A bena bena e yi kognouman bena
A bena bena houn houn gnouman bena allah
A bena bena tiekoro yi ya gala kan barow bena
A bena bena moussokoro yi ya woula la kuma gnalen
Ayi ya a kognouman kadi allah
A bena bena e yi ko gnouman bena allah
Ibe gnouman ke doye siguiro
Ibe gnouman ke doye fitiriwale a te gnouman nin don
Tche i be gnouman ke doye badegna la
Ibe gnouman ke doye baden djougou a te gnouman nin don
I be gnouman ke do ye bara la i be gnouman ke doye baragnokon djougou n go a te gnouman nin don i ye
A bena bena heyi heyi heyi heee heeee
A bena bena houn ko gnouman bena allah
A bena bena moussokoro yi ya wurala kouma gnana
Moungne gnouman lokobona siguiro moungne gnouman lokobona
Fitiwalew ye gnouman lokobo ne la
Moungne gnouman lokobona badenou mougne gnouman lokobona
Gnoumadon bali ka gnouman lokobona
Moungne gnouman lokobona siguiro mougne gnouman lokobona fitiwalew ye
Gnouman lokobo ne la
A bena bena a eh yi kognouman bena
Oumou kama kama oumou kama afo
Gnouman don bali ya mandi ne ye eh heee
Moungne gnouman lokobona pe pe pe
A bi yala yala be doun ka so
Ta yan fe na yan fe
Ta yan fe na yan fe
Eh ya eh
Fitirimawalen do a bena sa
____________
It is right to do good around
By Allah, it is right to do good around
It is in the conversation of the elders under the tree
There is goodness in the evening conversations of the old women
By Allah, it is right to spread goodness around
By Allah, it is right to do good around
You may show kindness to someone
But the ungrateful neighbour would not acknowledge it
You may be good to your brothers or sisters
But the wicked siblings would not acknowledge it
You may do good deeds in your marriage
But the unkind spouse would never acknowledge it
You may show kindness to colleagues at work
But the bad spiteful co-workers would not acknowledge it
By Allah, it is right to spread goodness around
There is goodness in the evening conversations of the old women
What makes me want not to do good around me?
Ungrateful neighbours discourage me from doing good
What makes me want not to do good, brothers and sisters?
Ungrateful of people make me turn away from doing good
What makes me want not to do good around me?
Ungrateful neighbours discourage me from doing good
It is right to do good around
Chorus:
Ungratefulness is not good at all!
For Oumou, tell them! Tell them Oumou!
I don’t like ungratefulness a bit
It really makes me want not to do good around me
For Oumou, tell them! Tell them Oumou!
It goes from house to house
Going here and going there
Going here and going there
It goes from house to house
Going here and going there
Going here and going there
There goes ungratefulness…
Kokoro don baga mana ke ila i te malo la moko ma oko
Kokoro don baga mana ke ila i te siran na ko gne oko
Djigui moko ma na ke ila i te kabala ko ma oko
Kokoro don baga mana ke ila ite malola moko ma
I mi ni djoukourou dene yen kou yi kokoro don baga de yi i la de
Moko nin fing djoukourou dene ye kouye kokoro don baga de yi i la
Fourou ke djoukurou dene ye kouye foudou mousso gnouman le yi kokodo
Foudou mousso djoukourou denin ye kouye tche foudouke gnouman de yi kokodo ke
Massakeye djoukourou denin de kouye gnamadenyi de ye layi kokodo
Donkililala djoukourou denin ye kouye folila gnouman leyi kokodo ke
Mokoninfing djoukourou denin ye kouye tche kokorodo baga eh allah
Kokoro don baga mana kila i te malo la moko ma oko
Kokoro don baga mana kila i te siran kogne oko
Djigui moko mana ke i la i te kabala ko ma oko
Ko kokoro don baga mana kila i te malo la mogo tchi ma
Imini djoukourou denin ye kouye tche kokoro don baga le yi la de
Mokoninfing djoukourou denin ye kokoro don baga eh allah
Kouye kouye kouye kokoro don baga eh allah
Kouye kouye kouye kokoro don baga eh allah
Kokorodon baga te moko min na okonin be toro
Ni djigui moko te moko min na okonin be gnani
Dmebaga te moko min na okoni be toro
Djoukourou den baga te moko min na e konin be gnani
Kokoro don baga te moko min na okonin be gnani
Demebaga te moko min na okinin be toro
Ni djigui moko te moko min na okoni ni toro
Djoukourou den baga te moko min na e koni na gnani
Djoukourou denin le kouye kokoro don baga leyi la wa
Djoukourou denin ye kouye tche kokoro don baga leyi la deh
Djoukourou denin kouye kokoro don baga eh allah
____________
A person who has someone to lean on is full of confidence
A person who has someone to lean on fears nothing
A person who has a solid support is not easily impressed
A person who has someone to lean on is full of confidence
If your “backside” is resting, then you have someone to lean on
A person with their “backside” resting, means they have someone to lean on
