, there was not a videoclip of the generique yet and many people were unsure how to dance to it. To calm the public of Kinshasa down and teach the choreography for parties of Christmas and New Year’s Eve, Maison Mère recorded a playback video demonstrating the dance steps.
Compared to Kibuisa Mpimpa, Témoignage featured, alongside the standardized rumba tracks (Loin de Toi, Demi-Tour, and Téléphone), several rumbas inspired by the soum-djoma style associated with Tabu Ley. The songs composed in this style were “Conscience Béla” and “Azmak.”
In Conscience Béla, Werrason stated that he wished to pay tribute to elder artists who were still alive, notably Tabu Ley, Lutumba Simaro, and Wendo Kolosoy. The success of these rumbas later led one of the leaders of Clan Wenge, Marie-Paul, to claim that Werrason had copied his rumba style from the album Éboulement. However, the public largely ignored these accusations.
Around the same time, listeners also noticed that part of Bill Clinton’s track “Genoux–Pieds” shared the same lyrics as “Azmak.”
In addition to the typical Maison Mère sebene tracks (Sans Cœurs, Wabelo, Témoignage, and Cuidado Niangs), Werrason also made a return to the original Wenge 4x4 style on the song “Temps Perdu.” In Temps Perdu, Werrason said during the sebene “they make him laugh, but deep in their hearts they do not like him,” a line that the public interpreted as a warning directed at JB Mpiana, for the way of Koffi Olomidé’s closeness to him.
Alongside the Congolese genres of N'dombolo and Rumba, the album also had the music-genre Zouk from the French West Indies. This influence appeared on the song “Na Touche,” dedicated to Gabonese President Omar Bongo, on which Werrason invited the late Jacob Desvarieux, member of the legendary zouk group Kassav’ and one of the pioneers of the genre.
As a response to the song “Esaü” by JB Mpiana, Werrason released the song “Témoignage.” At the beginning of the song, Werrason takes direct shots at JB Mpiana, Makaba, and Blaise Bula, stating that “they talked too much and are now finished. they screamed and then disappeared” (baloba trop, basila. baganga, babunga), referring to the way Makaba, Blaise, and JB often spoke on television after the split to attack him but ultimately faded from the spotlight. He also includes the line “a man does not cry” (muana mobali alelaka te), for the way JB Mpiana complained following the fara-fara incident at FIKIN 2005.
In “Esaü" from Anti Terro, JB Mpiana sings that Werrason took “the skin of a sheep” in order for public to feel sorry for him to steal his (JB's) blessing and claims that his song “Mulolo” (1988) made Wenge known, while “Kin Ébougé” (1991) confirmed the group’s success. He further accuses Adolphe Dominguez and Werrason of spreading rumors that he had lost his head during the Wenge 4x4 era.
In response, Werrason sings that he thanks God for his fame and that this fame inevitably creates haters. Through his own vocals, as well as those of Kojack and Héritier, he compares Mulolo to the biblical story of Solomon and the two women fighting over a child, suggesting that Mulolo ultimately reveals its true origins as a tshabuala song (his village). The chorus also serves as a response to detractors who claim that Werrason profits at the expense of his musicians and does not pay them properly.
Since Solola Bien and especially Kibuisa Mpimpa, Werrason had often been criticized for not singing his songs alone. This criticism became stronger when the beef between Koffi Olomidé and Werrason restarted, as Koffi openly questioned Werrason’s vocal abilities and claimed that he was not a formateur, claiming that Werrason could not sing the vocal parts of his own singers. To prove his detractors wrong, Werrason performed the track “Téléphone” entirely on his own.
Although Témoignage was a success, it took a long time for the DVD clips to be released, with each release being postponed and rumors circulating that Sonima and Werrason were in conflict. In July 2006, the DVD was finally released, featuring clips for all 12 songs. The track “Demi-Tour” also had an alternate version. Normally, this alternate version would serve as the official clip, but it was released as a bonus due to the poor quality.
The clip created some buzz, as the public speculated that its storyline refered to the way Amida abandoned JB Mpiana for Didi Kinuani. Fans wondered whether the ending of the clip would happen in real life, which also ended up by happening three years later, though JB and Amida eventually broke up after six years.
