from 24:13 min people giving their opinion about Desi Mbwese's decision to launch his career in Kinshasa.
People of Kinshasa are sometimes very harsh with their reaction instead of encouraging him and giving good advice they starts to crack him down. Espcially that girl in the videoshop who had very hard words. It was very difficult for Paris/Brussels/London-based artitsts to start their in Kinshasa, having on the same time their family in Europe. Many tried, guys like Duc Herode Mandiangu, Damien Aziwa (who even divorced with his wife because of that), Colombani Wa Senga (R.I.P.), the list is long. The moment that he released his album Drapeau Blanc, was the same moment that Werrason released Kibuisa Mpimpa with alot of people waiting for Internet which came out in August 2001.

The only guys who succeed are Koffi Olomide, Felix Wazewka & Karmapa. Felix Wazekwa worked very hard to become the artitst who he is today day. He was supported by people of his area Matete, the Congolese press who voted him as revelation of the year '97 with his album Pauvre Mais and by artists like Papa Wemba, Madilu, Tabu Ley, Boziana Boziana, J.B. M'piana & Werrason who helped him and some sung with him in albums. But he succeed with his 5th album Signature. Koffi Olomide also had very long way, being helped by Fafa de Molokai, Rigo Star, Maika Munan, Josky Kiambukuta, Manu Lima, King Kester Emeneya, Papa Wemba, Zaiko Langa Langa, Langa Langa Stars and  Choc Stars on his albums. Looking for a way to get his succes of 1978 back and breaking through with Diva in 1985 and succeed with Dieu Voit Tout in 1987, after the unexpected flop of Ngobila in 1986. Karmapa was lucky that at the moment he came that nobody released an album with everybody being focused on the ngulu-affaire and that he producer Eric Lukasi had alot of connections. With big record labels like JPS & Sonodisc/Next Music (aka Sono) being closed, which made albums like Monde Arabe, Miracles and Et Apres delayed.  Karmapa came also with something different (Rumba), while Ndombolo was dominating the Congolese-music scene. His first album Je m'apelle toi was a huge succes, which created polemic against his former'friend Wazekwa and Tabu Ley calling him his heir

@mvulusi96

Interesting observation. Do you think there's a culture in Congolese music that prefers artist or bands to be formed locally as opposed to being imported? Perhaps that explains the difficult start of Damien Aziwa and company.

I also forgot that Internet came out the same year as Kibusia Mpimpa, what was the general response to that album? It definately had heavy competition with rival Werrason releasing a couple months ago, before Koffi followed with Effrakata in November.

I thought Internet was good; it was nice having Ficcare as a main soloist again since Pentagone and he showed that he hasn't missed a step musically. Plus, Tutu Caludji impressed me as a singer with Tshico Londonien and Alain Mpela is a vocal delight as always! What were your opinions on the album?

Simon Music really dropped the ball in terms of promoting the album, the clips were released WAY too late. They were already promoting Anti-Terror by the time those clips were released, which explains Alain Mpela's absences from the clips.

@mvulusi96

Interesting observation. Do you think there's a culture in Congolese music that prefers artist or bands to be formed locally as opposed to being imported? Perhaps that explains the difficult start of Damien Aziwa and company.

I also forgot that Internet came out the same year as Kibusia Mpimpa, what was the general response to that album? It definately had heavy competition with rival Werrason releasing a couple months ago, before Koffi followed with Effrakata in November.

I thought Internet was good; it was nice having Ficcare as a main soloist again since Pentagone and he showed that he hasn't missed a step musically. Plus, Tutu Caludji impressed me as a singer with Tshico Londonien and Alain Mpela is a vocal delight as always! What were your opinions on the album?

Simon Music really dropped the ball in terms of promoting the album, the clips were released WAY too late. They were already promoting Anti-Terror by the time those clips were released, which explains Alain Mpela's absences from the clips.

