I am starting a series called: Who should have been bigger stars than they are.

This is for everyone to present. It can be an individual dead or alive?

I will start this now on the next post.

Stino Mubi "Michael Jackson D'Afrique"
Stino Mubi is a major icon but he is not as known as he should be because this man is a great singer like his idol Michael Jackson. In my personal opinion, he was a better singer than Reddy Amisi. This man had the promise to be a bigger star.

This man is in good shape and his voice is sharp as you can get. Also Stino Mubi is noticable. He is not someone in common. He came into Viva La Musica in 1982 or 1983 (Mfumu Mvuta will correct me if needed). He became an important singer for Papa Wemba and his ability to harmonize with others made him get the nickname "As de la chorale". He started to really stand out with his 1989 album MJ Ngoyi which the song itself MJ Ngoyi was dedicated to his wife whom he has kids and still married to her. However Stino found his iconic status with his 1994 album Romeo et Juilette. His Michael Jackson chants got many people's ears. As result he got the nickname "Michael Jackson D'Afrique". According to Mfumu, Michael Jackson really was impressed by Stino himself which is why Stino decided to go full range as Michael Jackson. Many people still talk about the album Romeo et Juliette to this day. But unfortunately for Stino, Papa Wemba would find new younger talent with the second version of Viva La Musica called Nouvelle Écriture and bit by bit likes of Stino would be on the side. This probably explains why his 1998 album Invitation was a major flip adding that he did another thing that would make him have cold relations with Papa Wemba. That is adding an atalaku on the album though it was only on a few songs granted unlike Reddy Amisi who had Mposhi and Somono more present on his album Etoile. For Stino's case, he had Tutu Callugi on a few songs like Didier which he sang with Madilu System and second duet song that Stino had with Papa Wemba himself (15 ans ya Monzemba). On his invitation, he also had Bozi Boziana and JB Mpiana.

From Stino's third solo album, there was a cold war between Papa Wemba and Stino Mubi as well as Reddy Amisi for allowing atalakus on their albums and also for promoting Ndombolo which Papa Wemba hated since it was Wenge dance. But as Matebu once remarked, Papa Wemba had Ndombolo already with Koffi Olomide on the Wake Up but it is also true that it was really more of a Koffi Olomide orientated album as some would argue. But Papa Wemba would also do animation work with the late Alpatchino but Papa Wemba made that Ndombolo was never promoted on his side.

Another sign that the cold war would go on was that Papa Wemba called the elder members of Viva La Musica like Stino Mubi, Gloria Le Bulukutu Tukhadio, Djuna Djanana, Cele le Roi and Reddy Amisi "Viva La Musica Cours des Grands" which means Viva La Musica Class of Greats but he was barely performing with them and he was performing more with Nouvelle Écriture team. Also Papa Wemba would barely promote the elder team which explains why albums such as Mwana Matebu (very good album) and Ouragan (without Papa Wemba) did not do as well as it could have. Angered by this, Reddy and Stino decided to team as well as getting the Viva La Musica Cours des Grands team to do their album Fin d'Exil but unfortunately it was not very successfully commercially speaking. Stino's last appearance as a Viva La Musica member was the nzonzing album in 2001 called Hiroshima. After that, Stino left Viva La Musica but he disappeared for a long time before finally starting to reappear in videos like this in 2010.

Stino Mubi would slowly start reappear publicly here and there.
Fortunately Stino did bring us some good old memories remixing Papa Wemba's Melina La Parisienne.


Stino Mubi is alive and well and lives in Paris. However he could have been bigger than he is now. His voice is very good.

Bouro Mpela

Stino Mubi "Michael Jackson D'Afrique"
Stino Mubi is a major icon but he is not as known as he should be because this man is a great singer like his idol Michael Jackson. In my personal opinion, he was a better singer than Reddy Amisi. This man had the promise to be a bigger star.

