Them saying that after a recent check, they found out that Madilu wasn't a member of SACEM, which means that his heirs don't receive any financial compensation, when someone samples or interpret his work and when his music is broadcasted on tv, radio or any music streaming service. However some songs are registered by his fromer producers, who could have easily enrolled him for a amount of 115 euros. They also found out that around 30 songs are credited to Denewade, who used to work with Verckys (its not mentioned that he passed away since 1995, so it must somebody else using benefiting from Madilu's royalties).
It's really shocking when reading this. So it's basically means that Madilu was only living from concerts and the pay-check that he was a receiving from his label when signing a contract, which was basically peannuts if you compare with the money they were getting. Also the money that gets collected in Ivory Coast, Benin, Mali, Kenya, Uganda, Tanzania, Zambia, etc. get sended there, because back in 1985 Tabu Ley, Franco and all other artists that were in Europe at that moment declared that they don't trust SONECA anymore and that they decided to transfer their rights to SACEM, them signing papers, etc. This means that those who are not member of SACEM missed a huge part of money and getting stolen by other artists or people that represent SONECA or SOCODA and claim to get those royalties for the artists living in Kinshasa, but them stealing it in reality. In a recent interview Stino revealed that Koffi alerted him that late Verckys got his royalties, while his album Romeo et Juillette was hot in the African musiccharts of Europe. I am wonder who's getting the royalties under Denewade's name, because he already passed away since 1995. I wonder if Pepe Kalle's family profits benefits from Pepe Kalle's work.
Back in the days, there was an article written by a journalist, who was defending Congolese music-producers such as Jhymmy Mukelenge and Rigo Makengo against late Jean Pierre Saah, etc. The journalist claiming that many producers that were paying big money, were using dirty money. Also that the money they were paid were a big scam. Because they were signing for like 5 albums or 10 years for an amount that you get in 1 year for 1 album, also giving the rights of all songs to JPS Production.
10 years ago, when Koffi was beefing with Ferre, he signed the singer that originally wrote Vita-Imana to his label (I don't remember his name) and the journalist asking him if he finally profit from that song. The singer explaining with big anger that he tried to sue Werrason and Ferre Gola, but got informed by SACEM that he could not benefit from royalties, because of Werrason having transfered all rights of Solola Bien to JPS Production.