In April 2006, Werrason officially presented his album at the Salon Congo of the Grand Hotel de Kinshasa, invited legend Simaro Lutumba as main-guest.
The success of Temoignage was not only limited to the two Congos and their diaspora in Europe and America, but it was also popular in several African countries. Its success led Werrason to perform in countries such as Togo, Gabon, and Angola (Cabinda). He also gave successful shows in various cities across the Congo, including Matadi, Bukavu, Mbuji-Mayi, and Lubumbashi.He was also invited to perform alonside Extra Musiac at Stade Massamba Debat in Brazzaville, for a sportsevent.
Shaggy’s trip to Kinshasa in May 2006 only boosted the album’s popularity more. Shaggy was scheduled to perform at the Parking of the Grand Hotel de Kinshasa and at Stade des Martyrs with Werrason as a guest star. However, the show at Stade des Martyrs was ultimately cancelled due to security concerns. Footage of Shaggy’s visit to Werrason’s house and the performance at the Grand Hotel parking often appeared on almost every DVD of Werrason released during that period.
The period of Temoignage was also marked by the beef between Koffi and Werrason. During his extended stay in Europe, Flamme Kapaya was at one point rumored to be leaving Maison Mère to join Quartier Latin. According to the press, he was close to making the move, but intense pressure led him to stay in Maison Mere before returning to Kinshasa to participate in the official album presentation at the Grand Hotel de Kinshasa.
At the same time, dancer Patience Ibembo and the atalaku Brigade joined Wenge Maison Mère,after getting left behind by Koffi Olomide for the Europe-tour. A few months earlier, dancer Bibicia had also joined Wenge Maison Mère. Patience’s departure from Quartier Latin to join Wenge Maison Mère angered Koffi and according to various sources, he promised himself to finish Wenge Maison Mère.
Not long after, Papy Kakol, Eboa Lotin, Jitrois and Héritier Watanabe were rumored to have been offered money to leave Maison Mère to join Quartier Latin. But they all refused the offers, Héritier took the opportunity in different interviews to throw shots at Koffi regarding these rumors.
Although Temoignage being a success, there were also darker moments. During the election period in the summer of 2006, Zamba Playa was burned down by MLC/Bemba supporters, who viewed Werrason as pro-Kabila. At the same time, musicians such as Kabose Bulembi and Aimelia Lias were booed by fanatics at Zamba Playa, labeled as old and unproductive and often received only 12 during concerts and rehearshals. New band members, including Olivier and Miel de Son, gradually slowly started to replace them. After returing from a short trip to Switzerland, Aimelia had enough and decided to leave Wenge Maison Mère to start his solo career and work on his album Race des Vainqueurs.
During Werrason’s short trip to Europe to sign contracts for the upcoming tour, he received death threats from combatants who warned him that he would never perform in Europe again, and rumors spread that he had fled Kinshasa. However, he proved everyone wrong by returning and once again giving successful shows at FIKIN.
With the success of new hits such as Pigeon, 3 Points, Misengé, etc., and due to the demand from Werrason’s sponsor Bralima to record a single for Primus for the end of the year festivities, Werrason planned the recording of the EP Sous Sol. Originally intended to include three songs, it was eventually expanded to five with Héritier’s song Confession Intime being removed from the tracklist to be saved for the upcoming group album. Werrason’s goal was after it to release a group album the following year and also to record a world album with the dream of breaking into the Western music market like Magic System and fulfilling his long-time dream of performing at Wembley Stadium in London. Even before its official release, Bralima had already started broadcasting Sous Sol on TV in Kinshasa.
In November 2006, Wenge Maison Mère finally returned to the Schengen Area. But band members such as Kabose Bulembi, Kene-Kene and Bonbon Kojack were left behind. Upon arrival, the double event at Dock Eiffel was cancelled following attacks by combatants. To prevent a similar scenario, the tour promoter involved the police in Brussels. However, people were still afraid to attend the show due to threats from the combatants, who were assaulting people that tried to come to the venue, which made that a large part of the audience only arrived near the end of the concert.