This man is in good shape and his voice is sharp as you can get. Also Stino Mubi is noticable. He is not someone in common. He came into Viva La Musica in 1982 or 1983 (Mfumu Mvuta will correct me if needed). He became an important singer for Papa Wemba and his ability to harmonize with others made him get the nickname "As de la chorale". He started to really stand out with his 1989 album MJ Ngoyi which the song itself MJ Ngoyi was dedicated to his wife whom he has kids and still married to her. However Stino found his iconic status with his 1994 album Romeo et Juilette. His Michael Jackson chants got many people's ears. As result he got the nickname "Michael Jackson D'Afrique". According to Mfumu, Michael Jackson really was impressed by Stino himself which is why Stino decided to go full range as Michael Jackson. Many people still talk about the album Romeo et Juliette to this day. But unfortunately for Stino, Papa Wemba would find new younger talent with the second version of Viva La Musica called Nouvelle Écriture and bit by bit likes of Stino would be on the side. This probably explains why his 1998 album Invitation was a major flip adding that he did another thing that would make him have cold relations with Papa Wemba. That is adding an atalaku on the album though it was only on a few songs granted unlike Reddy Amisi who had Mposhi and Somono more present on his album Etoile. For Stino's case, he had Tutu Callugi on a few songs like Didier which he sang with Madilu System and second duet song that Stino had with Papa Wemba himself (15 ans ya Monzemba). On his invitation, he also had Bozi Boziana and JB Mpiana.

From Stino's third solo album, there was a cold war between Papa Wemba and Stino Mubi as well as Reddy Amisi for allowing atalakus on their albums and also for promoting Ndombolo which Papa Wemba hated since it was Wenge dance. But as Matebu once remarked, Papa Wemba had Ndombolo already with Koffi Olomide on the Wake Up but it is also true that it was really more of a Koffi Olomide orientated album as some would argue. But Papa Wemba would also do animation work with the late Alpatchino but Papa Wemba made that Ndombolo was never promoted on his side.

Another sign that the cold war would go on was that Papa Wemba called the elder members of Viva La Musica like Stino Mubi, Gloria Le Bulukutu Tukhadio, Djuna Djanana, Cele le Roi and Reddy Amisi "Viva La Musica Cours des Grands" which means Viva La Musica Class of Greats but he was barely performing with them and he was performing more with Nouvelle Écriture team. Also Papa Wemba would barely promote the elder team which explains why albums such as Mwana Matebu (very good album) and Ouragan (without Papa Wemba) did not do as well as it could have. Angered by this, Reddy and Stino decided to team as well as getting the Viva La Musica Cours des Grands team to do their album Fin d'Exil but unfortunately it was not very successfully commercially speaking. Stino's last appearance as a Viva La Musica member was the nzonzing album in 2001 called Hiroshima. After that, Stino left Viva La Musica but he disappeared for a long time before finally starting to reappear in videos like this in 2010.

Stino Mubi would slowly start reappear publicly here and there.
Fortunately Stino did bring us some good old memories remixing Papa Wemba's Melina La Parisienne.


Stino Mubi is alive and well and lives in Paris. However he could have been bigger than he is now. His voice is very good.

I thought he flopped in his career because the Micheal Jackson mention got on his head

Stino Mubi joined Viva La Musica in 1984 after Maray Maray's departure. He was first for years in the shadow of Lidjo Kwempa, Luciana Demingongo and co, missing also the longo Europe-Japan tour that went from 1985 to 1986. Which made him join Maray Maray's band Rumba Ray for a moment along with Gloria Bulukutu and Richacha Balengola. In 1987 he would be left again behind in Kinshasa, the moment Papa Wemba decided to settle Viva La Musica in Europe. Stino decided to make a short return in Rumba Ray. In 1988 when Papa Wemba came back to Kinshasa for some sponsored concert by Unibra, he decided to get Stino in Europe. When he came in Europe started to become a key-member, having an important role in albums of sapeur Modogo Gianfranco Ferre who were backed by Viva La Musica (Le Jour Je de l'Histoire Romaine 1988 & Place Vendome 1989) and Viva-guitarist Ping Pong's album Amour Fou "13eme Anniversaire Viva La Musica". His album Femme Sans Bijoux (also known as MJ Ngoyi) released in 1989 was a huge succes and was among Reddy's two first albums, the one of Ping Pong and those of Modogo who brought Viva La Musica back on the map. In 1991, he was awaited by fans in Kinshasa after that Papa Wemba signed for concerts with Bralima in Kinshasa, Brazzaville and Matadi. But Stino decided to not show up which made many fans being dissapointed, Wemba only coming with Luciana and Reddy.