An overconfident husband knows quite well he can lean on his strong spouse
An overconfident wife is also conscious she can lean on a loving husband
A head of state can only succeed with the support of his fellow countrymen
A singer with their “backside” resting means they can count on good musicians
A person who has someone to lean on is full of confidence
A person who has someone to lean on fears nothing
A person who has a solid support is not easily impressed
A person who has someone to lean on is full of confidence
If your “backside” is resting, then you have someone to lean on
A person with their “backside” resting, means they have someone to lean on
A person who has someone to lean on is full of confidence
A person who has someone to lean on fears nothing
A person who has a solid support is not easily impressed
A person who has someone to lean on is full of confidence
If your “backside” is resting, then you have someone to lean on
A person with their “backside” resting, means they have someone to lean on
Kuy kuy kuy kuy, you have someone to lean on
Kuy kuy kuy kuy, you have someone to lean on
Kuy kuy kuy kuy, you have someone to lean on
A person with nobody to turn to will struggle in life
If you have no one to support you, you will suffer in life
If you have no one to help you, you will struggle in life
If you have no one to lean on, you will suffer in life
A person with nobody to turn to will struggle in life
If you have no one to help you, you will struggle in life
If you have no one to support you, you will suffer in life
If you have no one to lean on, you will suffer in life
Chorus:
If your “backside” is resting, then you have someone to lean on
If your “backside” is resting, then you have someone to lean on
If your “backside” is resting, then you have someone to lean on
I fadjamou fonye i fadjamou fo
I fa yere djamou fonye soma yelema aola
Ne fadjamou sangare ne fadjamou ye sangare
Nfa yere sangare soma yelema aola
I badjamou fonye i badjamou fo
I ba yere djamou foneye soma yelema aola
Ne badjamou diakite ne ba konye fulaye
Mba yere diakite soma yelema aola
I den djamou fonye i dendjamou fo
I den yere djamou fonye soma yelema aola
Ne den djamou haidara ne dendjamou ye haidara
Nden yere serifu ye soma yelema aola
I teriw yoro fonye i teriw fo
I teriw yere yoro fonye soma yelema aola
Ne teri dowbe senegal ne teri dowbe burkina
Nteri yere oube malibala soma yelema aola
I teriw yoro fonye i teriw fo
I teriw yere yoro fonye soma yelema aola
Ne teri dowbe niger ne teri dowbe cameroun
Nteri yere oube algerie soma yelema aola
I teriw yoro fonye i teriw fo
I teriw yere yoro fonye soma yelema aola
Ne teri dowbe laguinee ne teri dowbe codowari
Nteri yere franci soma yelema aola
Aye ma ye foli wilila wi dounia
Aye ma ye foli wilila senenkouya dounia kono
Dounia malibala benissia
Numoudete fila mano
Foli wilila dunya
Wa fila denin te noumou malo
Foli wilila dunya
Horon djente horon dewu
Foli wilila dunya
Wa horon denin te djonden soso
Foli wilila dunya
Bozo dente kado dewu
Foli wilila dunya
Wa kado denin te bozo malo
Foli wilila dunya
Maraca te maninka soso
Foli wilila dunya
Wa maninka denin te maraca lewu
Foli wilila dunya
_______
Tell me about your father’s family name
My father’s family name is Sangaré, he is a real Sangaré
And that has not changed
Tell me about your mother’s family name
My mother’s family name is Diakité, she is a Diakité
A true Fula, and that has not changed
Tell me about your son’s family name
My son’s family name is Haidara, he is a Haidara
A true Sherif*, and that has not changed
Tell me where your friends are from, where your true friends are
My friends live in Senegal, some are from Burkina
I have true friends in Mali and that has not changed
Tell me where your friends are from, where your true friends are
My friends live in Niger, some are from Cameroon
I have true friends in Nigeria and that has not changed
Tell me where your friends are from, where your true friends are
My friends live in Guinea, some are from Côte d’Ivoire
I have true friends in France and that has not changed
Let me tell the world the party has started
The Sanankounya** party has started
In the world and in the great Mali
Everyone carries their own identity
A Numu (blacksmith)*** will never dishonour a Fula and a Fula will not shame a blacksmith
People of caste will not shame the noble and the noble will not be disobliging towards caste people.
The Bozo will not dishonour the Dogon and the Dogon will not bring shame on a Bozo.
The Soninké will not be disparaging to a Malinké and the Malinké will not dishonour a Soninké.
