Sorrry 4 the order
Jb Mpiana Feux De L’amour
Quote from: CM PRINCE on August 17, 2020, 01:06Jb 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.
Alain & Bouro Mpela Mortel Combat
Quote from: CM PRINCE on August 17, 2020, 00:48Alain & Bouro Mpela Mortel CombatAlain 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.
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).