I thought Mamale join Wazekwa along with CNN & Eric Tutsi. It's surprising the way Koffi left him behind for Zenith & USA. Was it for a particular reason ? Or he simply didn't need him. I know he went to BCBG after but i'm always confuse about this part of his career.
Personnally Gibson always make me laugh especially when he try to act like a tough guy. I read in this forum a story about him trying to confront JDL in a nightclub anf JDL put him in check. Why did he diss Marie Paul by the way ?
a detailed backstory to legendary records like solola bien, Loi, Mario etc would be appreciated
Indeed I would like to see topics with background of classics albums, like the preparation, recording, release, tour and your réaction when you first heard generiques or the whole album. I would like to have the background of Magie (my favorite Quartier Latin album) by example.
Aimelia used to look down on Ferre during the Wenge 4x4 days and when he joined Maison Mere at Bercy, Ferre wanted to form a camp with other musicians to make his time in Maison Mere hard. But Celeo & Lacoste didn't follow them and where the only one who were cool with him in the first months. Ferre was really mad at Lacoste, when Lacoste gave the mic to Aimelia after finishing singing Vita-Imana, the moment Werrason was about to present Aimelia to the public.
Another thing that made many of Maison Mere-camp still hate Aimelia was the way that they didn't forget how often Aimelia and Alain Mpela would drive with their new mercedes to La Zamba Playa after coming back from Europe with Wenge BCBG, when they were still preparing Force d'Intervention Rapide and none of them having a car. He would often follow the singers close with his car, to almost hit them and driving fast away. Also him often mocking them openly on tv and like Alain Mpela, naming themselves Wenge Socimat, which hurted the Maison Mere camp alot. There was once a show of journalist Thierry Pinzi, where Aimelia was invited to represent Wenge BCBG and JDT representing Wenge Maison Mere, but Aimelia not wanting to give JDT a hand, prefering to due the Bue-sign. Werrason himself said to Aimelia, that Aimelia was the person who hurted him the much for the way he used to scream on tv "ouais, ndenge ezali" as reaction when JB Mpiana, Blaise Bula and Alain Makaba would say something to diss Werrason, Adolphe and Masela on tv.
Ok now I understand why they hated him so much kiekiekiekie.
They are a lot of stories like that in Congolese music with musicians with brand new cars, clothes coming fresh from Europe who don't hesitate to mock and humiliate those who didn't have the chance to travel.
Why have they recorded A La Queue Leu Leu then? Wnd why guys Like Celeo and Kakol stayed tho? If th weren't getting paid why staying? Anyway I think they should have kept between themselves and form a new band that would have been the death of Werra. Immagine those guys crating Les Marquis Right Away.
They had already received the money of people they had to sing on the album and after some moment the feeling to start a rebel-band dissapeard. You can't out nowhere abandon a project in Congolese music, when you already received some money from people to record songs for them, otherwise you will get serious Ferre himself snitched Baby Ndombe to Werrason for wanting to create a band. Despite some problems, the bond in the band became stronger during the tour. They all defended Werrason, when he got arrrested in Brussels for the ngulu-affair and they still wanted to prove rival bands a point. For example doing better than Wenge BCBG at the next Stade des Martyrs-event, proving that they were better than Quartier Latin who started really to copy them, etc.
Kakol used to be and is still a pro-werra musicien. Celeo was getting money from Didi Kinuani to calm down, being also an agent of his company like Aimelia Lias. Celeo was not really motivated to leave because he knew that rebel-band doesn't last long and was getting alot profiting alot through matolo from soccer-players like Shabani Nonda, Tresor Lualua, politicans like Theophile Mbemba, the late Zahidi Ngoma, Moise Katumbi, etc. which was rare for a bandmember at that era and even for some bandleader. If he wanted to leave. He could already follow Adolphe Dominguez in his Tonya Tonya-project, because Adolphe was the person who brought him to Maison Mere and he was closer to him then Werrason, but he refused Adolphe offer and prefered to stay like most musicians.
I don't think that them all leaving Maison Mere and forming a band would be succes. Les Marquis only survived for 9 months with often problems being in the band (Bill fighting with Japonais, etc.). Baby, Ferre, Bill would do everything to humilate Aimelia, who was in Maison Mere often protected by Criss Ibanga, when them planning something against him. Bill and Celeo would start the tom-jerry fight, since that there would nobody would could dominate them, mindgames of Ferre vs Lacoste, etc. It would surely be a big mess.
The history of Congolese music have shown that massive departure can't ruin bandleaders. Werrason already survived the Wenge 4x4-split being left alone with Didier Masela "Général Kweck" and Adolphe Dominguez with all people claiming that his career was finished. But him surprising everyone with Force d'Intervention Rapide and becoming in one second the most popular musician of DRC for years long. Splits and massive departures strengthens bandleaders on the longterm.