Realizing that he could not continue under these circumstances, Werrason, after performing in the Netherlands, went to negotiate with the combatants. The combattans intended to establish a concert ban in the Schengen Area, similar to what had happened in the UK. But after a serious conversations with different mediators Werrason was allowed to continue his tour. Just before Christmas, the EP Sous Sol was released and Werrason would perform at Elysee Montmartre on December 30th to end the year of 2006 with peace.
Do you think Werra was right about his role bringing Wenge 4x4 it's first moments of success? Even though JB Mpiana interpreted Mulolo, the song originated from Werra. It was through the success of that song that helped them get to Europe to record Kim E Bouger. Of course, JB Mpiana was a charismatic leader and all his songs helped boost their popularity. I'm guessing he felt marginalized, like he never got his proper respect...which is weird because I always thought Werra was #2 in popularity behind JB during their time together.
With the christmas days coming. I will already write about Temoignage's 20th anniversary, as im afraid to forget about it or not having the time anymore to do it. Today I will just write about do the first part of the background
December 22nd marks the day when Werrason released his second solo album, Témoignage, 20 years ago. The album represents the final intense year(s) of the JB vs Werra period and the Maisha Parc era. Témoignage went on to influence many guitarists in both secular and gospel music, with a large number of them adopting and imitating Flamme’s distinctive sebene playing style, while before many still used Makaba’s style of playing sebene.
Background Part I
A few months after the release of La Que Leu Leu, Werrason announced that he was working on his second album, Miracles and that he was aiming to perform at Stade Charléty as well as complete a triple Olympia run. This period was sadly marked by Papa Wemba’s arrest, which created uncertainty about whether Congolese bands based in Kinshasa would still be able to tour within the Schengen Area, putting the planned shows on hold. At the same time, Jean-Pierre Saah, the head of the JPS Production label, fled France after being suspected of links to a Miami-based mafia group and involvement in a money-laundering scheme.
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Werrason never clearly explained why he chose to name his album Miracles. What is certain, however, is that in the early 2000s, Pastor Fernando Kutino, one of the most prominent pastors in Congo at the time, was holding large scale meetings under the concept “Miracles” in venues such as the Stade des Martyrs, Stade Tata Raphaël and the Palais du Peuple. During these gatherings, he claimed to perform miracles, including restoring hearing to the deaf, breaking curses and putting an end to witchcraft. Werrason being close to several pastors at the time, it is likely that the concept of “Miracles” influenced his choice of album title.
In the meantime, Werrason gave several successful concerts around Kinshasa, most notably the famous triple event at FIKIN, featuring the legendary fara-fara against his rival JB Mpiana. He also traveled twice to Brazzaville and performed in Lubumbashi, Kikwit, Goma and Gabon. During this period, Werrason signed a lucrative two-year contract with the Bracongo brewery and shortly afterward entered the studio to record a générique (Tindika Lokito) that would quickly take Kinshasa and the rest of Congo by storm. The same year, ACMCO finally gave the delayed results of 2002, where they awarded Werrason for the 4th time in a row as best star of the year and his double-zenith show as 'event of the year'.
Around the same time, Maison Mère would sometimes showcase extracts from Miracles on television. However, tensions were also growing within the group. Rumors circulated that the band was on the verge of breaking up. Several musicians were suspended during this period, including Celeo, Bill Clinton, Héritier, Jus d’Été Mulopwe and Ali Mbonda. Jus d'Ete Mulopwe was at some point even linked to join Quartier Latin. There was even an incident in which the entire group decided to arrive later than Werrason during a public rehearhsal at La Zamba Playa, to express their dissatisfaction, but the move backfired and they were booed by the fanatics.