In 1992, he was with Awilo and Lidjo among the co-founder of the rebel-group Nouvelle Generation who decided to leave Viva La Musica. But he made a quick return after getting harassed by Viva-fans in Paris, seeing that singers like the late Fafa de Molokai and José Fataki also joined the project and Reddy may being there.

@francoPepeKallé we don't know if the story with Michael Jackson is true. Because Congolese artists often like to made up stories. But accoring to percussionist Iko or Stino himself they missed meeting Michael Jackson twice when they went touring in Canada and the US along with Papa Wemba for I think Africa Oyé or Peter Gabriel (I don't remember). It's from there that the tour-manager informed them that Michael Jackson watched their videos of concerts they gave and saying that he liked Stino's move. From that Stino became crazy and started to imitate Michael Jackson. In 1994 when recording Romeo & Julliete he really adopted MJ's style (clothes and hair). Romeo & Julliette was like the album Femme sans Bijoux a huge succes. It also helped with the album Injustice of Reddy Amisi (1993) and Foridoles of Papa Wemba himself to  strengthen Viva La Musica's position, beceause they became a weak because of the split with Nouvelle Génération.

Papa Wemba decided to form Nouvelle Ecriture in Kinshasa, because he felt that his live-concerts weren't on the same level like Zaiko Langa Langa, Koffi Olomidé, Empire Bakuba when he was coming back in Kinshasa for concerts, who were backed by session-artists (bringing just 3/4 musicians from Europe). Also artists like Reddy and Stino would often complain about money and sometimes not even going with back (for example in 1995, he came back on his own). Another reason is that he wanted to compete against Wenge Musica 4x4 and Quartier Latin.

About Reddy and Stino using atalaku's on their album was because they saw that DJ's in Brussels and Paris weren't playing Viva music anymore in nightclubs, just that of Koffi, Wenge 4x4, etc. who had atalaku's on their albums. So they decided to do the same which didn't make Wemba happy.
The cold-war became stronger when Papa Wemba decided to bring Nouvelle Ecriture to Europe for concerts. Musiciand of Viva La Musica saw like they
came to steal their job. Nouvelle Ecriture's concert first concert had normally to Viva La Musica vs Nouvelle Ecriture, but musicians threatened Papa Wemba to leave if that concert would take place so Wemba decided to let them perform on their own. During the Europe-tour of 1998 with Nouvelle Ecriture, Papa Wemba didn't peform anymore with Viva La Musica just 3 times . This made Stino along with 12 other musicians to leave Viva La Musica and form their own band Cour des Grands. But for whatever reason all musicians decided to return to Viva La Musica leaving Stino and Gloria behind on their own along with Lidjo who just return in Europe after being deported to Kinshasa back in 1994. Just before Papa Wemba's Zenith of 1999 they all reconciled and the three guys rejoined Viva La Musica, except Gloria who came after Zenith. After their return they decided to adopt the name "Cour des Grands" into Viva La Musica to differenciate it with Nouvelle Ecriture.