Damn it seems like they really didn't like Aimelia. I heard a story of Baby Ndombe humiliating Aimelia at a airport (I don't know what he did exactly) with Aimelia replying and they almost fight if it wasn't for JDT separate them. I think Aimelia should have not join Maison Mère he didn't fit there.
You right about bandleaders becoming stronger after massive departure. It was the same for Koffi. The rebels always suffers the répercussion of forming of rebel band with strong ego wars and no split groups last long.
People rate Loi high because of it has Koffi's most danced generique on the album. Although it has the classic rumba's S.O.S., Phaseur, Airways and the hitsong Micko, the songs on Loi aren't on the level of his previous albums V12, Noblesse Oblige & Koweit Rive Gauche. If you compared the songs of Loi to the last three mentioned, you will see that Koffi regressed very hard on the term of the lyrics. It's like he hadn't the time to write or review the songs before recording, which is also understandable, because he toured alot because of the succes V12 and the recordings of Wake Up. Koffi Olomide didn't also introduce something new on Loi. But Loi is still a good album, but not better than Effrakata. Like when Quartier Latin released Magie, he would get strong criticism when releasing Loi, for wanting to copy Wenge and stealing their animations and not being the same Koffi of the 80s and the early 90s. Koffi would get an angry call from Werrason, who was mad that he stole Kaludji's new cri's (bayeba te somo, kubanza ya moyo) which Quartier Latin never used to animate in concerts and Marie Paul was also mad that Koffi took his cri of his atalaku Bizima (kuzana mpimpa). Koffi even talked about it on Trace TV without mentioning Werrason, when talking about the generic Loi. R.I.P. to Lebou Kabuya who played lead on this legendary generic. I will never forget his angry face in the videoclip, when having to Koffi who was acting like a king and Koffi standing on the balcony with the dancers (the late Mireille and Kamono laughing about Sam, Lebou, Do Akongo, Babia, Champion, Suzuki and co who were making a fool of themselves).
Effrakata on his side is a masterpiece. The songs like Effervescent, G.B. Gros Bébé, Logique and Washington are very poetic. Koffi also didn't only focus on subject (love) like most albums, he also about work/perseverance on the songs Rien à Signaler & Bilan and praised himself on Suivez le Guide. The album has also like Attentat a big involvement of Quartier Latin-singers Bouro Mpela, Fally Ipupa, Lola Muana, Montana Kamenga, Michaux Chamberton, Deo Brondo, Soleil Wanga, Jordan Kusa & Jipson Butukondolo, which is normally not the case since Quartier Latin started participating on Noblesse Oblige until Loi, the singers having just vocals on 2 or 3 songs max. In Effrakata there also alot of solo guitar on rumba's (G.B. Gros Bebe, Logique, Babou & Destination), whereas on Loi you got it only on Vicky. The contribution of drummer Ile de Cambodge with his "double roulage" parition on the generics Effrakata & Génération Bercy and the sebenes of Gilba and R.A.S. brought something new. No wonder that Quartier Latin was nominated as "best group" at the Kora Awards of 2002 for this album, but seeing Makoma going away it, Nevertheless Koffi still won 4 at the edition of 2002. On Effrakata, arranger Philphe Guez gave everything, I think that it's were the best arrangements he did on a Koffi album. They started working with each other on Koweit Rive Gauche until B.E.K. (even on Quartier Latin except Danger de Mort). All songs on Effrakata were magic because of him (Choc, Effevescent, Medecin de Nuit, Robot, Babou, etc.). He even played keyboards on the two generics of the album. I wonder why Koffi never invited him for a concert in Paris to play keyboard, because they hadn't a keyboard player for Europe-concerts until 2004.
Effrakata is better even thought Loi is good. Koffi was getting strong critics after Magie ? I thought that album was very well received and a big success in Africa, Europe and USA. Maybe it was because of the electric guitar and Beevans copying Ekokota ?
Willy Bula didn’t really had drugproblems in Quartier Latin. It was just that he & Suzuki used to use it alot. Like the way later Lola Muana & Bouro Mpela were the drugslords in Effrakata-generation. Willy Bula & Suzuki became really addicted when they were in Europe in the 2000s. I guess that it was due to them not having fame anymore and it affecting them psychologically with the drugs making it worser. If there was Facebook & Instagram at that time they would have been exposed multiple times on social media.
Damn I can't imagine how hard the 2000's was for them. It was hard at that for congolese artist to have a sucessful solo career with le Carré Magique dominating the game. At least Suzuki tried with Décompte Final but Willy Bula went quickly quiet when he ran away in Europe in 1999 he didn't even try to release an album i don't know if he ever did a featuring.