Then suddenly in October 2003, the press got mobilized to the British Embassy where the group was getting 4 years visa, which was surprising for many people, as people though that Congolese bands would never travel to Europe again and rumors being spread about having to pay a 100.000 dollars deposit to enter Europe. Just before the trip, soliste Thierry Mogratana and singer Dany Kule, both coming from Nouvelle Ecriture would get presented by Wenge Maison Mere as new band members. Them joining Wenge Maison Mere would create a lot of polemique and only confirm the rumors about a tension between Werrason and Papa Wemba. However, Dany Kule would not stay long and return back, after getting impatient. It was also reported that cheographer Lambio Lambio was about to join Wenge Maison Mere, but it didn’t happen. In the same month, Papa Wemba released Somo Trop, in which, on the track Masayuki, he revisited an earlier attack against Werrason from his song Maria on Fula Ngenge, declaring, “Soon I will buy the jungle, and all the animals will belong to me.” This provocation only poured oil on the fire. On his side, recruiting Japonais Maladi and Serge Mabiala from Wenge Maison Mère for his new formed band Viva Tendance.
Wenge Maison Mère went on a two-week trip to the United Kingdom in the last week of October, performing at Stratford Rex Hall in London, as well as in Tottenham and Birmingham. Werrason slowly started promoting his new album Miracles as well, saying that the album would only have 10 songs, as fans started complaining that album were having to much tracks (15 songs, 16 songs, 18 songs, etc.) and about the amount of shout-outs.Just before the trip, Baby Ndombe received a two-week suspension, which was later turned into an indefinite suspension upon the group’s return.
Following Baby Ndombe’s suspension, different rumors were spread. In the weeks that followed, several mediation attempts were made between Baby Ndombe and Werrason by Ndombe Opetum, Lutumba Simaro and King Kester Emeneya, but Werrason refused to reconcile. Immediately after Maison Mère’s return to Congo, the group went to Angola to perform in the diamond city of Cafunfo, located in the Lunda region.
In the weeks and months that followed, rumors circulated about the creation of a new group. Several press articles even mentioned the names of Baby Ndombe, Ferré Gola, Bill Clinton, Jus d’Été Mulopwe, Celeo and Flamme Kapaya being about to leave a form a new band. However, these claims were denied by Ferré Gola, Bill Clinton, and Jus d’Été Mulopwe during interviews.
After JB Mpiana’s successful concert at Boulevard Triomphal on 13 December 2003, Werrason decided to counter the event by organizing a major show at the same venue to celebrate the arrival of the New Year 2004. The event drew such an enormous crowd that, a year later, ACMCO awarded it the title of “Event of the Year,” as no event held in 2004 managed to match its scale or impact.
One of the most talked-about moments of the night was the presentation of Eboa Lotin as a new band member, followed by a vocal battle against Ferré Gola. Afterward, Eboa Lotin made several television appearances to showcase his vocal abilities and, shortly thereafter, entered the studio with the group to record the song Tous les enfants à l’école, recorded for Unicef.
With Quartier Latin once again able to tour within the Schengen Area and performing at the Zénith de Paris, plans began to circulate for Werrason to perform at Stade Charléty. A date was already picked (10 July 2004) and names such as Youssou N’Dour, Brenda Fassie and Meiway were mentioned as potential guest stars with the show being presented as a festival-like event with Werrason as main-star. In meantime, Werrason would continue giving multiple concerts in Kinshasa.
In Febuary 2004, Wenge Maison Mere returned to the UK and started to give concerts in different cities of the U.K. However, just before the trip Jus d’Ete Mulopwe was victim of a serious car-accident, but he luckily survived. Despite being immobile, Jus d’Ete was brought to the U.K. for proper medical treatement. During Maison Mere’s stay producer Giscard Lubamba released the DVD Tindika Lokito, which was a compilation of the tracks Tindika Lokito and Tout les Enfants a l’Ecole, the concerts at nightclub Sai Sai in London and Village Bercy of January 2004 and the famous interview of Werrason with journalist Sam Mpengo Bey of October 2003. The success of the DVD, brought the virus Tindika Lokito also to Europe.
After spending three months in the UK, Werrason returned to Kinshasa, where he received a triumphant welcome from fans. However, he returned without Jus d’Été Mulopwe, Bill Clinton Kalonji and Ferré Gola. Rumors quickly spread that the three had left Wenge Maison Mère. In response, Werrason released an open letter giving them a 48-hour ultimatum to return back to Kinshasa and warning them about the risks of pursuing solo career in the Congolese music scene.
