Sorrry 4 the order

For the Loi Album, do you have Pages 1, 12 and 20?

Jb Mpiana Feux De L’amour
 

I'm surprised to not see Patient Kusangila's name. I also wonder in which songs Alain Makaba participated as bass-players (I guess the rumba's Recto Verso & Feux de l'Amour).

I think that they made a mistake in the booklet by putting Japonais's name as one of the guitarists who played rhythm instead of those who played lead. Now I understand why people used to say that Japonais Maladi never played on Ndombolo ya Solo, but Alain Makaba. Forgetting that Japonais also played lead on Bana Lunda, Conseil Patcho & Papito. That's one of the reasons that I want Ado Yuhe to get Alain Makaba to ask him if it was him or Japonais on the lead in Ndombolo ya Solo. But I'm afraid that he won't do that the day he would get him, just ask if its true that he had a relationship with Carine, if he was using drugs and he wild life with women.

Jb Mpiana Feux De L’amour
 

I'm surprised to not see Patient Kusangila's name. I also wonder in which songs Alain Makaba participated as bass-players (I guess the rumba's Recto Verso & Feux de l'Amour).

I think that they made a mistake in the booklet by putting Japonais's name as one of the guitarists who played rhythm instead of those who played lead. Now I understand why people used to say that Japonais Maladi never played on Ndombolo ya Solo, but Alain Makaba. Forgetting that Japonais also played lead on Bana Lunda, Conseil Patcho & Papito. That's one of the reasons that I want Ado Yuhe to get Alain Makaba to ask him if it was him or Japonais on the lead in Ndombolo ya Solo. But I'm afraid that he won't do that the day he would get him, just ask if its true that he had a relationship with Carine, if he was using drugs and he wild life with women.

Yeah I was very surprised too to not see his name, also is just me but did you notice how all those that didn’t join bcbg after the split their names aren’t spelt correctly, Werra, Adolphe, Japonais, Didier Masela, Christian Mwepu Mabanga. It’s almost like it was done intentionally.

Yeah. But about Christian Mwepu, De Chris was his nickname and about Didier Masela, they write his name for the first time correctly. Because from the first Wenge album they made the mistake to write Masela instead of Massela and since then it stayed like that. You will notice that when Didier Masela made his first and only album Zabala Bakulu, they wrote Didier Massela.

I think that  Feux de l'Amour is the best booklet that Simon Ndjonang made for JB, despite being a booklet of 2 pages hahaha. Because Titanic had nothing, if I remember well it had just a cardboard with songs on it and a sunken ship. On TH, he made some effort by putting the credits on the cardbord and on Internet they let Blaise Kampaya write a little bit about the album above the credits, but you hadn't a booklet. On Anti Terro they had finally a booklet, but that was Badive's album.

Alain & Bouro Mpela Mortel Combat

Alain Mpela was really obsessed with that 5eme generation-stuff, but he hadn't the right to claim himself as leader of it. Because he's a pure product of Wenge 4x4 and people seeing on the tv since 1991. He also didn't deliver something different then the G4. I think that he just wanted to be like JB Mpiana, who was calling himself "leader de la 4eme generation.  Because JB Mpiana was calling himself Suzerain.

Mortel Combat was for Alain Mpela like the last chance to succeed as solo-artists and for Bouro Mpela the chance to be taken finally serious by the public, after being seen as a pigeon-voyageur since his return to Quartier Latin. But the album unfortunately (some leaders like K.O., J.B. having a black hand on it) and Bouro messing it more up by leaving his brother shortly after it, to rejoin Quartier Latin for the second time.

The press, the public and the artists themselves complained about the bad promotion of Mortel Combat. But thinking about it, there isn't any Congolese artist who's well promoted. Because they all turn around Chateau Rouge, Matonge, Tottenham, Cologne, Geneve/Laussane and Rotterdam by hyping their album up trough their staffs, the big posters, some plackbacks in the big nightclubs  restaurants and that's it with the label just putting money in the distribution and some airplay on diaspora radio's like RFI, Africa N1. They never put money promoting the music in Kinshasa and Brazzaville, knowing about huge piracy over there. It mostly the bandleaders themselves who pay with help from donors the tv-channels and radios over there (sometimes corrupting them to not play the music of rivals or upcoming artists) and guys like Ndiaye doing the distribution over there.

Alain & Bouro Mpela Mortel Combat

Alain Mpela was really obsessed with that 5eme generation-stuff, but he hadn't the right to claim himself as leader of it. Because he's a pure product of Wenge 4x4 and people seeing on the tv since 1991. He also didn't deliver something different then the G4. I think that he just wanted to be like JB Mpiana, who was calling himself "leader de la 4eme generation.  Because JB Mpiana was calling himself Suzerain.

