Compilation of; *his first showcase of Droit Chemin in July 2006 after releasing the album, Quartier Latin had the same day their goodbye-concert at Elysee Montmarte, but he didn't show up at the concert. He was only at the sound-check at few hours before. *His play show in Libreville, Gabon (August 2006), with the dancers that participated to the Droit Chemin-videos clips. Koffi Olomide was at that moment still waiting for Fally to go towards Abidjan, Cote d'Ivoire. But he didn't take his phone up until a guy answered and kind of disrespected Koffi. Koffi then understanding that he would go with them and him performing without Fally in Ivory Coast. Him still having the hope about him to come back for their concerts in Pointe Noire and Brazzaville before returning to Kinshasa.*His first official interview of his solo-career with Thierry Dawa. (1 Septembre 2006). The interview was famous because of Fally saying that he was in "mise en disponibilité". This made Koffi really furious and dissapointed at the same time and him reacting the following week in an interview with the same Thierry Dawa. To explain that Fally lied and that he never was in "mise en disponibilité". Him just wanting to profit from the public of Quartier Latin and being afraid to say that he officialy left Quartier Latin.*His first official concert with his band which was at Pisicine de GHK organised by Shabani Records. Back then Liputa started to get crazy succes.*His interview on CWT TV (October 2006), where he explained that doesn't have a band, but them being session musicians and being free to collaborate with other artists (like for example Bill Clinton if he has a problem with his lead guitarist) and having the possiblities to have a concert and even tours with the bandleader in question. The artist not having the label of "the solist of Fally". Fally explaining that it will lead to less departures in bands and no spokemen insulting each other on tv.*Fally's live concert at the national television RTNC (Studio Maman Ngebi) to present his album (7 October 2006)*a part of his interview with Paulin Mukendi (october 2006) explaining a part of Orgasy. *his first official concert in Paris (Dock Eiffel), 4 november 2006*his arrival in Brussels a day before his show (16 november 2006)*his concert at le Marignan, Brussels (17 novembre 2006)*his concert in Laussane, Switserland (23 decembre 2006)*his interview with Yves Kambala (28 december 2006)Fally him explaining it will *
I think that its the fame that changed him. If you look well almost all bandleaders were different before getting fame or in their first years of gaining fame as solo-artist. A good examples are Werrason in the period after the split until Solola Bien, King Kester Emeneya in 1977 when he just joined Viva la Musica not having people around him and being seen as a shy guy, Koffi Olomidé before Noblesse Oblige, etc.About getting sympathy from Quartier Latin-fans. There stories about him being afraid about to openly say on tv that he left, thinking that he would everything in no time and also that he still thinking about a return towards Quartier Latin. But the people around keeping pushing to go further. I remember also reading an article on internet back in the days, before Quartier Latin returning back to Africa, in the period that Bouya Mayola scammed, that he was about mad Koffi trying to sabotate his album-release and that he was ready to attack him on tv.
Fally Ipupa was just lucky that in Congo he had those who had problems with Koffi being behind him. Firstly, Gabriel Shabani of Shabani Record who had his own tv-channel which is Congoweb Tv which was followed a lot. He was the same person who organised Fally’s first concert which was at GHK . Secondly, late Michel Lady Luya “la plume d’or” head of tv-channel Mirador which was also followed alot and the head of newspapers “le palmares” and “visa2000”. Visa 2000 was followed alot in the polemic-era. He was really important for the promotion of Droit Chemin. Both guys kind of coached Fally in his first months as solo-artist. Other people that helped Fally alot, are the journalists that he had good contacts with; journalist Djo K Kabengele (who was very popular at time on Raga TV) who was one of the rare that already believed in from day 1 and Naty Lokole who helped him alot with the promo of Droit Chemin and who was first a pro-g5 journalist, wanting all artists of the 1998-2005 generation to leave their bands and start a solo-career, pushing them to do so behind the scenes and keeping asking them in interview why they wouldn’t to release an album like Fally. David Monsoh contribution to Fally’s is not that big like people think. Because of being everywhere with Fally and making pictures together, made people think that he did everything while it wasn’t the case. Droit Chemin was about to flop when it came out. It started to gain succes after 2 months of its release. The succes started in Kinshasa with song Liputa and it slowly blew over the Congolese community living in Europe. Then the rest of songs also getting succes and in no time the whole album being a huge succes. The succes being that big that it overshadowed Danger de Mort. Fally then also signing with brewering Bracongo/Skol because of his succes(i’m sure if it was through his friend Bill Clinton) and it helping to breathe a little, because to survive as a solo-artist in kinshasa without having a beer-company as sponsor at that time was very difficult. Its the press in Congo, Koffi’s former team (Eddy Badiata, Alain Nzambé, etc.) that joined Fally and the Congolese community in Europe that made Fally the person who he is today. Collaborating with foreign artists doesn’t mean anything. You have succeeded in your community first and the rest will come. On Droit Chemin, Fally had only a collaboration with Krys of French rapduo Neg’Marrons who already started to get finished. His collaboration with Krys on Droit Chemin remix got released almost 1 year later and when it came out Fally was already going strong. The thing that made French artists easily accept to do featerings with Fally, was because he got presented with the label “Koffi’s former bandmember”. When his collaborations Krys “Droit Chemin Remix” and Mokobe on “Malembé” were a big a succes and hum getting trophees because of it, he could go further with his own name to get accepted for collaborations. Like, the man that had succes with “Droit Chemin Remix”, winning several awards and an Olympia on his name. The collaborations he did on A2BM and the trophees he won at MAMA even opened more doors for him. The thing that killed Bouro Mpela and Soleil Wanga was promotion. For Bouro Mpela it was already difficult to succeed, because he had that of “pigeon voyageur” label for having leaving Quartier