Before the 48 hours were finished, an interview was done in Paris by Sankara de Nkuta, which was broadcasted in Kinshasa. In the interview, Sankara attacked the three musicians, labeling them as ungrateful, saying that Bill Clinton’s came from a poor background and even attacked Ferre's mother. In reponse to the interview, Ferre Gola came with an official statement, confirming that he, Bill Clinton, and Jus d’Été Mulopwe indeed left Wenge Maison Mère. Footage was also aired showing Ferré rehearsing in Paris with musicians such as Japonais Maladi, Champion Djikapela, Djo Lockis, Biva Rai and Mimiche Bass.Shortly after it, Bill Clinton and Jus d’Été Mulopwe joined Ferré in Paris. Together, they gave an interview with Yves Kambala announcing the creation of their new group, Les Marquis, and explaining the reasons behind their departure from Maison Mère.
The departure of the three musicians was a cause for celebration among rivals such as Koffi Olomide, who openly said on television, “Now we’ll see what Werrason can do again,” which created significant anger among Wenge Maison Mère fans. Despite the exit of Les Marquis, Werrason did not give up. He went on to deliver a successful concert at the parking of Grand Hotel and Village Bercy, introducing new members including Brigade (from Quartier Latin), Golbert (from Delta Force) and Bonbon Kojack (from Operation Dragon, Maison Mère’s reserve team).
In the months that followed, various singers, guitarists and atalakus tried their luck at Zamba Playa, hoping to join Wenge Maison Mère and replace Bill Clinton, Ferré Gola, Jus d’Été Mulopwe and Baby Ndombe. Not entirely convinced by the reformed team, Werrason decided later to first record an EP before working on his solo album Miracles, naming it Alerte Générale.
I'm surprised Sankara wasn't punished for saying those awful things about JDT, Ferre, and Bill. Wasn't the whole point supposed to discourage their departure? When you start talking about people's family members, I don't see how the situation can be resolved, especially if Werra remains silent.
When Les Marquis was officially announced, did you think they had a chance? Or were you pretty much expecting what happened in the following year (Ferre joining QL while JDT and Bill continue solo)?
Arafat and Kerson Sadam should consider joining Extra Musica NH, they're struggling enough trying to keep music career going by themselves. It's time to make some money and retire to Europe.
that album is lowkey underrated perhaps because the recent ones have a different method from songwriters and all that and the overall sound is more boosted but it was a pretty good album,only to some extent the generiques were not quite it yet (bar the kokosso part which worked well)
It seems like Kabuya was the missing piece to the animation section, because he brought that into to Biocarbonate that Fally interpreted. You can see from the early F'Victeam concerts that they only had the "Oriengo" part and a few cries. I remember being surprised by how unfocused Le Jungle and that other generique was, but all else was flawless on the album.
It was roger mamaire who is now a pastor and also wazekwa made one of his younger brothers travel instead of a musician by the way,i just remember that he is attacking eric tutsi while eric is actually the guy who really gave him direction to become a rumba singer,his cousin kisindjora introduced him to koffi when he came to sell si si si and co and then koffi gave responsability to eric to coach him to really become a rumba singer because he was more of a pop urban music singer they recorded et apres both in france and drc it allowed him and late nono chaka who was always left behind to record instead of others doing their work
It's funny because Roger Mamaire and Jose Senga both ran away before the album was completed and therefore had no vocals. I can understand Ceden being pissed off.
he left in 2005 then returned in 2016 then returned again around covid lol man literally caused a fight in 2005 when left behind for the 5th time at expense of newcomers
Who took his place for the tour in 2005? I was surprised he got left behind, he sang all over Et Apres.
I'm curious to see how the rhumba will sound in the absence of Bonbon Rogue, Willo, and Ben Mambrick. You can tell Nouvel Horizon was hurt by their loss because their recent releases are mostly generiques
Has Ceden Play been to Europe before up until now?
