I think that it was a mistake from Stino, to go a different in his third album Invitation. His first two albums were made of the pure Viva La Musica-style from the Nouvelle Generation/Made in Paris-Generation (1988-1993), having Bongo Wende on the lead on the songs, Ping-Pong who's was important for many Viva-albums of the late 80s and early 90s and Yves Demukuse. But for his 3th album he wanted to go a different artistic direction, to fight Wenge Musica and Quartier Latin who stole their places in nightclubs like La Reference, Hollywood, etc. (Viva albums being less played in those nightclubs), which made him invite Caien Madoka to play that Wenge-style and Tutu Kaluji to make people dance. The themes of the songs were good and the arrangement also, but there was something missing to make most songs catchy. Some arrangements weren't even matching with the songs (for example Mathias).

The album flopped very hard, despite the participation of Bozi Boziana, JB Mpiana, Madilu and Papa Wemba. Looks like the Viva-public and his own fans totally boycotted him from making an aggresive chance. I think it had also to do with not even  one song matching the level of hits-song (song like Mista, MJ Ngoyi and Romeo & Julliette).

Thinking now about his rival Reddy Amisi, I think that Reddy succeed with his first album Compteur a Zero after his departure from Viva La Musica, because he his solo-albums who were released when he was with Wemba being already diffrent from Viva-style (especially Prudence and Ziggy), which made it also already easier to accept his album. With Etoile he was already unlucky that it was released in the same period when Pepe Kalle's Cocktail, Maison Mere's Force d'Intervention Rapide and BCBG's Titanic came out. Also, him not getting the blessing anymore from Wemba who was furious at him to use like Stino, atalaku's in his album.

I don't know if I already explained it, but Papa Wemba wanted with Fula Ngenge, having an album of the new millenium (l'album de l'an 2000). By mixing all music-genres, going from world-music to rumba, from rap to salsa, from traditional music to rumba-rock (the music-genre of Viva), from classic music to ndombolo. Having Alpatchino in his band who was recruited as a singer, Wemba requested him to adopt the atalaku-role like he was doing in Chic Choc Loyenge of comedian Ngadiadia-Ngadios, where he was both singer and atalaku. Many bandleader then followed Papa Wemba by doing the same thing in their solo-albums (Attentat, T.H. and Kibuisa Mpimpa). Alpatshino's contribution as atalaku brough something new in Viva La Musica and changed the sebenes, when animating on songs from the 'L-album in concerts, which made him not change anymore and also animating the following albums. But Wemba kept attacking Reddy and Stino for having used atalaku's in their albums until their departures.



Stino is actually the first one in Viva La Musica to have used atalaku's. Papa Wemba was so furious at Stino for using Calugi on his album and betraying the Viva La Musica-code, which made Stino deciding to leave (being already mad that Wemba was to much focussing on Nouvelle Ecriture, who were on tour at time that and Viva La Musica barely performing). Stino Mubi formed at that time the band Cour des Grands with Gloria Bulukutu (who was also left) and Lidjo Kwempa who just came back from Europe by Bozi Boziana after 4 years (he was deported in 1994). But the band didn't last long, because when Papa Wemba got his contract for Zenith he tried to reconcile with the three guys, Stino Mubi & Lidjo Kwempa then returned and the name Cour des Grand got addded to Viva La Musica. Gloria refused because he wanted to be with Nouvelle Ecriture, but he ended up by returning to Viva La Musica. The whole staff was in reality not happy with Lidjo's return, because of the way he used to diss Papa Wemba with Awilo Longomba, Luciana and co in the song Monimambu when Nouvelle Generation got formed, but they hadn't any choice then accepting Lidjo's return.