In the almost 2 hours interview Richard Ekambo revealed that Emeneya was meant to perform at second time at Stade des Martyrs in 2003 and that donor Amborio Keji was ready to produce them, paying 5000 dollars as deposit and sponsors like Bracongo and Kerrygold being to sponsor the event (if the deposit was 5000 dollars, how much would an artist earn at that time, if the stadium would sell out ?). But the event didn't take place, because of Werrason taking that date (If I remember well they already rescheduled the concert-date twice in 2002 towards november and decembre, because of cars and some problems about planning the return of the group) and Emeneya asking them to the change the date, because of problems being in the band. Emeneya's staff changing the concert-date, but Emeneya later on not being motivated anymore, because of the departure of many singers (and not because security-reasons like the press stated). Emeneya saying to his staff that it was better to wait and prepare the new team. At the same time Emeneya had a contract with a concertpromoter for a concert in London. However, something went wrong with the visa's, because the contract dated from when he was in Europe with Victoria Eleison. But all his female dancers had left and in Kinshasa they recruited new dancers that they wanted to bring to UK and also add Sweet Elesse (for ngulu purposes). So they couldn't bring them since that it wasn't possible to add passeports, after that embassy approved their demand for visa's. The paradox side of the story is that Emeneya was well aware about all this. The concertpromoter informed Emeneya's staff/admin that he couldn't add passeports of the dancers and that the embassy was about to put visa's in the remaining passeports. So when the admin/staff informed Emeneya about the problems. Emeneya invited the concertpromoter at home and said to him that they would not travel to UK, if the dancers wouldn't go. According him, people living in Europe wait for dancers. The concert promoter was mad, starting to complain about Emeneya's behaviour and said that he would get Werrason, if the concert would get cancelled. The concert also ending up by getting cancelled and Werrason getting that contract.

Richard Ekambo also talking about the Maisha-era, how both Wemba and Koffi visited Emeneya and vice-versa, what happened, etc.

Reddy didn't go solo yet. He was still part of Viva la Musica. But was using session musicians to back him at concerts in Kinshasa to promote his albums.
The concert at Nsele was when Reddy went to Kinshasa for a series of concerts to promote Prudence. He was still part of Viva la Musica. People close to Wemba tried to gossip that he was about to leave, but Reddy kept insisting to Wemba that he was still part of Viva la Musica and that the musicians backing him, were just session musicians (Manda, Alpatchino, Babel, Pinos, Ramazani, Maradona and co). After the incident at Nsele, he kept performing. He performed at Place Victoire, where there was an incident, that a wall fell down and multiple of people died. After that he went to Brazzaville and Pointe Noire to return back to Europe, since that his French wife kept calling him to come back. A few months later he returned to do a national tour in Congo (different cities such as Mbandaka, Butembo, Goma and co) and when he went to Mbandaka, priests forbad youngsters on the radio to go to Reddy’s concert, claiming that his music was satanic and that people would die. However, it helped to promote the event even more and a huge crowd attending him at the airport and in the stadium.

Nouvelle Ecriture was actually Reddy’s idea, because when Wemba would return to Kinshasa with Reddy, the musicians backing them at concerts, weren’t able to interpret the songs very well. Since that those who backed Reddy did a great job. Wemba just decided to use the same instrumentalists (except Theo Bidens and Stella Uomo) and them recruiting new singers, who were judged by him and Reddy. At the same time, Papa Wemba was very happy, since that bandmembers of Viva based in Europe, were giving him a headache and used to disrespect him often, when he would ask them to join him in Kinshasa for Unibra concerts with nobody showing up at the airport.

After the creation of Nouvelle Ecriture. He once again put different musicians together (late Mimiche Bass, Marcahouse, Jean Apocalyps, Babel and co) to back him for concerts that were meant to promote Etoile.

Yes, it’s true that he wanted to compete with Wenge Musica and Koffi, but Alphatchino came 2/3 years later after the creation of Nouvelle Ecriture.

