With a generique at 1H36 of guy moller then going for the roi david nickname,before alerte generale and demukuse roi david surprising people with bercy muana then animating the generation,redoeing some of the parts he used to rehearse in private with genta and bill clinton before they'd use it in their groups

I wonder what Tabu Ley thought when he saw Mbilia Bel talking like that on those Maximum confrontations. I think that they tried to lure Tabu Ley into it, but they didn’t managed to do it and ended up just using one of his songs for the confrontation against Mbilia Bel. I believe many people were disgusted to see that. I remember how many people were mad about the Lutumba vs Madilu video on Maximum. Even Koffi Olomidé was mad about it and said openly on tv. It was from Maisha Park that it got banned from television. I saw it as a major disrespect that they also used to image of their daugther Melody and adding dancer Tantine to it. It looked like Tantine was under the influence of drugs when getting interviewed.

After seeing the Depitcho vs Manda confrontation, I started wondering if Depitcho didn’t make a mistake by joining Quartier Latin. Yes he became more known in Europe and made his cv bigger by performing at Olympia, Zenith and Bercy. But it was also from joining Quartier Latin that people started to call him "faux chanteur", while before he was seen as a normal singer. Talking about Quartier Latin, because of Suzuki’s recent attacks against Fally, people have started mocking his singing abilities and calling him a faux chanteur. While back in the days, people were praising him and seeing him as a great singer. He’s lucky that his era had already passed and that he had already built a legacy with song Stilla; otherwise he might have had to live the rest of his life with that label.

I’m convinced that Celezino paid people from Vita Imana to attack Manda Chante in order to get known in Europe. Because although having sung on K.O. Debout and Eboulement of Wenge El Paris, many people still didn't knew him. In Congo he was known because of attacking Adolphe on tv and replacing Manda Chante. If the footage of Celezino was made in Kinshasa, they would have cut the insults out. Celezino will never have the same impact that Manda Chante had, even if he sung from the bottom of his heart. Different youngsers of Kinshasa got inspired by Manda Chante (even Ferre Gola), which isn't the case with Celezino. The public only know him from insulting people.

What was the reason for the comparison between the two songs that Emeneya and Koffi dedicated to Washington? Was it to see who made the best song for Washington, or was it indirectly a comparison of their wives, since they couldn’t get footage of Aliya and instead used the clip of “Washington,” letting the light-skinned woman represent Aliane to compare her with Florence Bandu?

Zoe Bella was killing me with his facial expressions while trying to add comments to Emeneya's words. The Congolese music-scene miss a bandleader with a big mouth like King Kester Emeneya. The remaining musicians are all “yuma’s.”

What has Lucien Mwangela become today? The influence of the Congolese diaspora from London on our music history and terms of investments in Kinshasa cannot be denied. This video is among the cassettes that made different people from Europe get the virus to build a hotels in Kinshasa as well like the people from U.K.

Adolphe Dominguez's album Jugement Dernier "25 Minutes" came out in the same period as Alerte General, were recorded in the sameperiod and  studio (Studio Ndiaye), also produced by the same label (Editions Ndiaye). But how is it possible that the sound of Adolphe's album being weak. Did they record Alerte Generale with materials coming from Europe ?

Lol, Adolphe Dominguez calling Jitrois (Gianfranco) and Lacoste ba petit chanteurs and faux chanteurs  hahahaha. The audacity of Adolphe calling them that way while he doesn't sing well, also the way he claims that he taught Jitrois how to sing. It’s from this interview that the story about Werrason wanting to migrate to Canada duing the split of Wenge 4x4 resurfaced again and BCBG fanatics often using it to denigrate Werrason.

What Adolphe said at 59:14 is true. They even used footage of him helping the poor for the short documentary that the late journalist Ilunga Mwana Bute made about him. André Kimbuta, Godard Motemona and others were all mad about it, because they wanted the war of Wenge to be  about Werrason vs JB Mpiana with Adolphe just being in the background. From that moment on, they motivated Werrason to do the same thing for PR.  Late PDG MVB (Mvumbi) advised Werrason to start a foundation. Not long after that, UNICEF supported him and, through his work, UNESCO proclaimed him an Ambassador of Peace.