Nope, he was never in the group long enough to have the opportunity to tour Europe. He left prior to the recording of Faux Mutu in 2005, returned in 2021 but fell out with Wazekwa months before their European tour. He's always been unlucky in that regard.
It's ironic that Wazekwa is giving advice on how to secure a visa, because he's the one that fired Gesac and Ceden in the months prior to their European tour. If Wazekwa cares so much then make Ceden chef d'orchestra in Kinshasa to rebuild Cultura, give Ceden a proper salary, and reward him with Europe should the new team tour abroad.
It's not Fally's responsibility to intervene; Ceden is not his artist, nor a close friend. If somebody told me prior to COVID that this behavior would be a norm for Wazekwa, I would laugh heartily as such is beyond possible for one of my favorite band leaders... it's sad how far he's fallen!
As far as Werra is concerned, does he really not know that Kakol is doing? She was their soloist and suddenly stopped showing up for rehearsals and concerts, wouldn't he ask questions? People talk on social media, she's giving testimonials, is the ndoki so strong he doesn't see the obvious? Lol
unfortunately 20 years ago was the period where they cemented even more staying,with jb at his lowest,it became a mutual debt between them and jb,jb even saying to them sometimes when they pissed him off or he came already wound up by passport shenanigans and stuff like that(lol remember how upset he looked during that mythic long interview with nana boduga where the" bana" polemic really started because/thanks to his answers in the making off he was fuming that they had to redo passports for the whole band because of a change of type of passport after having done it 6 months before already) and will tell that they should feel lucky that he has a big heard because in other groups they would have been fired ruthlessly(but in a much meaner way lol when he goes èhhh some rude stuff mike pop out lol him telling rio for example that he dances like a drunk grandpa) but then he'll remember how they stuck by him in the darkest,and them feeling debt for him in sticking up for them in every debates against public or against the ppu generations and at the end it created routine,they dont know what else they can do apart from bcbg,i am sure if kibens did not have his restaurant he might not have left so suddenly
JB owes so much of his resilience from 2002–2006 to those guys, he was also dealing with depression with a divorce with Amida as he watched Koffi and Werra quickly rebound with visas to tour and eventually complete the recording for Monde Arabe and Temoignage, respectively. When Pelisa Ngwasuma and Anti-Terror proved successful, it was clear Rio, JDL, and Kibens weren't going anywhere 😢 I understand
Danger de Mort was recorded in Kinshasa before the Europe-tour and they continued the recording-sessions in Europe. Fally started recording his album Droit Chemin at the same moment in Europe. There would be days that he would start with the Danger de Mort recordings and end the day with recordings of Droit Chemin.
Koffi Olomidé already started shooting Danger de Mort clips before Ferre and Fally left. Because of the dancers (Bennie, Marcation and co) running away in the period of the shootings, he hired some Europe-based dancers who next the clips also danced with him in the last concerts of the tour (Le Marignan and the second Elysee Montmartre show). But for whatever reason, Koffi also wanted to shoot some clips in Kinshasa with the dancers that stayed in Kinshasa (Patience, Mamy Itazoma and co) and mixed those images with that of Europe.
Fally Ipupa's album Droit Chemin came out in June 2006, but it was first not well received in the beginning, people saying that he had just to focus on Quartier Latin, waisted his time by recording that album, etc. But after two months, the album suddenly started to become a succes and the drama between Koffi and Fally only boosting it. Fally not returning with Quartier Latin to Africa (as they went first to Abidjan, Pointe Noire and Brazzavillle, before returning to Kinshasa) and Fally giving his famous interview with Thierry Dawa in Kinshasa about the mise en disponibilité-stuff and Koffi responsing it, created that boost. At the same time Fally had a big part of the press behind him (late Michel Lady Luya of Visa 2000 and Shabani Records, etc.) who had personal issues with Koff. They helped Fally with the promotion of his album.
