I think that its the band he left in Kinshasa which he formed in 1994/95. I remember him returing to Viva in 1998/99, particpating to Zenith, Forest National and other Viva La Musica-concerts in 1999, 2000 & 2001.

I think that its from his album Cour des Grand (1999) released with help of his Japanese friends.

His band did not last long when he went back to Europe must've been a lot of money to pay those musicians and dancers.

I don't believe that he payed his musicians. He from Viva lol. Reddy said once proudly that he doesn't pay his musicians and if he pays them then its sometimes after 9 months. With the journalist asking why and him replying that Papa Wemba was doing the same thing and that it's a good example with the journalist thinking like 'what are talking about' and Reddy adding that they will be big headed if you pay them. Emeneya said something similair back in the days.

Congolese bandleaders of that era were never paying their musicians. Most musicians were also not seeing it as a problem because they were doing it for fun. It only started get a problem when they were really getting fame. The only musician who was paying musicians each month was Koffi Olomide, but it was then only 100 dollar each month which isn't enough if you have a wife and two children at home. Even if he was getting contracts of 30.000 dollars or 20.000 for one concert in an African country like Kenya or Ivory Coast then he was still paying them 100 dollars in a month. It is almost impossible to pay musicians with concerts in Kinshasa if you have more than 30+ musicians, because you get only 1000 dollars or 2000 if you are very lucky, but that's is only with VIP-concerts. So if we are talking about those concerts at those little bars, then mawa trop. With also the pressure of fans to live a king (having expensive cars, villa's, sidechicks, etc.). It's only with concerts in African countries, tours in Europe, mabanga, sponsors like Vodacom, Bracongo, Bralima and matolo to policitians, businessmen, etc., being gigolo, that they survive.

Congolese bandleaders of that era were never paying their musicians. Most musicians were also not seeing it as a problem because they were doing it for fun. It only started get a problem when they were really getting fame. The only musician who was paying musicians each month was Koffi Olomide, but it was then only 100 dollar each month which isn't enough if you have a wife and two children at home. Even if he was getting contracts of 30.000 dollars or 20.000 for one concert in an African country like Kenya or Ivory Coast then he was still paying them 100 dollars in a month. It is almost impossible to pay musicians with concerts in Kinshasa if you have more than 30+ with the pressure of fans to live a king (having expensive cars, villa's, sidechicks, etc.) . Because you get only 1000 dollars or 2000 if you are very lucky, but that's is only with VIP-concerts. So if we are talking about those concerts at those little bars, then mawa trop. It's only with concerts in African countries, tours in Europe, mabanga, sponsors like Vodacom, Bracongo, Bralima and matolo to policitians, businessmen, etc., being gigolo, that they survive.

Congolese bandleaders do have a lot on their plates.

Yeah, I that it's time for them to stand up and solve the problem of SOCODA. So that those tv and radiochannel, bars, companies finally pay those royalties. If that happens they will be millionaires, they will finally be able to pay all their musician, they will not be forced to do matolo and keeping touring months long in Europe. But they will never happen, because they are like little children. The combattans-stuff in London started in 2006 and that of the Schengen-area in 2011, but they still didn't solve it. Because of them battling about who will be the first artist to perform in London or Paris and themselves saboting concerts. If those bandleaders were really mature then they would have solved the problem in months.

One of the reasons of the decline of Congolese music from 2002/03 is that on some point the diaspora started to become tired of Congolese bands spending 7, 8, 9 or some even 10 months in Europe with concerts in Brussels and Paris starting to get mpiaka and not more being able to fill halls like Zenith while in the past they were only spending max. 4 months. With then the ngulu-affaires also coming. I think that 2003 was the year for them to be united and solve all those problems in DR Congo, but they were blind because of their love for Europe. The Maisha Parc-project could have saved them but they showed the politicians how immature they are.

The socoda will be sorted out one day it's sad how a congolese artists releases a good album but does profit anything from royaltie money.

From day 1 its already on the black market and guys screaming from speakers that people can download new albums of Fally, Ferre, Koffi, etc. for 1 dollar and put them on usb-keys. With nobody anything. I witnessed it in 2017, in Matonge when QQJD just came out. Those businesses are mostly runned by Lebanese people, or guys coming from China, Sri Lanka, Pakistan or Nigeria and they are often protected by people from the governement. So they can do what they want. The album sales of Europe were saving bandleaders, but now its even hard to sell for them albums in Europe because of the technology.

I don't believe that those problems with Socoda will be solved. If concerts in Europe are allowed again, then they will forgot those stories very quickly.

From day 1 its already on the black market and guys screaming from speakers that people can download new albums of Fally, Ferre, Koffi, etc. for 1 dollar and put them on usb-keys. With nobody anything. I witnessed it in 2017, in Matonge when QQJD just came out. Those businesses are mostly runned by Lebanese people, or guys coming from China, Sri Lanka, Pakistan or Nigeria and they are often protected by people from the governement. So they can do what they want. The album sales of Europe were saving bandleaders, but now its even hard to sell for them albums in Europe because of the technology.

I don't believe that those problems with Socoda will be solved. If concerts in Europe are allowed again, then they will forgot those stories very quickly.

No more CDs and that's why other shops are closing downs because people download songs from internet in other words companies like spotify and itunes are making money.