I wasn't aware about Adolphe having a fara-fara against Koffi Olomidé at FIKIN, probably due to the ban that was on Koffi at that time in the press. It would have boosted Adolphe alot if he won. They were evil to cut the electricity on Adolphe's stage. Did Adolphe have a personal issue with Alain Mpela or was it just out of solidarity with JB Mpiana that he was ignoring him, when being asked about his evolution? Here Adolphe is praising Les Marquis and Ferre. When Ferre started his solo-career they became close. Ferre even giving him a shout-out on Qui est Derriere Toi. But people keep sharing the old videos of Ferre attacking Adolphe for insulting his mother of 2000, not knowing that they already reconciled years ago.

Was Guy Moller’s générique with Bercy as atalaku the one from the unreleased album Système ya ba Chinois?

I wonder if Marc Tabu received the camera that Koffi gave to the head of Raga TV. Koffi had no other choice but to apologize to the press. I also wonder if he would have done the same if the incident had happened in today’s era of social media. Nowadays music doesn’t have to pass through TV anymore to be successful. The press isn’t as powerful as it used to be, bandleaders can go two years without giving interviews and still remain famous.

I seriously thought it was the end of Koffi when he received a ban from the Congolese press after that Marc Tabu got beaten. In the same period, he had also problems with Zobozi, B52, Assitou Mbo, Laura Mombili and late Chouchou Mbayo who sued him. I believed at that time that Monde Arabe would not come out anymore.

Ngadiadia is here doing comedy, but what is the real story behind Evoloko going back to Kinshasa? Was he deported? Has Evoloko never returned to Europe since 2004?

There’s no artist coming from Europe who had as much support from the Congolese press and did as much promotion as Desi Mbwese. But after decades he still hasn’t managed to break through on the Congolese music scene.

Here Wazekwa was giving the real definition of Cultura. Archos already talked about it once in his biography. Wazekwa's album Et Apres had crazy success back in 2004. But today people only know the générique. Wazekwa copied Koffi’s style on Suka na Mwana

I feel like Bouro Mpela had no real project after leaving Quartier Latin and that he was a bit lost. The Mortel Combat project with Alain Mpela helped him somewhat. It was a big 12 by Koffi  to not let Calvaire be performed at  Zénith de Paris. I believe that even if someone offered €100,000 to find footage of the Zénith concert of April 2003 that nobody would find it. The same for Zenith of December 2003. But I heard that the DVD of the last Zenith exists

I wonder what Tabu Ley thought when he saw Mbilia Bel talking like that on those Maximum confrontations. I think that they tried to lure Tabu Ley into it, but they didn’t managed to do it and ended up just using one of his songs for the confrontation against Mbilia Bel. I believe many people were disgusted to see that. I remember how many people were mad about the Lutumba vs Madilu video on Maximum. Even Koffi Olomidé was mad about it and said openly on tv. It was from Maisha Park that it got banned from television. I saw it as a major disrespect that they also used to image of their daugther Melody and adding dancer Tantine to it. It looked like Tantine was under the influence of drugs when getting interviewed.

After seeing the Depitcho vs Manda confrontation, I started wondering if Depitcho didn’t make a mistake by joining Quartier Latin. Yes he became more known in Europe and made his cv bigger by performing at Olympia, Zenith and Bercy. But it was also from joining Quartier Latin that people started to call him "faux chanteur", while before he was seen as a normal singer. Talking about Quartier Latin, because of Suzuki’s recent attacks against Fally, people have started mocking his singing abilities and calling him a faux chanteur. While back in the days, people were praising him and seeing him as a great singer. He’s lucky that his era had already passed and that he had already built a legacy with song Stilla; otherwise he might have had to live the rest of his life with that label.