The collaboration with Stino was not a deseprate move. It was actually one of the most awaited albums of 2000. The album was made to prove Wemba a point, because both Reddy and Stino, wanted actually to leave. But when asking for advice to King Kester Emeneya, who they see as their elder brother of village. He adviced both guys to stay in Viva la Musica and unite together to record something to show people that they aren't finished and still have their talents. Reddy after the seperated talks going towards Stino, both guys making peace and being determined to prove Wemba a point.
The famous cassette "La Verite de l'an 2000", where Reddy openly attacked Papa Wemba for not calling them anymore, to participate in concerts in Europe and how Wemba used humilate them openly in interviews, created alot of buzz. But before and after the recording of the album Fin d'Exil, alot of crazy stuff went on behind the scenes. At the same time Stino and Reddy also fell out. The album itself was for whatever reason not promoted by JPS Production. After alot of incidents against them, Reddy became tired and just decided to leave Viva la Musica in early 2001 and went back to Kinshasa. He stayed 9 months and created Casa do Canto (he apparently didn't inform his French ex'wife, which led to divorce). People were then questioning of he still would succeed and if his time wasn't passed. Reddy was struggling in the beginning. From 2002 started the recordings of the album Compteur a Zero at Studio Meko in Kinshasa and a part in Europe, which got released in January 2003. The album ended up by being a huge succes, putting Reddy back on the map and Reddy having succeful concerts, receiving even contracts for Europe. But he prefered to do playbacks in Europe, fearing that his musicians would run away.

Montana is one of the rare artists who breakthrough in the early 1990s that acknowledge to have Wenge Musica as rolemodels, many don't admit it. Maybe it's also because of Montana being born in the 1970s while others of that time are born in 1960s and seeing JB and Werra as their rivals. I was also surprised that he even had Stino Mubi as rolemodel, because Stino started to get respected from the albums Viva la Musica started to make with Modogo (Jour J de l'Histoire and Place Vendome) and really made his name when the Femme Sans Bijoux-album came out in 1989, which had the hit-song MJ Ngoyi. I liked the way he also mentioned Reddy Amisi as role-model. He influenced a whole generation. But there are some artists (like Bendoson) deny it. It's a shame that Reddy didn't go solo after the massive succes of Prudence. The history of Congolese music would have been totally different if that happened. That question of not going solo after Prudence and if he didn't regret it, used to follow Reddy for like 10 years after he started Casa do Canto.

New Morning is a jazz club that has the capacity of 500. Despite being small it has a big reputation, because of the huge amount of legends having performed there.

Montana stated in different interviews that Koffi wanted him to join him Quartier Latin. In this interview he said that Koffi used to admire him alot. Also ho he got suspended by Defao, when it was written in a newspaper that he joined Quartier Latin, while he just met Koffi at Oshwe. Also how Koffi gave him a huge amount of in Cameroon to join Quartier Latin, but Montana instead paying visa's for Big Stars-members to travel to Tanzania (Defao decided to leave after a disagreement with the concertpromoter) and also buy some food since they were struggling. The third time being in another African-country but Montana still kept refusing to join Quartier Latin. Then when Defao decided to disband Big Stars for bandmembers refusing to travel to Uganda (back then you had that war of DR Congo against Rwanda and Uganda with their marionettes RCD-Goma and MLC), Montana deciding to accept Koffi's offer.

It's crazy how a random hall in Saint-Denis used to have so much meaning for our music (also gospel), even more than halls like Le Bataclan, La Cigale, Elysee Montmartre and co. It became at some point also a batormeter to test popularity. So much historic concerts has taken place there from the late 1980s till mid 2005.

Till this day, I wonder who the rhythm-player was that used to play next to Mike Evian

I think that if Big Stars didn't disband and he stayed 2 years more, that he could have succeed as a solo-artist. Him starting a solo-career straightaway in 2000 would have been suicide with the JB vs Werra-war and Wemba vs Koffi. But we are not prophets. Maybe that things could have worked out for him, if returned straightaway to Kinshasa and playing the victim-role that Defao fired him. The public could have felt sorry for him, like they had with Werrason after the Wenge-split and deciding to back him, also going away with a huge amount of fans and donors of Big Stars. Plus having the advantage of coming from the area of Kasa-Vubu, which used to be  next to Matonge, Yolo and Bandalungwa, one of the most influential neighboorhoods

Montana had that aura of a leader when he was in Big Stars and back in the days, people used to say that he would become one of the singers that could have Congo in his hands in the future. But everything changed when he joined Quartier Latin. I remember how many QL-fans in Europe weren't liking him and used to boo him when he would dance or do a vocal. Some saying that he wasn't fitting next Fally, Bouro, Gibson and co and that he was to old (seeing him as someone of the Zaiko or Viva Cour des Grands generation), while he was only 3 or 4 years older. Those who were against Koffi said that he cursed himself by joining Quartier Latin and that he would never succeed anymore in his music-career.

I think that although the G-5 revolution started and different artist seeing their albums get succes, Montana's time already passed. When he left Quartier Latin, he already spent 16/17 years long in being a bandmember. When staying that long in bands, it may be difficult to succeed. Because those who started with music in your era, are almost for a decade bandleaders.  I don't remember which spokemen it was, but he used to joke about some artists that they were already finished before leaving