Woah at this thread. This is all too shocking to me. It's pretty much corruption at every level. This is the first time i'm hearing about these practices of punishing band members in such a way physically and financially. Does this happen in 90% of our Congolese bands? Plus how do you know so much insider info?

Congolese culture revolves heavily on what Franco called “les on dits” or gossip. If something happens, someone will talk or it will be caught on tape.

These events happen in many bands, but everything (especially fights) are to another level in Maison Mère due to all the hot heads that have passed through the group.

I blame Werra in part because though he publicly tries to be a hands off guy... in every situation he’s usually instigating in the background via Sankara and co

I'm Congolese myself (1st gen American) and the concept of gossip/songi-songi/les on dits is nothing new to me. If anything,like you said it's one of the biggest parts of our culture.
But what amazes me is that it's gone to a level where people are getting physically harmed and not getting financially compensated because of gossip is crazy to me.

 Does anyone know if any of the original bands members are getting royalties from their previous work with Maison Mere? Or is it's a foreign concept to them? I know lots of business is centered on getting things now. I feel like I can automatically assume that general African distribution deals are fishy to begin with.
 It also sounds like Japonais had a huge part in arranging the music and left with nothing except gifts. Did I read that right? 

 Does anyone know if any of the original bands members are getting royalties from their previous work with Maison Mere? Or is it's a foreign concept to them? 

lol, no. That's royalites is a foreign langage to MM ex-members. They were barely getting scrap payments in the band. If it weren't for benevolent donors, most would have had nothing to really live on.

Early on Ferre and the rest were walking long distances to concerts, while Werra was being chauffered in Benzes. Meanwhile, they were the ones who made Maison Mère what it is. Whith out them, Werra would have left DRC in 1998 and settled in Montreal, Canada, no longer a musician.

It also sounds like Japonais had a huge part in arranging the music and left with nothing except gifts. Did I read that right?

Yup. You read that right.

 Does anyone know if any of the original bands members are getting royalties from their previous work with Maison Mere? Or is it's a foreign concept to them? 

lol, no. That's royalites is a foreign langage to MM ex-members. They were barely getting scrap payments in the band. If it weren't for benevolent donors, most would have had nothing to really live on.

Early on Ferre and the rest were walking long distances to concerts, while Werra was being chauffered in Benzes. Meanwhile, they were the ones who made Maison Mère what it is. Whith out them, Werra would have left DRC in 1998 and settled in Montreal, Canada, no longer a musician.

It also sounds like Japonais had a huge part in arranging the music and left with nothing except gifts. Did I read that right?

Yup. You read that right.

THE HELL?!
Ugh, sorry for the excessive questions but there's just an overwhelming of information on this board. Thanks. I had no clue Werra azalaki lokoso ya mbongo. It's upsetting but really unsurprising considering the corruption at every angle.

Is there a thread on the specifics of how business works between artists and distribution/record deals? Specifically Diego Music, Sonodisc and JPS? Because I know people are still buying these albums, it's more on how much if these artists are given for royalties and if they're given at all. And considering that Kabila is bribing musicians I'm guessing it's very little. Plus piracy is at an all time high in DRC. Where the hell is the Prime Minister of Music?

@Matebu

I could be wrong, but most artist within these big group like QL, Wenge, and so on make their living from saving the payment recieved from touring, mabangas, and their membership salary.

If you're a leader of these groups like Koffi, Werrason, and Roga Roga then they make the real money from touring and endorsement deals like Primus and Skol.

They really ought to make royalties a thing in Congo because too many of these talented artist struggle financially since they have zero ownership of the songs they help create.

That's why it is better to be a musican like a drummer, bassist, or guitarist than a singer in Congolese music. If you don't like your band, then you can pick up your instrument and walk but someone will quickly hire you. Where as singers may have difficulty due to combatants and crazed fans obstructing progress.

 Does anyone know if any of the original bands members are getting royalties from their previous work with Maison Mere? Or is it's a foreign concept to them? 

lol, no. That's royalites is a foreign langage to MM ex-members. They were barely getting scrap payments in the band. If it weren't for benevolent donors, most would have had nothing to really live on.

Early on Ferre and the rest were walking long distances to concerts, while Werra was being chauffered in Benzes. Meanwhile, they were the ones who made Maison Mère what it is. Whith out them, Werra would have left DRC in 1998 and settled in Montreal, Canada, no longer a musician.

It also sounds like Japonais had a huge part in arranging the music and left with nothing except gifts. Did I read that right?

Yup. You read that right.

THE HELL?!
Ugh, sorry for the excessive questions but there's just an overwhelming of information on this board. Thanks. I had no clue Werra azalaki lokoso ya mbongo. It's upsetting but really unsurprising considering the corruption at every angle.

Is there a thread on the specifics of how business works between artists and distribution/record deals? Specifically Diego Music, Sonodisc and JPS? Because I know people are still buying these albums, it's more on how much if these artists are given for royalties and if they're given at all. And considering that Kabila is bribing musicians I'm guessing it's very little. Plus piracy is at an all time high in DRC. Where the hell is the Prime Minister of Music?