I’m convinced that Celezino paid people from Vita Imana to attack Manda Chante in order to get known in Europe. Because although having sung on K.O. Debout and Eboulement of Wenge El Paris, many people still didn't knew him. In Congo he was known because of attacking Adolphe on tv and replacing Manda Chante. If the footage of Celezino was made in Kinshasa, they would have cut the insults out. Celezino will never have the same impact that Manda Chante had, even if he sung from the bottom of his heart. Different youngsers of Kinshasa got inspired by Manda Chante (even Ferre Gola), which isn't the case with Celezino. The public only know him from insulting people.

What was the reason for the comparison between the two songs that Emeneya and Koffi dedicated to Washington? Was it to see who made the best song for Washington, or was it indirectly a comparison of their wives, since they couldn’t get footage of Aliya and instead used the clip of “Washington,” letting the light-skinned woman represent Aliane to compare her with Florence Bandu?

Zoe Bella was killing me with his facial expressions while trying to add comments to Emeneya's words. The Congolese music-scene miss a bandleader with a big mouth like King Kester Emeneya. The remaining musicians are all “yuma’s.”

What has Lucien Mwangela become today? The influence of the Congolese diaspora from London on our music history and terms of investments in Kinshasa cannot be denied. This video is among the cassettes that made different people from Europe get the virus to build a hotels in Kinshasa as well like the people from U.K.

Adolphe Dominguez's album Jugement Dernier "25 Minutes" came out in the same period as Alerte General, were recorded in the sameperiod and  studio (Studio Ndiaye), also produced by the same label (Editions Ndiaye). But how is it possible that the sound of Adolphe's album being weak. Did they record Alerte Generale with materials coming from Europe ?

Lol, Adolphe Dominguez calling Jitrois (Gianfranco) and Lacoste ba petit chanteurs and faux chanteurs  hahahaha. The audacity of Adolphe calling them that way while he doesn't sing well, also the way he claims that he taught Jitrois how to sing. It’s from this interview that the story about Werrason wanting to migrate to Canada duing the split of Wenge 4x4 resurfaced again and BCBG fanatics often using it to denigrate Werrason.

What Adolphe said at 59:14 is true. They even used footage of him helping the poor for the short documentary that the late journalist Ilunga Mwana Bute made about him. André Kimbuta, Godard Motemona and others were all mad about it, because they wanted the war of Wenge to be  about Werrason vs JB Mpiana with Adolphe just being in the background. From that moment on, they motivated Werrason to do the same thing for PR.  Late PDG MVB (Mvumbi) advised Werrason to start a foundation. Not long after that, UNICEF supported him and, through his work, UNESCO proclaimed him an Ambassador of Peace.

I wasn't aware about Adolphe having a fara-fara against Koffi Olomidé at FIKIN, probably due to the ban that was on Koffi at that time in the press. It would have boosted Adolphe alot if he won. They were evil to cut the electricity on Adolphe's stage. Did Adolphe have a personal issue with Alain Mpela or was it just out of solidarity with JB Mpiana that he was ignoring him, when being asked about his evolution? Here Adolphe is praising Les Marquis and Ferre. When Ferre started his solo-career they became close. Ferre even giving him a shout-out on Qui est Derriere Toi. But people keep sharing the old videos of Ferre attacking Adolphe for insulting his mother of 2000, not knowing that they already reconciled years ago.

Was Guy Moller’s générique with Bercy as atalaku the one from the unreleased album Système ya ba Chinois?

I wonder if Marc Tabu received the camera that Koffi gave to the head of Raga TV. Koffi had no other choice but to apologize to the press. I also wonder if he would have done the same if the incident had happened in today’s era of social media. Nowadays music doesn’t have to pass through TV anymore to be successful. The press isn’t as powerful as it used to be, bandleaders can go two years without giving interviews and still remain famous.

I seriously thought it was the end of Koffi when he received a ban from the Congolese press after that Marc Tabu got beaten. In the same period, he had also problems with Zobozi, B52, Assitou Mbo, Laura Mombili and late Chouchou Mbayo who sued him. I believed at that time that Monde Arabe would not come out anymore.

