Simplicity and Ken Bilele, any rhumba follower during Mopao's tenure, can attest the fact that he uses other works from others, to propel. Haut De Gamme - Koweït, Rive Gauche, Pas de Faux Pas, V12 (1992-onwards) were all began after Koffi's Tchacho of between 1978-1990 lost meaning because of the boiling pot caused by wenge musica albums. Bouger-Bouger, 1988, Kin-e-bouge, 1990, Pleins Feux, 1992, Kala - Yi - Boeing, 1993, Les Anges Adorables, 1994........

In all his CDs, every cri or rap melodies were all copied from Wenge Musica including buying off artists that exhibited traits of wenge musica artists. What can you tell me that I do not know?





 






 

 i concur with emo and there is nothing pejorative in saying that,it actually means that he did what it takes to remain relevant, and he did not stop it with wenge, when  fally did orgazy in droit chemin he  responded as he understood that it worked wonders for his petit,both then set a trend
when he saw that the second version of coupe decale was starting to blossom he tried chicotte a papa, when he saw that it seemed music today was about number of youtube views and  a short generique  or dance song  in any from,to be fully broadcasted at international level what did he do?completely ignore longer generiques done by his atalakus,and do himself selfie to benefit himself aswell of all the hype(like emo rightfully said the group spirit is completely dying at expense of solo glory) and promoted it heavily
he understood that in clips of many artists all over the world were becoming more and more sensual,what did he do?   the first ever congolese clip with scenes of lesbianism( not judgeing or whatever just talking about sensuality factor)

i concur with emo and there is nothing pejorative in saying that,it actually means that he did what it takes to remain relevant, and he did not stop it with wenge, when  fally did orgazy in droit chemin he  responded as he understood that it worked wonders for his petit,both then set a trend
when he saw that the second version of coupe decale was starting to blossom he tried chicotte a papa, when he saw that it seemed music today was about number of youtube views and  a short generique  or dance song  in any from,to be fully broadcasted at international level what did he do?completely ignore longer generiques done by his atalakus,and do himself selfie to benefit himself aswell of all the hype(like emo rightfully said the group spirit is completely dying at expense of solo glory) and promoted it heavily
he understood that in clips of many artists all over the world were becoming more and more sensual,what did he do?   the first ever congolese clip with scenes of lesbianism( not judgeing or whatever just talking about sensuality factor)

I hear you archos. I needed some clarifications here i.e
1. who between Koffi and Wenge started singing earlier than the other?
2. who used ndombolo first? was it koffi in Mossokossokou(wake up album) or was it JB Mpiana in Feux de l'amour?
3. who between them started using two atalakus in the same song(s)
4. who started using female dancers before the other?

Iam asking those questions because i think Koffi also pioneered a lot of things that other artists have copied over time. Or has he never created anything original that has been copied by others over time archos?

Lastly it is not only Koffi who has copied use of de calle, or shorter sebenes or sensual stuff and other stuff. Almost all artists in Congo are now doing the same. But ask yourself why not all of them are succeeding with it as Koffi is doing?

i concur with emo and there is nothing pejorative in saying that,it actually means that he did what it takes to remain relevant, and he did not stop it with wenge, when  fally did orgazy in droit chemin he  responded as he understood that it worked wonders for his petit,both then set a trend
when he saw that the second version of coupe decale was starting to blossom he tried chicotte a papa, when he saw that it seemed music today was about number of youtube views and  a short generique  or dance song  in any from,to be fully broadcasted at international level what did he do?completely ignore longer generiques done by his atalakus,and do himself selfie to benefit himself aswell of all the hype(like emo rightfully said the group spirit is completely dying at expense of solo glory) and promoted it heavily
he understood that in clips of many artists all over the world were becoming more and more sensual,what did he do?   the first ever congolese clip with scenes of lesbianism( not judgeing or whatever just talking about sensuality factor)

I hear you archos. I needed some clarifications here i.e
1. who between Koffi and Wenge started singing earlier than the other?
2. who used ndombolo first? was it koffi in Mossokossokou(wake up album) or was it JB Mpiana in Feux de l'amour?
3. who between them started using two atalakus in the same song(s)
4. who started using female dancers before the other?

Iam asking those questions because i think Koffi also pioneered a lot of things that other artists have copied over time. Or has he never created anything original that has been copied by others over time archos?

Lastly it is not only Koffi who has copied use of de calle, or shorter sebenes or sensual stuff and other stuff. Almost all artists in Congo are now doing the same. But ask yourself why not all of them are succeeding with it as Koffi is doing?

