Wait so it was in fact late Simon Ndjonang who was behind JB Mpiana's 5 years ban in the Schengen Area ?

For years I wondered why Blaise Bula never recorded the album Boom, which he had announced before the Europe tour. I was surprised to hear Rasta Bob say that the album was actually recorded, but that people paid the label money not to release it. It’s really sad to hear that. I also don’t understand how the concert promoter himself messed up their first concert at the Élysée Montmartre by not renting instruments. I believe that rivals may have paid money to sabotage Blaise’s show. By ruining the first concert, they knew the group wouldn’t be able to build momentum for the rest of the tour, and the whole tour would end up being affected.

I had already heard that Tutu Calugi was supposed to do the cri’s on Ponderation 8. At first I was convinced that he didn’t participate because he feared losing his place in Wenge BCBG. But I didn’t know it was actually because he had heard about Reagan’s work,  him being convinced and to seeing why he had to add cri's. So sad how things ended with Reagan. Koffi and his own family killed his career.

Rasta Bob me laugh when he said that during the Europe tour of 1999, Tutu Calugi came to BCBG's headquarter with Blaise Bula’s Ponderation 8 poster and CD to promote it. Everyone there got angry with him, but Tutu replying  that Blaise Bula had never  left and that he only had a conflict with JB. I remember that when Blaise Bula released Ponderation 8, he kept saying that he had never left Wenge BCBG and that he was simply waiting for them to return. According to him, since they had stayed in Europe for so long, they had no other choice but to record an album to not be jobless, lol

I think jb being unhappy with some issues like clips and so on played a role along with the fact jps was trying to sign jb by offering double of whatever simon would offer,it could then explain why the first post ban tours of bcbg always included concerts for simon,probably as a payback because simon always liked to sign congolese artists for 10 years by getting them crazy with the sign on fee of contract which was often an amount they had never touched
tutu was really affected by blaise leaving,he even cried and tried to beg him but jb was already also on his side feed with jesters reporting that blaise could take the guys he brought in at the start of bcbg(alba rio zygal) to go solo

So Koffi Olomidé and Werrason were innocent in this affair? Because their names were mentioned among the people who were behind the ban. The late Mbuta Kis even attacked Koffi in one of those cassettes while explaining why they weren’t going to Europe anymore when they were stuck in Kinshasa for two years.

Talking about those post-ban concerts of JB Mpiana, even the Mpunda concert in 2010 was produced by Monsieur Simon’s label. I remember seeing an extract of Congomikili back in the days, where JB Mpiana said that Soyons Sérieux would be produced by Obouo Music of David Monsoh and that the then upcoming Chemin de Fer was Monsieur Simon’s album.

In the DVD where Werrason was trying to defend himself about the FIKIN 2005 affair, he came with a story saying that he had heard that Monsieur Simon was at the Grand Hôtel de Kinshasa about to sign contracts with JB Mpiana. Coincidentally, that same year JB Mpiana managed to perform in Ireland and the following year finally performed in Paris after four years of absence.

It seems that Monsieur Simon’s contract was very tricky. Some say it was five years, while others say it was a ten-year contract. It has never been clear to me. I wonder what the clauses were. I don’t know if it was JB Mpiana himself or someone else who said it, but apparently JB was already fed up with Monsieur Simon in 1999 and wanted to leave when Koffi sent those Zoulou gangsters to burn his car. But Papa Wemba reportedly advised him to stay and respect the contract

i asked my brother tonight and he said it was not just simon,it was simon,some artists and also some politicians because of the tribal war who all sent complaints especially when there was often changes of people in positions with the jb werra rivalry,for example christophe muzungu theo mbemba and co
monsieur simon always signed 10 years,be it for jb,extra musica international,Z1 and les marquis all of them signed 10 years they were impressed with the money but then they'd mess up and not respect the contract and lose the rest of the money,and they'd just let it go because they did not have that culture of process in justice to stand for their rights and all that so if he wanted he'd have ways of keeping control on their careers even without him,i believe even les marquis it was big big donors who had to pay him something to let bill and ferre continue in peace otherwise they'd have done their 7 8 first years of their career for him
yeah that incident in sarcelles,and another one again in 2001 after bercy

I wasn’t aware that they burned JB’s car again after Bercy. I only heard rumors about JB losing his head after Bercy and the story about Canada with Amida, which JF Ifonge often shares, but it had nothing to do with the beef with Koffi.

I remember the press claiming that Jus d'Ete Mulopwe quickly came to Kinshasa in 2006 not to promote Eluka Makambu, but simply to escape from Monsieur Simon who sued him for the non-respect of the 10 years contract. They said the same thing about Bill Clinton Kalonji as well, who released Kizoba-Zoba at that time. Months after Ferre's departure from Quartier Latin, I read somewhere that Monsieur Simon sued Koffi for “stealing” Ferre, arguing that Koffi did not have the right to sign him while he was still in Les Marquis. However, when the lawyer saw the contract of Les Marquis and the amount Koffi paid Ferre to join Quartier Latin, he laughed and simply closed the case

The contracts that Congolese artists were signing with SIPE Production, owned by Monsieur Simon and JPS Production of Jean-Pierre Saah were very stupid. They simply took advantage of the weak position of Congolese artists, knowing that no label in Europe would ever pay them that kind of money and the Congolese music-industry being non-existent. They made a lot of money off their backs. Congolese music used to be the most listened African music at that time. That’s why no label was able to sign Koffi after Force de Frappe, because his fee was too high. Which made Koffi simply extend his contract with Sono/Next Music until the label went bankrupt in 2003. People mocked and criticized Emeneya for producing Longue Histoire on his own with his staff members, but if you look closely, he actually made more money by producing the album himself. However, the promotion later became weak due to an internal conflict with JDK Décor over the distribution of the profits

In this interview, Emeneya explains that the late Jean-Pierre Saah wanted to produce Nouvel Ordre and offered him a 10-year contract worth 150,000 French Francs, which would be roughly €35,000 when adjusted for inflation and purchasing power of today. Emeneya said that in the conversation with Jean Pierre Saah, that in one year he could earn about 1.5 million French francs and that when he released Longue Histoire, he had already earned around 1 million francs after selling 20,000 copies. Explaining that that's why he declined Jean-Pierre Saah’s offer, saying to him that he wanted at least 300,000 French francs. He also added that this is why, around 1999–2000 he did not record the duo album Disque d’Or with Papa Wemba, which JPS wanted to produce, because JPS only offered them 200,000 French Francs, which they considered insufficient