Ngadiadia is here doing comedy, but what is the real story behind Evoloko going back to Kinshasa? Was he deported? Has Evoloko never returned to Europe since 2004?

There’s no artist coming from Europe who had as much support from the Congolese press and did as much promotion as Desi Mbwese. But after decades he still hasn’t managed to break through on the Congolese music scene.

Here Wazekwa was giving the real definition of Cultura. Archos already talked about it once in his biography. Wazekwa's album Et Apres had crazy success back in 2004. But today people only know the générique. Wazekwa copied Koffi’s style on Suka na Mwana

I feel like Bouro Mpela had no real project after leaving Quartier Latin and that he was a bit lost. The Mortel Combat project with Alain Mpela helped him somewhat. It was a big 12 by Koffi  to not let Calvaire be performed at  Zénith de Paris. I believe that even if someone offered €100,000 to find footage of the Zénith concert of April 2003 that nobody would find it. The same for Zenith of December 2003. But I heard that the DVD of the last Zenith exists

There's a guitar partition that Guy Moller likes to use from 7:21 from his 2006 solo album



The partition appears five years prior during their presentation concert as Dream Team Dream Band from 1hr 19 minutes and 40 seconds



I suspect his solo album must have been late 2002 or 2003, because Moller had the band perform at a festival at the l'Esplanade de Palais du Peuple. It must have been in promotion for their album that was about to come out or recently released.

Celezino joined at the moment of decline, K.O. Debout and Eboulement followed a mostly unsuccessful tour in Europe and the group remained for long-term papers. What was Marie Paul thinking when he allowed them to stay, that they can just return to Kinshasa after a couple of years and pick up right where they left off?

Even when Celezino had a second chance at a career through Les Marquis, he didn't return to Kinshasa with the group. It's like as soon as they stay over a year abroad, the hunger is gone. Wazekwa is better off cutting Eclipse and those that remained in Europe loose, start from scratch because it's too unreliable to have your group spread between Belgium, France, and UK

It was that late Sony Ecco Homo produced Guy Moller's album Systeme ya Ba Chinois in 2003. But for whatever reason it didn't got released on the market and just the generique appearing on tv. I wanted to hear Guy Moller explain to Mbuta Likasu what exactly went wrong, but they didn't finish the interview-series

It had nothing to do with El Paris being in decline. Singers like Kene-Kene, Charly Chaplin, Arc-en-Ciel and Bob Lorenzo were present during the Couvre-Feu era. But if you ask a random person in Europe about them, they won’t know them, only people who often travelled to Kinshasa would. Depitcho was lucky that he was already known before Wenge El Paris got stuck in Kinshasa. But in Europe, there were still people who discovered him when he joined Quartier Latin. Meanwhile, in Kinshasa he was known as “Le Roi des Crocos”, fought against his former friend Werrason, Adolphe Dominguez and JB Mpiana over girls, while carrying the label of Wenge El Paris’ president and being nicknamed Bill Clinton, although Marie Paul was actually the head.
Marie Paul's plan wanted the musicians loyal to him to have their papers to return after 2/3 years back to Kinshasa. Shortly after Eboulement, there was a project to return to Kinshasa, by performing at Stade des Martyrs, as fans requested him to return. But Marie Paul himself declined the offer of Abeto Center and also hadn't enough money to pay the musicians. Not long after that things went wrong in his private life, he started to lose  his head, became apparently homeless and was close to become a brother in christ. Musicians like Patou Bofosa, Pitshou Santiago and Celezino then joined Viva Tendance after a period of inactivity.Then suddenly in 2004, when Zacharie Bababaswe came to Europe to let Bill Clinton Kalonji sign a contract with Bracongo, he also meeted Marie Paul and convinced him to return back to Kinshasa. Marie Paul then returned to Kinshasa without the musicians in Europe and started to perform with the musicians that were rehearsing Kinshasa for years. Them starting the Yebela Vision project. The original project of Zacharie Bababaswe was to manage him, to come back on the top and get a contract for him to perform at Olympia in 2005. But for whatever reason things went wrong and they separated their ways.

