Congo Vibes
Music => Congolese Music => Topic started by: mvulusi96 on May 23, 2019, 01:12
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(https://i.postimg.cc/HWr19V9K/R-13625163-1557767600-8404-jpeg.jpg) (https://postimages.org/)
Roga Roga being credited on all songs as composer, except Etape of his best friend Espe Bass lol.
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This guy Roga Roga vraiment lol
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This guy Roga Roga vraiment lol
Ridiculous really, not sure how those guys put up with that kind of behavior
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Whats compositeur? Is it the guy working the musical / instrumental arrangements? What if he was the guy behind the extra musica sound since way back? He was playing solo and maybe even mi solo so I dont see how thats so crazy that he was compositeur
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Whats compositeur? Is it the guy working the musical / instrumental arrangements? What if he was the guy behind the extra musica sound since way back? He was playing solo and maybe even mi solo so I dont see how thats so crazy that he was compositeur
The way the song is arranged. For example. Oxygene can come with his song, but Roga can then change the way song is sung. Hence why Maika Munan was often credited as composer of Papa Wemba's and Reddy Amisi's songs. The same for Sec Bidens who was also often credited as composer of Wemba's song.
The only thing that I found strange is that Roga is credited as composor of every song except Etape of Espe Bass. It was also the only album were he did that, because in Nouveaux Missiles, Ouragan, Etat Major, Shalai, Trop c'est Trop & Obligatoire everybody is credited as auteur-compositeur of a song.
Was it a way to get alot of money from SACEM with Espe Bass? Because if you are auteur-compositeur of a song, you will get 50%, the other 50% will go to the recordlabel, but if you are only a composer you will get 25%. So thats mean that Roga Roga got 25% from every song (except Etape) if he knew his rights already (he was new in the business, it can be that Denide used to scam them). Back in 1997, I saw a VHS of them being interviewed by Manda Tchebwa in Brussels and them mixing Confirmation and buying a car. In 2009 I saw those extrats back in the Succes-Extra videoclip.
https://www.youtube.com/watch?v=_OG10UUeYQQ
from 2:18 (It seems that they were so happy to be in Belgium "Ya Lola"), from 3:30 (here they are in Matonge, a quarter in Brussels where people from DR Congo used to meet each other), I guess that Roga & Espe thinking about a concert at Madeleine (a musichall in Brussels), like Wenge's first one in 1992.
Maybe that Roga Roga wanted to copy Alain Makaba who was also credited as composer of almost every song in the Anges Adorbles-album. On Etat Major, he would play also rhythm and solo like Makaba on Kin E Bouge.
(https://i.postimg.cc/hv6hsN1j/R-8164385-1456345310-5254-jpeg.jpg) (https://postimages.org/)
(https://i.postimg.cc/0jRyJ7kM/R-3500102-1454243882-6422-jpeg.jpg) (https://postimages.org/)
(https://i.postimg.cc/pLGVJwVt/81b-X0-S4s-Uz-L-SL1420.jpg) (https://postimg.cc/VJtcYHb7)
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@mvulusi96
As far as you know, do any of our musicans hold the rights to their live concert footage and album music videos as part of their agreement with SACEM and other music publishers?
Performance Rights Organizations (we call PROs in America) are negotiable terms of music publishing contracts. PROs are managed through many companies such as ASCAP, BMI, and SACEM; they negotiate licenses for public performances and tracks their usage. Afterwards, they collect the revenue and distribute the royalties generated back to the rights holders.
https://youtu.be/xBuazMF9Bfw
So for example, the above concert VHS is assembled and likely owned by Cyriaque Bassoka Productions. However, with a good publishing contract Roga Roga could be entitled to a significant chunk of the profit made from the commerical distribution of the footage since the music they're playing is licensed by SACEM. If the contract is very good, he could even be legally entitled to obtain the rights to the material since the audio on the film is copyrighted material.
As much polemic as we have seen in our music over money, something tells me that we're not negotiating the types of music contracts that makes our art a long-term investment despite the massive amount of money that flows about to out the albums, concerts, and corperate endorsement deals together.
The same concept goes for the clips for their albums. Although JPS Production no longer exist, Extra Musica's catolog is under a new contract that licenses rights to Youtube courtesy of The Orchard Music, an American music publisher.
https://youtu.be/OP9D3C5mpsw
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@mvulusi96
As far as you know, do any of our musicans hold the rights to their live concert footage and album music videos as part of their agreement with SACEM and other music publishers?
Performance Rights Organizations (we call PROs in America) are negotiable terms of music publishing contracts. PROs are managed through many companies such as ASCAP, BMI, and SACEM; they negotiate licenses for public performances and tracks their usage. Afterwards, they collect the revenue and distribute the royalties generated back to the rights holders.
https://youtu.be/xBuazMF9Bfw
So for example, the above concert VHS is assembled and likely owned by Cyriaque Bassoka Productions. However, with a good publishing contract Roga Roga could be entitled to a significant chunk of the profit made from the commerical distribution of the footage since the music they're playing is licensed by SACEM. If the contract is very good, he could even be legally entitled to obtain the rights to the material since the audio on the film is copyrighted material.
As much polemic as we have seen in our music over money, something tells me that we're not negotiating the types of music contracts that makes our art a long-term investment despite the massive amount of money that flows about to out the albums, concerts, and corperate endorsement deals together.
The same concept goes for the clips for their albums. Although JPS Production no longer exist, Extra Musica's catolog is under a new contract that licenses rights to Youtube courtesy of The Orchard Music, an American music publisher.
https://youtu.be/OP9D3C5mpsw
It depends most Congolese bandleaders don't care about that except if it is a big event at Stade des Martyrs, Olympia, Zenith or Bercy, releasing then sometimes also a cd-version. But most of the time they sell their videos of concerts in Kinshasa and concerts during the Europe tour to producers like Jhimmhy Mukelenge, Photo Joel Mbetenge, Badive Fulampungu, Damien Dimonekene, Manu Luvaka, Rigo Makengo, etc. whp are then giving those bandleaders a huge amount and those producers then getting 100% of those rights, sometimes they are selling the same footage to 3 different producers (Werra's concert at Stade des Martyrs in 2001 had 2 versions). Some of those producers used to fight sometimes against each other for that. Photo Joel Mbetenge used to piss off alot of producers when he had to exclusivity of Werrason's concert at l'Esplanade de Palais du Peuple and Papa Wemba live at Zenith 2000, bragging that he's the best in making videos with good quality while his videos were often of bad quality lol. I heard that Manu Luvaka used to threaten cameramen who weren't hired by him during concerts who were organised by him. Selling VHS and later Dvd's were a big business in those days.
I don't know how it is nowadays, because nobody buys dvds and its rare to see a new dvd of a concert in Paris & Brussels. And all those people stopped with the business, because now everybody film those concerts with their own phone and put it on youtube. So it doesn't make sens to put money in that and there aren't concerts anymore in Europe (Olympia, Zenith de Paris, Bercy). The disadvantage of those videos on youtube is that you will only see the concert from one angle. Btw there aren't dvd-shops in Paris & Brussels anymore, they are only a few. The last DVD that sold alot in Europe was the one of Heritier Wantanabe at Romeo Golf (his first concert).
https://www.youtube.com/watch?v=57SAQv6yngk