On Koffi's side, everything went wrong. Bandmembers as Apocalyps, Felly Tyson, Jipson Butukondolo, Junior Kingombe stayed in Europe. When arriving in Kinshasa, Fally's album was dominating everywhere and Quartier Latin's public rehearshals at Oshwe 5 sur 5 in Matonge were empty. Ferre Gola didn't participate to concerts anymore since Bouro Mpela's return in Europe and later went back to Kinshasa on his own to recruit musicians for his band, contact some ghostwriters for his album Sens Interdit and totally ignored Quartier Latin's program, without stating that he left. Koffi at some point sued him, but influent people made Koffi remove his complaint. In the period from September 2006 to spring 2007, big names as Titina Al Capone, Bouro Mpela, Modogo Ambarambwa and Soleil Wanga would leave Quartier Latin one by one. Most of them left, because of Koffi firing them, after asking to record an album like Fally or talk about it on tv. Already before the end of the Europe tour, Koffi already did an interview with Deblaison Wanga, stating that every Quartier Latin-member asking for a solo-album would automatically be fired.
In October 2006, Koffi released Danger de Mort. But the album flopped due to the bad atmosphere around Koffi and Quartier Latin. The press also critizing the album, claiming that it was monotonious. Only the generique, Pharmacien and Insecticide were doing it well. The last two songs helped Ferre and Fally for their solo-career than Quartier Latin itself. Insecticide was like a preview for Sens Interdit and the public called Pharmacien the 13th track of Droit Chemin.
In December 2006, Koffi kind of killed Danger de Mort-promo, by releasing the EP Swi 'Chocolat Chaud'. It had a générique for Skol, as his sponsor Bracongo asked him to record a generique for their product, for the new year eve-festivities, as their rival Bralima had their own artists also releasing génériques for december to promote their product Primus. Koffi added next to it two songs as people from Brazzaville asked for songs, when he did a series of concerts there in August 2006 (Claudia Sassou for example wanting a song for his late mother Lily Kaniki). Koffi releasing the EP, made a conflict start between him and producer Somina Nadim, as Somina put alot of money in Danger de Mort and even a lawsuit taking place between the two guys. The videoclips of Danger de Mort got released in the same month. In both DVDs of Swi & Danger de Mort, he promoted Quartier Latin's reserve team 'Les Mineurs', his upcoming solo-album and a double show at Olympia. The announcement of the double event at Olympia created some polemic, as Koffi picked the same date as Fally. But despite that Koffi was still down and the press mostly wrote negative articles about him. For example, how Quartier Latin was finished and that he would have performed in Kintambo without a big crowd being present.
Koffi would return back in the spotlights when he recruited Gessac, Joss Diena, Hono Kapana and Gabanna from Wazekwa's band and the war restarting between both bandleaders. However, after the short Europe tour in autumn 2007, the hype around it would quickly fade as Koffi kept delaying the release of his solo-album and people starting saying that he was finished until releasing l'Album sans Nom in August 2008, which put him back on the map.
If I remember well, Ferre announced his two-year deal with Quartier Latin in the spring of 2005. Technically, Ferre was in breach of contract but I understand why Koffi would drop the lawsuit. Even if he'd win in court, what changes about Koffi's predicament? Danger de Mort was underperforming compared to previous albums, his two favorite members have gone solo, and the press is making him out to be sore loser.
Koffi should have promoted the songs of the remaining members from Danger de Mort, using Les Mineurs to interpret the vocals of those who left. He did a similar strategy in response to Academia, then with time and open rehearsals he found a new generation of stars (Fally, Lola, Solelil, ect). You'll have moments of failure like Stade de Martyr '99, but you'll find your footing again.
You're absolutely right, people had Heritier, Cappuccino, Jitrios, and Bonbon Kojack as the most anticipated talent to watch because they had the look and the music to match, at the expense of Cafe Room and Eboa Lotin who were technically the stronger vocalist.
Nowadays, everyone can afford too shoot clips complete with models, luxury cars, or choreography. It's harder to appreciate when you're pregnant with a fufu and beer belly trying to keep up with twig thin dancers or standing centerfold as the object of desire lol
Doudou's case is really sad because he insists on putting out music even though he's weakened by a stroke and maintains the smoking, drinking at 51 years old. It shows in the music, you can see the engineer overdubs his vocals.
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