Celezino became a session musician, backing different artists and even recording his solo album Colonization, which turned out to be a flop. He helped Ferre Gola in his solo albums Sens Interdit and Qui est Derriere Toi.

None of the members of Les Marquis returned to Kinshasa. Bill Clinton and Ferre Gola were not happy with Jus d’Été Mulopwe’s opinion that they should stay in Europe waiting until everyone of leaders had their long-term papers. Jus d'Ete Mulopwe stayed in Europe with Japonais, Mimiche Bass, Celezino, Serge Mabiala and co. While, Ferre Gola and Bill Clinton agreed to return to Kinshasa together to start performing in Kinshasa. But in the meantime, both men had hidden agendas. They were secretly ordering their staffs to recruit musicians. At the same time, the musicians who were recruited believed that Les Marquis were still united.
Instead of returning together, Ferre overslept and Bill went back to Kinshasa on his own, taking the lead by starting Les Marquis Samouraïs with his staff. When Ferre arrived, he expected Bill to join him, but Bill refused and said that Ferre should join him instead. Ferre Gola then started rehearshing on his own with the musicians who were recruited by his staff. Not having the same advantages as Bill, who had Bracongo as a sponsor and facing financial difficulties, Ferre tried to resolve their problems with Bill, but Bill refused. Ferre then tried to convince Baby Ndombe to combine their forces, but he also refused.

Meanwhile, Jus d’Été Mulopwe had a succesful concert at LSC and proclaimed himself “Le Roi Marquis”. Celezino then started insulting Ferre Gola and Bill Clinton on TV, alongside Adolphe Dominguez and Jipson Butukondolo. Not long after that, Japonais decided to leave together with Mimiche Bass, Serge Mabiala, Celezino and others to start their own band, Les Marquis Plus. However, their band was not successful and did not receive enough support to record an album.

It was that late Sony Ecco Homo produced Guy Moller's album Systeme ya Ba Chinois in 2003. But for whatever reason it didn't got released on the market and just the generique appearing on tv. I wanted to hear Guy Moller explain to Mbuta Likasu what exactly went wrong, but they didn't finish the interview-series

It had nothing to do with El Paris being in decline. Singers like Kene-Kene, Charly Chaplin, Arc-en-Ciel and Bob Lorenzo were present during the Couvre-Feu era. But if you ask a random person in Europe about them, they won’t know them, only people who often travelled to Kinshasa would. Depitcho was lucky that he was already known before Wenge El Paris got stuck in Kinshasa. But in Europe, there were still people who discovered him when he joined Quartier Latin. Meanwhile, in Kinshasa he was known as “Le Roi des Crocos”, fought against his former friend Werrason, Adolphe Dominguez and JB Mpiana over girls, while carrying the label of Wenge El Paris’ president and being nicknamed Bill Clinton, although Marie Paul was actually the head.
Marie Paul's plan wanted the musicians loyal to him to have their papers to return after 2/3 years back to Kinshasa. Shortly after Eboulement, there was a project to return to Kinshasa, by performing at Stade des Martyrs, as fans requested him to return. But Marie Paul himself declined the offer of Abeto Center and also hadn't enough money to pay the musicians. Not long after that things went wrong in his private life, he started to lose  his head, became apparently homeless and was close to become a brother in christ. Musicians like Patou Bofosa, Pitshou Santiago and Celezino then joined Viva Tendance after a period of inactivity.Then suddenly in 2004, when Zacharie Bababaswe came to Europe to let Bill Clinton Kalonji sign a contract with Bracongo, he also meeted Marie Paul and convinced him to return back to Kinshasa. Marie Paul then returned to Kinshasa without the musicians in Europe and started to perform with the musicians that were rehearsing Kinshasa for years. Them starting the Yebela Vision project. The original project of Zacharie Bababaswe was to manage him, to come back on the top and get a contract for him to perform at Olympia in 2005. But for whatever reason things went wrong and they separated their ways.