I'll try to be short.
DRC is not a very organised country, and the music (since Congo has a huuuge high rate of unemployment) is seen along with soccer as the best way to get out of misery the problem is that except for Koffi, JB and Wazekwa, nobody in Congo pays directly the musicians unless the musician itself asks it (even though the musician does it it is probable that the administration will ask him part of the money the boss gave him) and Koffi furthermore stop to pay when he feel that you don't fit his group anymore for musicians, royalties are only received by the leader that decides to share it with the administration and the Chef of Orchestra. 100% of the time the musicians are played by donors who played them directly to make songs or to get mabanga into the songs, and the only time the artist get royalties is when they have their own songs but it happens if only you have some trust by the administration and luck, for example Brigade left Wenge MM without even a song credited to his name despite being the number one Atlaku in the entire country at the time, Ambulance the same, the deal that (in the past since now everyone except small leaders are independent) was to sell the album to the best producer and distributor who had the responsibility of marketing the album taking in exchange part of the disc's sells which he shared with the artist (Diego Music with Werra for example).
Furthermore on royalties it can give you a good life for some months but it doesn't give you the sureness of being healthy financially, only big leaders benefit from Royalties because the generique in the group albums are always credited to the leaders and if not to the orchestra (which is credited to the leader as well lol) and in the solo albums they are credited for whole the songs like Werra's 7 Jours so for concluding it no, I mean Bill doesn't benefit anymore of the time he had in MM by signing his songs same for Celeo or Lobeso, copyright in Congo is not a serious business by the way you can have the best song ever and sing it into a concert and themn the next day you could see someone singing it with no power to do nothing for example Japonais created the melody of Musselu (The Lobeso Crie) but Wenge MM stole it and it became one of the biggest successful crie in Ingeta with people going nuts for the crie.
Doing music in Congo it is hard and after all this legal, copyright, and royalties issues, of course there is the spiritual aspect, the bullies aspect, for example you have examples of.guys who did 10+ years in Orchestras with families to feed that are never promoted

@Matebu

I could be wrong, but most artist within these big group like QL, Wenge, and so on make their living from saving the payment recieved from touring, mabangas, and their membership salary.

On the surface, that's what one would think (and it happened in other bands), but with Werra's reputation that has existed since the days of Wenge 4x4, this has not happen in MM

It was mentioned Baby Ndombe in a recent interview that in 2001/2 Werra recieved $200,000 bonus from President Sassou of Brazza, but he give just 10 of 50+ musicians a $100 bonus. This is not normal behavior.

Frankly, if he paid everyone adequately, Les Marquis would've not been a thing.

In case you were wondering, here is the tell-all interview. Baby's tone and body language is of someone who doesn't give a damn who his ex-boss is

@Matebu

I have a few more questions regarding A La Queue Leu Leu, did Otis Lumumba play guitar alongside Japonais and Flamme Kapaya on the album? I know he toured with Wenge Musica Masion Mere, so it's possible he may have played on the album.

Lastly, whatever became of Guylian Mpungi? Was he a rhythm guitarist or mi-soloist? His run with Wenge Musica was very short, I suppose Werrason decided that he didn't need three guitarist.

@mvulusi96

I totally forgot about Coco Kiandia, I had no idea he settled in Canada! His run with the group was so short. What was the deal with Kilimanjaro? There was some hype about him joining Wenge BCBG but nothing came from it. And is he really related to Bill "Clinton" Kalonji?

@mvulusi96

Baby should have joined Les Marquis, his career would have likely went on better. Even though the band was short lived, all the main members got a career boost to pursue other things because their songs were very popular. Ferre Gola slowly became a Rhumba master (100 Kilos & Amour intérêt), Bill Clinton expanded his craft beyond just animation (Vous me reverrez), and JDT (Ecole & Eric Gwenye) really got to showcase his songwriting skills. I'm sure Baby would have been able to tease some of his potential as a solo artist just as well as the others. Can't forget about Serge, his song Mariage is among my favorite!

@Manzambi94

Kakol is definately a unique kind of bully, his insolence has almost no restraint. Probably the only person he didn't mess with directly was JDT, I've heard that he could fight very well.

Only god knows if Baby's career would have better of he joined Les Marquis.

Yes Kilimandjaro and Bill are brothers, they lived in the same house. Bill Clinton invited him to animate on his generique Mukusa Mukongo



BCBG-fans were claiming that Bill cries were created by Kilimandjaro. Kilimadjaro had some short parts on Internet. He had to animate on the original version of Anti-Terro (2002), which a PPU (Pipiyu) album in the beginning. But JB Mpiana stayed to long in Kinshasa, which made them leave.

@Matebu

I have a few more questions regarding A La Queue Leu Leu, did Otis Lumumba play guitar alongside Japonais and Flamme Kapaya on the album? I know he toured with Wenge Musica Masion Mere, so it's possible he may have played on the album.

Lastly, whatever became of Guylian Mpungi? Was he a rhythm guitarist or mi-soloist? His run with Wenge Musica was very short, I suppose Werrason decided that he didn't need three guitarist.

Guylain Mpungi was a rhythm-player. The mi-solist in Maison Mere was Aridjana who spent some months and went to Super Choc of Shora Mbemba.Maison Mere was rarely using the mi-solo position from 1997 till 2003, when Mogratana joined. I never heard about Guylain Mpungi again since Intervetion Rapide.

Yeah Otis Lumumba played on A La Que Leu Leu.

In case you were wondering, here is the tell-all interview. Baby's tone and body language is of someone who doesn't give a damn who his ex-boss is

sssss ahhhh ndombeleeee oza na vrai boule hein 

@mvulusi96

In reference to PPU, I was actually surprised that group didn't last after Wanted. The generique alone was stellar, the last good animations from Bebe Kerozene before he went on auto-pilot. They had all the makings to be a great spin off band from BCBG; Bic Rouge's excellent solos and the members could all sing just as good as they could dance.

Considering the troubles they had to overcome from being disconnected from BCBG because of ngulu affair, the fact that they could muster to release quality without backing from JB Mpiana is worth commending.

In my opinion, Bebe Kero should have stayed with Les Pipiyus instead of joining JDT. He felt more energized in these songs compared to the others, especially when he starts rapping in wolof.

Clearly imitating his idol, Bill Clinton often threw West African languages in his animations during the era of Kibusia Mpimpia...Mr.Photocopie though both are talented