Mortel Combat was for Alain Mpela like the last chance to succeed as solo-artists and for Bouro Mpela the chance to be taken finally serious by the public, after being seen as a pigeon-voyageur since his return to Quartier Latin. But the album unfortunately (some leaders like K.O., J.B. having a black hand on it) and Bouro messing it more up by leaving his brother shortly after it, to rejoin Quartier Latin for the second time.

The press, the public and the artists themselves complained about the bad promotion of Mortel Combat. But thinking about it, there isn't any Congolese artist who's well promoted. Because they all turn around Chateau Rouge, Matonge, Tottenham, Cologne, Geneve/Laussane and Rotterdam by hyping their album up trough their staffs, the big posters, some plackbacks in the big nightclubs  restaurants and that's it with the label just putting money in the distribution and some airplay on diaspora radio's like RFI, Africa N1. They never put money promoting the music in Kinshasa and Brazzaville, knowing about huge piracy over there. It mostly the bandleaders themselves who pay with help from donors the tv-channels and radios over there (sometimes corrupting them to not play the music of rivals or upcoming artists) and guys like Ndiaye doing the distribution over there.

How do you properly promote an album in Kinshasa and Brazzaville? Is a fan club necessary? I noticed that Masion Masion Mere, BCBG, and QL had huge fan clubs and spokesman in the cities keeping their name in public discourse even when the group is abroad on tour. I'm assuming their concerts were always packed because their fan club knew how to mobilize people for Stade de Martyrs and other similar venues.

Did Japonais go with Wenge 4×4 in Europe to record the album? I would be surprised that a new recruit would be allowed to play lead guitar on the generique, especially when Burkina Faso, Ficcare, and Alain Makaba were around.

These days not, but back in the days having fan clubs was very necessary. Wenge Aile Paris for example was founded in Paris, but they had already a big fanbase, before arriving in Kinshasa, because Belis Mfumu Luvutula (RIP) and Jules Biselele (RIP) went to implent big fanclubs in all the 24 areas of Kinshasa and getting people to do playbacks for them on Tele Zaire.

About Stade des Martyrs, Koffi Olomide needed Werra's help to fill it. 65% of the people who went there were Werra fans. When Koffi came back from Europe, he went to get Werra to ride in his jeep around Kasa-Vubu and Matonge to get some sympathy from WMM-fans, Bill & Heritier went to promote Koffi's Stade des Martyrs on tv and Werrason went to hire some buses to support Koffi. But behind the scenes it has been said that despite Koffi wasn't able to fill the stadium and that they just opened the door for people to get in for free.

Wenge 4x4 recruited Japonais, because Alain Makaba was since 1994 in Europe (when he came to mix Anges Adorables volume 2) and never returned back to Kinshasa. Burkina Faso at that time left for Wenge El Paris (before joining Big Stars of General Defao) after just being returned from their long Europe/USA tour, being mad that they didn't pay him well. Wenge 4x4 had on that moment just Fi-Carre was solist and he started to show up late at rehearshals and concerts. To fix that problem they went to recruit Japonais Maladi who was playing for Mbuta Muntu Radja Kula at that time. When Wenge 4x4 was about to tour in 1996 to record Feux de l'Amour, Japonais Maladi had normally to stay and let Alain Makaba & Fi Carre play his creations since that he was new (like the way they did to Burkina Faso when he joined in 1992). But JB Mpiana insisted to get him on the tour list, so he went to Europe, but he stayed because he wasn't happy the way they didn't pay him and also the way Werrason used to insult him. Then again they returned only with Fi-Carre as solist, to fill the void left by Japonais, they went to get Burkina Faso back who was playing for General Defao. These times were really difficult for Wenge 4x4, because JB Mpiana & Blaise Bula stayed in Europe to mix Feux de l'Amour, like in 1995-96 Kibinda Nkoy was giving them a hard time and most concerts of them being mpiaka until that JB & Blaise Bula arrived and the conflict of clothing lines starting (bana mindele vs ba japonais).

Alain & Bouro Mpela Mortel Combat

Alain Mpela was really obsessed with that 5eme generation-stuff, but he hadn't the right to claim himself as leader of it. Because he's a pure product of Wenge 4x4 and people seeing on the tv since 1991. He also didn't deliver something different then the G4. I think that he just wanted to be like JB Mpiana, who was calling himself "leader de la 4eme generation.  Because JB Mpiana was calling himself Suzerain.