Celezino became a session musician, backing different artists and even recording his solo album Colonization, which turned out to be a flop. He helped Ferre Gola in his solo albums Sens Interdit and Qui est Derriere Toi.

None of the members of Les Marquis returned to Kinshasa. Bill Clinton and Ferre Gola were not happy with Jus d’Été Mulopwe’s opinion that they should stay in Europe waiting until everyone of leaders had their long-term papers. Jus d'Ete Mulopwe stayed in Europe with Japonais, Mimiche Bass, Celezino, Serge Mabiala and co. While, Ferre Gola and Bill Clinton agreed to return to Kinshasa together to start performing in Kinshasa. But in the meantime, both men had hidden agendas. They were secretly ordering their staffs to recruit musicians. At the same time, the musicians who were recruited believed that Les Marquis were still united.
Instead of returning together, Ferre overslept and Bill went back to Kinshasa on his own, taking the lead by starting Les Marquis Samouraïs with his staff. When Ferre arrived, he expected Bill to join him, but Bill refused and said that Ferre should join him instead. Ferre Gola then started rehearshing on his own with the musicians who were recruited by his staff. Not having the same advantages as Bill, who had Bracongo as a sponsor and facing financial difficulties, Ferre tried to resolve their problems with Bill, but Bill refused. Ferre then tried to convince Baby Ndombe to combine their forces, but he also refused.

Meanwhile, Jus d’Été Mulopwe had a succesful concert at LSC and proclaimed himself “Le Roi Marquis”. Celezino then started insulting Ferre Gola and Bill Clinton on TV, alongside Adolphe Dominguez and Jipson Butukondolo. Not long after that, Japonais decided to leave together with Mimiche Bass, Serge Mabiala, Celezino and others to start their own band, Les Marquis Plus. However, their band was not successful and did not receive enough support to record an album.

In your opinion, should Marie Paul accepted the offer of Abeto Center? It may not be the money he initially wanted, but he's not at the level of fame from Couvre-Feu. He doesn't have to pay the Kinshasa based musicians much, because it's rebuilding their aura and negotiating better contracts as he progresses.

Felix Wazekwa lost the majority of the band after the trip to record Signature, but he still returned to Kinshasa and rebuilt Cultural Pays Vie. The problem is that some of these leaders let too much time pass and the public takes the perception that they're finished.

It wasn’t that Abeto Center lacked the money. At that time, performing at Stade des Martyrs wasn’t very lucrative. Influential fanatics had contacted Abeto to produce Marie Paul because, in their view, the upcoming generation might forget him. He had already spent two years in Europe and different fans were  started to support other bands. The date had already been announced and promotion had already started through fanclubs and Abeto himself. However, when Abeto personally called Marie Paul, he declined the offer and giving his reasons. Abeto then cancelled the event and different fans were dissapointed.

Although Eboulement brought Wenge El Paris somewhat back on the map, I don’t believe that accepting or declining the offer would have changed anything. By that time, Marie Paul was already finished. It was all about Werrason in that era. I also don't believe that he would have been able to fill Stade des Martyrs at that moment.

Speaking about paying musicians in Kinshasa, when Marie Paul returned to Kinshasa in 2004, he didn’t pay his musicians for the shows they did together  at GHK, Boulevard Triomphal, YMCA and Marché de la Liberté.

Wazekwa lost the majority of the band, but those who formed the section that makes people dance were still present. Solists as Bijou Depaulga “Professeur Tournesol” and Hono Kapanga and the atalaku's Gessac and Papy Louange. People didn’t really notice the difference that the other musicians had left, because the album Signature itself marked the breakthrough of Felix Wazekwa. At that time, most of the public didn’t know the individual musicians of Wazekwa yet. They all discovered Gessac, Papy Louange, Hono Kapanga and Depaulga from that album and all of them were still in the band. Only those who were seriously following Wazekwa knew that musicians had left him