Not really. Viva La Musica was based in Europe from 1987 until 2006 with guys like Reddy Amisi, Stino Mubi, etc. releasing succesful solo album's. Wenge Aile Paris (1991-93), Tshala Muana & Nouvelle Generation were also based in Paris. Los Nickelos who inspired Zaiko, were based in Belgium. It is that those Europe-based guys didn't sement a fanbase in Kinshasa so they had necessary to settle, in order to succeed and many were faux chanteurs. Another thing is that the Maison Mere vs BCBG compettion ruined everything with everybody only being focused on JB-Werra-Koffi-Wemba


They received Intenet good. But the generic was not a huge succes and it could not really compete well against Kibuisa Mpimpa. Simon was in conflict with JB Mpiana. The DVD of the videoclips of Internet were produced by Damien Dimonekene and record/released in 2005, 1 year after Anti Terro.

@mvulusi96

The lack of impact was understandable, a follow up generique that equals or surpasses that of Toujour Humble is a tall order.

Why did Monsieur Simon drag his feet in terms of promoting clips for JB Mpiana's albums? He did very well with Pentagone, Toujour Humble, and Titanic but why was there no clips for Feux De L'amour (aside from the title song)?

@mvulusi96

The lack of impact was understandable, a follow up generique that equals or surpasses that of Toujour Humble is a tall order.

Why did Monsieur Simon drag his feet in terms of promoting clips for JB Mpiana's albums? He did very well with Pentagone, Toujour Humble, and Titanic but why was there no clips for Feux De L'amour (aside from the title song)?

The old contract of JB Mpiana with Mr Simon was releasing albums without videoclips. Titanic-videoclips were done by Shabani Records and released months later. The TH-videoclips were done by Damien Dimonekene and released in 2001 some months before Bercy. 

JB Mpiana revealed in many interviews that he regrets to have signed with Simon without looking very good the details of that contract. Because at that time he signed, he just needed the money and didn't really think about the future.

this explains even better lack of african awards for jb clips were never on time let alone promoted enough to  get the continental recognition a guy of his talent deserves and to be in contention for winning awards if i am not mistaken at kora 2001 or another award of that year jb was among nominees or pre-nominees and went with jeannette  to face effrakata and operation dragon, it was a lost cause already

@mvulusi96

Interesting observation. Do you think there's a culture in Congolese music that prefers artist or bands to be formed locally as opposed to being imported? Perhaps that explains the difficult start of Damien Aziwa and company.

I don't think is necessarily, preferring local artist but the fact that Congolese people , since only 30% of population got internet now a days and in the past was hard to know what was happening real time overseas, prefer physical copies of CD than internet and beside that it is easier to follow a local artist instead of follow the guy making albums in Europe

@mvulusi96

The lack of impact was understandable, a follow up generique that equals or surpasses that of Toujour Humble is a tall order.

Why did Monsieur Simon drag his feet in terms of promoting clips for JB Mpiana's albums? He did very well with Pentagone, Toujour Humble, and Titanic but why was there no clips for Feux De L'amour (aside from the title song)?

The old contract of JB Mpiana with Mr Simon was releasing albums without videoclips. Titanic-videoclips were done by Shabani Records and released months later. The TH-videoclips were done by Damien Dimonekene and released in 2001 some months before Bercy.

What became of Damien Dimonekene?

@mvulusi96

The lack of impact was understandable, a follow up generique that equals or surpasses that of Toujour Humble is a tall order.

Why did Monsieur Simon drag his feet in terms of promoting clips for JB Mpiana's albums? He did very well with Pentagone, Toujour Humble, and Titanic but why was there no clips for Feux De L'amour (aside from the title song)?

The old contract of JB Mpiana with Mr Simon was releasing albums without videoclips. Titanic-videoclips were done by Shabani Records and released months later. The TH-videoclips were done by Damien Dimonekene and released in 2001 some months before Bercy.

What became of Damien Dimonekene?

He's in Kinshasa now. I heard that works with PPRD now, but don't know if it is true.