Latin twice and returning twice, also that the album Morel Combat with his brother Alain Mpela flopped. So people couldn’t take him serious anymore. Bouro Mpela had apparently first a good record label. But the label getting threats and various letters/mails. They ended up by contacting Bouro that they didn’t want to produce his album “Vice de Procedure” anymore. This forced Bouro to look for another label, but in the mid-2000s it was almost impossible for Congolese artists to find a proper recordlabel. Most artists started to do auto-production. Bouro then started to collaborate with music-label Duo d’Enfer of the brothers Papy Mukiadi and late Adrien Mukiadi. But the album was barely promoted and it sadly flopped very hard while it had good songs. Bouro and Soleil Wanga hadn’t the luck that Fally had about having several influent media proprietors being behind them and sitting in the same situation like Fally, about being a bandmember and getting used as a Trojan Horse to get the career of your boss finished. Bouro Mpela already left Quartier Latin a long time before releasing his album. He kind of disappeared after SWI because when the G5 revolution started it was all about Ferre vs Fally and people having hope for both Soleil Wanga & Didier Lacoste and guys like Mirage Supersonic and Kabose Bulembi also slowly coming. Soleil Wanga’s album was the most awaited album of 2009 after Fally’s A2BM and Ferre’s QEDT, although having left QL a long time already, but the hype still being there and people being interested about what he had to deliver. But his album “Apres Toi” sadly flopped very hard, people forgot in no-time about him and he disappeared from the radar. This because he didn’t had a proper record-label that could promote his album properly, not having like Fally the luck of big media proprietors supporting you and boosting the album, the album for a big part being funded by himself (him already complaining about it in interviews before the release) and its quite expensive to do promotion after an album-release in kinshasa on your own because you have to pay all those tv-channels and radio-channels plus old bandleaders and rivals/potential rivals who are already established giving order to not broadcast or play your music on the radio/tv.
Heritier’s departure created alot buzz. Everybody was waiting for him to leave one day, because he was the last star of the WMM-dream team (1997-2004). He had support from many donors when he left, a part of WMM-fans followed him. He had also support from some tv-journalists but this time it was in a different era and youtube-journalists/bloggers who had more impact. Almost all youtube-journalists followed Heritier (Ken Mpiana, Patcho RFI, Gloria Olangy, Carine Mokonzi, Adams Luzolo, etc.). A part also already leaving just before Heritier his album, because of conflicts. Heritier had a good start and did alot of concerts in Kinshasa without having an album, having packed public rehearsals and he also toured in Angola. The problem was that the WMM-camp kept insulting him on youtube and social media, discrediting everything he was doing, etc. Heritier then also not being smart by reacting through his spokemen, youtube-journalists and himself in interviews instead of ignoring it like Fally did. It was also one of the reasons why Retirada had first difficulties to be a banger from the start, because Heritier was putting to much energy in reacting against WMM who were always attacking him instead of promoting his album and at the sametime WMM putting behind the scenes boycotts in media and nightclubs. BM being the only song that was doing well. Normally after an 1 year and the album still not being hot, its officially considered as a flop. But the crazy thing with Heritier was that after 1 year releasing his album, the album suddenly starting to go strong and songs like D de D, Abeti Faux and Tout en Noire becoming big hits and the album being played everywhere. Every artist has his own a different style, own speciality, his weakness, his strong sides, etc. You have artists that have strong start but become weaker with the years going on, you have artists who have a weak start but become stronger with every album, you have artists that come with varying results. Also don’t forget that we live in an era where’s becoming difficult for Congolese artists to record classic albums; because of the concert-ban, solo-artists having to fund the album on their own, demand from donors, songwriters not being on the same level anymore like 20 years ago, instrumentalists also not being on the same level like those of 20 years, etc. Leny Bidens he a guy know from his time in Wenge Maison Mere having already worked with them on Temps Present through his dad Sec Bidens, the albums Techno Malewa and the sound of the two Zeniths (2008 & 2010). I think that both guys wanted to build on each other. By the one becoming a legendary solo-artist in the future and the other legendary arranger. Its good to work with Maika Munan and Philphe Guez, but how will the new generation creates his own history and get his own legengary arrangers if nobody works with them ? Heritier is Heritier, Fally is Fally. You can’t compare both guys. I never understood why people started doing it. Also about people wanting to compare him at the same time to Ferre Gola. Fally started his music-career in 2006, Heritier in 2015 which is almost 10 years later. Why don't people compare Heritier to Fabregas ?The thing that makes Fally bigger than many artists at the moment, is because of doing Tokooos-music which attracts the young generation in Europe, the youngsters in Francophone Africa who are nowadays more into French music than African music and also a small part of French people who trough it start to get interested in his rumba-music. At the same time its also the French media which boost him alot on tv through interviews and articles in newspapers like Papa Wemba back in the days. This makes him get alot of contracts around French-speaking countries of Africa while Congolese artists are blocked in Kinshasa and when being lucky once going to Abidjan in Ivory Coast (which is like the third capital of Congolese music), neighbouring countries, South Africa which has a big Congolese community or on rare occasions to Guinee Equatoriale where you Obiang Nguema who’s a big fan of Congolese music. The thing which makes Fally not grow even bigger in Europe is the concert-ban otherwise he could have performed already several times at Bercy, the big halls of Brussels (Forest National & Palais 12) and maybe on this moment one of the stadiums in Paris (Parc des Princes or Stade de France)
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Topic: (Archive) Fally Ipupa - La Star du Moment (2006) (Read 1702 times)