Reddy Amisi and Stino were angry and also the rest of Viva La Musica, because of the way Papa Wemba said that they were to old and finished. Also that they were singing false. Compared to the tours of 1998 and 1999 were he would invite them sometimes. Wemba totally ignored them for his concerts of 2000 at Zenith & Olympia and even the small ones in Germany, Switserland, etc. Both guys Stino Mubi and Reddy Amisi were about to
leave and were asking their brother King Kester Emeneya to bless them for a solo-career. But Emeneya refused to do it and said to them that
they had to prove Papa Wemba a point that they were still good musicians. This made them to record Fin d'Exil. Reddy Amisi was so furious for the way Wemba was humilating them in every press-conference, that he made a VHS were he attacked Papa Wemba. The video was called "La Vérité du Siècle". This angered Wemba's staff and Papa Wemba himself also, it created alot of polemic. Reddy tried to reconcilate with Wemba, but it was to late. The album Fin d'Exil flopped very hard and had zero promotion. After Fin d'Exil, both Reddy Amisi and Stino Mubi decided to leave Viva La Musica. Reddy Amisi went back to Kinshasa to form Casa do Canto. Stino Mubi decided to form with guitarist Alexis Azulino the band "Monde à Part", preparing a solo-album (i forgot the title) of it that never came on the market. He wanted to plan a return to Kinshasa to launch his solo-career and create his own band there. But his love for his wife and children was to strong that he abandoned those projects. THis all made him go nowhere after his departure from Viva La Musica and just working as a baker to feed his family.

Suzuki 4x4 super talented. Anyone know his whereabouts?

Suzuki 4x4 super talented. Anyone know his whereabouts?

Thank you for asking. Suzuki 4x4 lives in France. He lives with his family there. I believe that he works in security jobs.  He occasionally does musical performances.

JB Mpiana, Alain Mpelasi, Alain Makaba, Montana Kamenga, Late Defao (time wasted in Kenya), Barbara Kanam.

Ferre Gola

Gatho Beevans and Franck Lassana also Djouna Mumbafu that Tinnere DE Brest album was fire.

Suzuki 4x4 discussion that someone mentioned leads to this great singer. I am speaking of Sam Tshintu.
Sam Tshintu is not as big as he should be right now. He was so promising during his time in Quartier Latin. In fact Koffi Olomide used to speak in high regard of Sam in even apparently calling him "President". In fact before being in Quartier Latin, he was actually a member of Flash Musica which also had other QL members such as Modogo and Suzuki 4x4. Also he was close friends with Papa Cheri JB Mpiana.

He enters Quartier Latin in 1993 but he was still not ready yet to hit the group officially. It is noted that his song Shambuyi ended being on Koffi's 1994 album Magie which he did not sing at all. However you will see Sam on Koffi's 1995 album V12 clips. He would finally begin to be noticed on Quartier Latin's 1997 album Ultimatum. His voice touched many people and he was definitely a fan favorite. In fact when Koffi would not want to play music, it was Sam Tshintu who would be the "leader" of the show. This comes from Addy Londole with his interview in Ngembo TV here.

9-14 is where Addy Londole speaks of how Koffi wanted Sam to lead the show if he would be absent.

Sam Tshintu would shine again well on Koffi's solo album Loi esepcially on Motomolo


But as Sam gained more and more power within Quartier Latin, there was bound to be a clash between Koffi and Sam which would hit the lowest point when they took the trip in Tanzania where Sam Tshintu decided to leave Koffi to form Quartier Latin Academia. This was done just before the release the album Droit de Veto in which you see the music video of other folks singing the solo vocals of the likes of Sam Tshintu in the song Rond Point. 


Quartier Latin Academia release their first album Sanction in which they had the famous animation Malanda Ngombe in which they attack Koffi Olomide.

The album had big success and Sam Tshintu started to get more respect from the Congolese music fans. From there, they started to get promotions and this helped Sam develop a strong band. In fact Quartier Latin Academia was even in competition with likes of Wenge Musica Maison Mere
This helped him get some older Quartier Latin members such Beniko Popilipo and Suzuki Luzubu 4x4 into the band with the second album Viagra.