1 koffi started earlier next to viva and clan zaiko in general before creation of a "private" quartier latin with the marie paul,djunafa and co and later the real quartier latin
2 Koffi did ndombolo first in mousoukousoukou for the simple reason that wenge refused to release caludji to join europe and participate on wake up,caludji himself talked about it in his recent interviews
3 two atalakus i'd say they did in same year almost,caludji was around for a while next to ekokota but only participated to pentagone in 97 while somono and mboshi arrived more or less in that period
4 here again more or less same time 90 91 if i am not mistaken

yes indeed not only koffi,but if you notice well coupe decale and whatever different from typical sebene worked out only with big names

 of course he created with many of the guys around like do akongo (lets give them due credit) the tchatcho rhythm,but  i would certainly shock you in saying himself has dumped real tchatcho, the pure tchatcho has kind of gone with a couple of factors to take into account,the level of musicians he plays with now is nowhere near those who participated in legendary tchatcho songs and himself the style of writing has changed except in some  of the songs for aliya for example where he makes an extra effort to sound romantic like in the older tchatcho
 and  the argument i gave about the level applies to most of the other musicians, it is said that they play tchatcho, but i rather believe,they all including koffi himself have gone into  a music with too much programming but with some of the very basic charactersitics of what was tchatcho
you'll notice that at the end of the day,everybody plays the same but not only for copying( the copying happened long ago,not denying it) but rather that there is a lack of creativity from musicians and arrangers so only two things change from an artist to another, the sound quality and the voices
 i dont know if you get what i mean

i concur with emo and there is nothing pejorative in saying that,it actually means that he did what it takes to remain relevant, and he did not stop it with wenge, when  fally did orgazy in droit chemin he  responded as he understood that it worked wonders for his petit,both then set a trend
when he saw that the second version of coupe decale was starting to blossom he tried chicotte a papa, when he saw that it seemed music today was about number of youtube views and  a short generique  or dance song  in any from,to be fully broadcasted at international level what did he do?completely ignore longer generiques done by his atalakus,and do himself selfie to benefit himself aswell of all the hype(like emo rightfully said the group spirit is completely dying at expense of solo glory) and promoted it heavily
he understood that in clips of many artists all over the world were becoming more and more sensual,what did he do?   the first ever congolese clip with scenes of lesbianism( not judgeing or whatever just talking about sensuality factor)

I hear you archos. I needed some clarifications here i.e
1. who between Koffi and Wenge started singing earlier than the other?
2. who used ndombolo first? was it koffi in Mossokossokou(wake up album) or was it JB Mpiana in Feux de l'amour?
3. who between them started using two atalakus in the same song(s)
4. who started using female dancers before the other?

Iam asking those questions because i think Koffi also pioneered a lot of things that other artists have copied over time. Or has he never created anything original that has been copied by others over time archos?

Lastly it is not only Koffi who has copied use of de calle, or shorter sebenes or sensual stuff and other stuff. Almost all artists in Congo are now doing the same. But ask yourself why not all of them are succeeding with it as Koffi is doing?

1 koffi started earlier next to viva and clan zaiko in general before creation of a "private" quartier latin with the marie paul,djunafa and co and later the real quartier latin
2 Koffi did ndombolo first in mousoukousoukou for the simple reason that wenge refused to release caludji to join europe and participate on wake up,caludji himself talked about it in his recent interviews
3 two atalakus i'd say they did in same year almost,caludji was around for a while next to ekokota but only participated to pentagone in 97 while somono and mboshi arrived more or less in that period
4 here again more or less same time 90 91 if i am not mistaken

yes indeed not only koffi,but if you notice well coupe decale and whatever different from typical sebene worked out only with big names

 of course he created with many of the guys around like do akongo (lets give them due credit) the tchatcho rhythm,but  i would certainly shock you in saying himself has dumped real tchatcho, the pure tchatcho has kind of gone with a couple of factors to take into account,the level of musicians he plays with now is nowhere near those who participated in legendary tchatcho songs and himself the style of writing has changed except in some  of the songs for aliya for example where he makes an extra effort to sound romantic like in the older tchatcho
 and  the argument i gave about the level applies to most of the other musicians, it is said that they play tchatcho, but i rather believe,they all including koffi himself have gone into  a music with too much programming but with some of the very basic charactersitics of what was tchatcho
you'll notice that at the end of the day,everybody plays the same but not only for copying( the copying happened long ago,not denying it) but rather that there is a lack of creativity from musicians and arrangers so only two things change from an artist to another, the sound quality and the voices
 i dont know if you get what i mean

archos, whenever i am confronted with arguments backed up by facts, My training makes it very difficult for me not to be impressed. You always argue objectively and that is something to be respected.