Mortel Combat was for Alain Mpela like the last chance to succeed as solo-artists and for Bouro Mpela the chance to be taken finally serious by the public, after being seen as a pigeon-voyageur since his return to Quartier Latin. But the album unfortunately (some leaders like K.O., J.B. having a black hand on it) and Bouro messing it more up by leaving his brother shortly after it, to rejoin Quartier Latin for the second time.

The press, the public and the artists themselves complained about the bad promotion of Mortel Combat. But thinking about it, there isn't any Congolese artist who's well promoted. Because they all turn around Chateau Rouge, Matonge, Tottenham, Cologne, Geneve/Laussane and Rotterdam by hyping their album up trough their staffs, the big posters, some plackbacks in the big nightclubs  restaurants and that's it with the label just putting money in the distribution and some airplay on diaspora radio's like RFI, Africa N1. They never put money promoting the music in Kinshasa and Brazzaville, knowing about huge piracy over there. It mostly the bandleaders themselves who pay with help from donors the tv-channels and radios over there (sometimes corrupting them to not play the music of rivals or upcoming artists) and guys like Ndiaye doing the distribution over there.

You know what's funny? Me and My cousin one day went to Matonge and we went to buy a couple of CD's and DVDs we bought Boma Nga N'elengi, Temoignage and Mortel Combat. We didn't even know Mortel Combat came out or anything we just saw it by chance, we didn't even know it was coming or anything, then we brought it home and surprised my uncle and the rest of my cousins and they were also surprised that Alain and Bouro released an album together.

Really ? I wasn't really focused on them, but I was motivated to by that album when seeing the poster in a restaurant before the release, but my cousin said "ozo lekisa ntango nayo pamba, basi basila" which made me change my mind.

These days not, but back in the days having fan clubs was very necessary. Wenge Aile Paris for example was founded in Paris, but they had already a big fanbase, before arriving in Kinshasa, because Belis Mfumu Luvutula (RIP) and Jules Biselele (RIP) went to implent big fanclubs in all the 24 areas of Kinshasa and getting people to do playbacks for them on Tele Zaire.

About Stade des Martyrs, Koffi Olomide needed Werra's help to fill it. 65% of the people who went there were Werra fans. When Koffi came back from Europe, he went to get Werra to ride in his jeep around Kasa-Vubu and Matonge to get some sympathy from WMM-fans, Bill & Heritier went to promote Koffi's Stade des Martyrs on tv and Werrason went to hire some buses to support Koffi. But behind the scenes it has been said that despite Koffi wasn't able to fill the stadium and that they just opened the door for people to get in for free.

Wenge 4x4 recruited Japonais, because Alain Makaba was since 1994 in Europe (when he came to mix Anges Adorables volume 2) and never returned back to Kinshasa. Burkina Faso at that time left for Wenge El Paris (before joining Big Stars of General Defao) after just being returned from their long Europe/USA tour, being mad that they didn't pay him well. Wenge 4x4 had on that moment just Fi-Carre was solist and he started to show up late at rehearshals and concerts. To fix that problem they went to recruit Japonais Maladi who was playing for Mbuta Muntu Radja Kula at that time. When Wenge 4x4 was about to tour in 1996 to record Feux de l'Amour, Japonais Maladi had normally to stay and let Alain Makaba & Fi Carre play his creations since that he was new (like the way they did to Burkina Faso when he joined in 1992). But JB Mpiana insisted to get him on the tour list, so he went to Europe, but he stayed because he wasn't happy the way they didn't pay him and also the way Werrason used to insult him. Then again they returned only with Fi-Carre as solist, to fill the void left by Japonais, they went to get Burkina Faso back who was playing for General Defao. These times were really difficult for Wenge 4x4, because JB Mpiana & Blaise Bula stayed in Europe to mix Feux de l'Amour, like in 1995-96 Kibinda Nkoy was giving them a hard time and most concerts of them being mpiaka until that JB & Blaise Bula arrived and the conflict of clothing lines starting (bana mindele vs ba japonais).

I forgot about Kibinda Nkoy success, what happened to them? I heard Papy Kakol was their drummer during that time

THey went down when Wenge Musica came with Pentagone, because they hadn't an album on the market. Later on they split and their impact became every year less and less with other guys like Papy Kakol, Clovis Nguma Silawuka and others joining big bands. But they came every year with another cri, who were used by other bands (for example "aah kibind eeeh, aah kibinda yoyo, aah kibind eeeh" or "aah maman kibindeee, lolololo, maman kibind eeh lololol, maman dokolo dokolo ma, se doucou maman.").

Koffi Olomide used to be their godfather from 1995 to the moment when Doudou went to Europe.

In the second photo of the A La Queue Leu Leu booklet, who is the guy on the far left? The one next to Aimelia?

Thierry Synthe