Though Viagra was not as successful as Sanction, Quartier Latin Academia was considered a serious band and they were getting noticed by the international audiences even being to perform in Kora

Quartier Latin Academia was hitting the media circus in being in controversies. For examples, Sam Tshintu would attack Koffi at times.

But Sam Tshintu was not able to keep up with the success he was having during the 2000 to 2002. Also he was not good in staying in good terms with his Quartier Latin colleagues who joined him in Academia. One notable example was Somono Dolce left because he was feeling less valued. Sam Tshintu would become the leader of the Academia band but the downfall would ensue.
This would be noticed on the 2003's album Coins 4 Kandala. In spite the album being a bigger success than Viagra, defections and disputes grew more and more into the band. Bit by bit, more musicians would leave. This would have an impact on Sam Tshintu's 2004 album Sexy Chocolat which was a flop at this point. Afterwards, the group was basically finished and Modogo and Mboshi would return to Quartier Latin which led to anger of Sam Tshintu and he would not forgive them for a long time (he would not invite them for his 2009 album Sacrifices). Luckily Modogo and Sam reconciled officially in 2012 when Black Bazar came outm but they would leave the movement since they claimed to be properly be paid.

Sam Tshintu will have moderate success with his recent album Eyoma. Sam's voice is not the same but it is still good.

What do you guys think of Sam Tshintu? Could he have been bigger? Yes if you ask me.

Aimelia Lias

Seeing the headlines of Aimelia Lias, got me thinking of him. He is another man who should be a big star in the DRC Scene but he is not which is actually sad if you ask me.

I mean this man has all the means to be a big star or a legend. I will give you five things that he actually has
1) He has a good mabanga voice
2) His voice is charming
3) He has the Wenge look (I mean he is the type that make Wenge fans pay attention to him)
4) He knows how to get the right musicians around him
5) He is not scary at all in first impression. He is friendly which is important.

Aimelia Lias is someone who had a promising future especially when he came to replace Manda Chante (not my favorite singer but is popular with some folks here). Originally Tutu Callugi was supposed to be the one but Aimelia won the hearts of the original Wenge bosses. His voice was noted a lot throughout the Wenge songs on Wenge Musica 4x4's last album Pentagone. After the Wenge split, Aimelia went to join the side of JB Mpiana which was Wenge BCBG but for some reason, JB decided to chase Aimelia out of the band. Aimelia released a solo album which some folks here love but for some reason, he went no where.
Here is the solo album.

So as result, Aimelia would join Werrason's side Wenge Maison Mere. He would be with this band for about 6 years. He would have one song of his own on Werrason's 2002 album Queue Leu Leu

After Aimelia left in 2007, he would restart solo career but he was not really going anywhere. However when he realized songs, it did get some noticable from Wenge fans mostly such as this one.

To this day, it appears that song Djodjo Mandiki gets more buzz from Wenge fans if they were talking about Aimelia's post Wenge life.

Aimelia is a very talented singer but one thing I believe what holds him back is motivation. I believe Aimelia is mad that his 2000 album did not get the success he expected and that is why likely he does not push himself to work hard now to get himself out there to be noticed more. That is why he is reduced into polemics like the recent one he had with Fally Ipupa and even with Stino Mubi of all people. SMH which leads to another problem that I believe also holds himself back. Lack of confidence. One thing I can see consistently is he is insecure and he does not enjoy being around those whom he thinks may threaten his spot like for example Ferre Gola. This has been documented by two people.


Aimelia himself has lately helped make some accusations of his ego problems have credibility such as getting into controversy with Fally Ipupa and attacking Stino Mubi for no particular reason.

Aimelia needs to do three things if he wants to be big.
1) Believe in himself
2) Stop seeking to attacking at all cost.
3) Promote himself in a musical sense.

If Aimelia does those three things, he can be maybe be bigger. Will he do them? Future will tell.

Aimelia has 3 albums. After his departure from Wenge Maison Mère he released Race de Vainqeurs and last year he released Pusana to Vanda, but both albums weren’t promoted well.