Everyone carries their own identity
Eh mali niale ma maliniale malinya mogolew mali niale ima
Sadjo lale mouneye
Eh mali niale ma maliniale malinya mogolew mali niale ima
Sadjo lale mouneye
Mali diara sa malidia mali diara maliden fanfan
Meke yera sambou yere maliden
Foto mogo bana wassoulou
Eh mali niale ma maliniale malinya mogolew mali niale ima
Sadjo lale mouneye
Eh mali niale ma maliniale malinya mogolew mali niale ima
Sadjo lale mouneye
Eh mali niale ma maliniale malinya mogolew mali niale ima
Sadjo lale mouneye
Eh mali niale ma maliniale malinya mogolew mali niale ima
Sadjo lale mouneye
_________
Chorus:
Mali is advancing, Malian leaders, Mali is evolving
Let’s enjoy life, because dying young is a curse
Let’s enjoy life, this world is only ephemeral
Let’s enjoy life, dear companions, life is about having fun
Let’s enjoy life, because this world is just a tale
Let’s have fun, my beloved friends, life is about having fun
Because dying young is a curse
Slander cannot kill anyone
It doesn’t stop anyone from doing what they like
Slander cannot kill anyone
It doesn’t stop you doing what you like in Wassulu
Slander cannot kill anyone, good people of Mali
But dying young is a really a curse
Mali has evolved, Maliba has evolved
I call on all Malians, wherever they are
To return home and work for the country
Factories have opened, cement is being made
Mali has evolved
Iron ore and gold have been discovered
Mali is developing
All Malians living abroad should come back home
Mali has evolved
Slander cannot kill anyone
If it did, Sangaré Oumou would have been gone by now
Slander cannot kill anyone
I still went on tour around the world
Touring in Australia, where I found success
I went on tour in France and I found success there
So, slander cannot kill anyone
If it did, Sangaré Oumou would have been gone by now
But slander cannot kill anyone
Ah tché, kana negue, dugukamelemba ni kana négue sa
Ah tché, kana negué, dugukamelemba ni kana négué sa
Ko torote sebe sa derimagnew ne dianye mogonye n’a somainela
Ne dianye mogoni mirimagnew ne filani nteri diarabi magni
Ne wolole tarala kuma magnew n’filani nyoyonyé na n’soma magni sa
Bamako tarala mirimagnew ne dianye mogo diarabi magni
Ah tché, kana negue, wulakadjanfa kana tinya fo
Ah tché, kana negué, dugukamelemba ni kana négué sa
Ou bi negue ki negue ki negue ki negue ki negue ndogo
Kamelemba a bi mounou mounou ki la espérer ki tromper
A bi roulé ki roulé ki roulé ndogo
A bi nyanamini ki mounou mounou ki tromper
Eh ah ah ah i ta nyogon ye
A bi rouler ki rouler ki rouler ki rouler ki tromper ndogo
A bi mounou mounou ki destabiliser ki tromper
A bi mounou mounou ki la espérer ki désespérer,
Eh allah !
Ko hi lahilahilala mamadou lasolou lahi
Wika soni ni oula dalela
Malideni ni oulada lela
Sangaré kono ba folala
Woyka tchebaw ni oulada lela,
Dugu kamelembaw ni oula dalela
Sangaré oumou bafolala
Wika soni ni oulada lela
Mogobalew ba ou nyamou nemba
Kana negue kana negue tché kamalemba ou ka destabiliser
A mandi nyé
Ah tché, kana negue, dugukamelemba ni kana negue sa
Ah tché, kana negué, dugukamelemba ni kana négué sa
I ba bo wale dema suguruba et tate sokono eto labandon dé
Kanafo wale dema torokutala eta dimbeye eto labandon
I ba fo wale dema kamelemba ebabe sokono eto labandon labolodé
Ka bo wale dema dolomina e ta dimbeye eto tchokodo folon
Ah tché, kana negue, wulakadjanfa kano tinya
_________
Chorus
Stop lying to me, players; don't mess me about
Stop lying to me, players; don't mess me about
One can have fun and remain serious; love si hard and I'm missing my lover
My love and soulmate, I'm thinking of you and feeling heartache
When I'm travelling, I miss my lover and soulmate a lot
When I go to Bamako, I suffer heartache from missing my love and soulmate
Chorus
Stop deceiving me for nothing, you are so far away
Stop deceiving me, players; don't mess me about
My little sister, they will tell you lie after lie after lie...
The player will mess with you, give you hope and deceive you
Little sister, he will fool you, fool you and fool you...
He will make you dizzy, mess you around and deceive you, eh!
You will not see it coming!
Little sister, he will fool you, fool you, fool you, fool you and deceive you
The player will mess you around, destabilise you and deceive you
He Will mess you around, raise your hope then make you desperate
Eh Allah!
I greet Malians, Sangaré Oumou say good evening to you
I greet all men, I greet players/play-boys
Sangaré Oumou say hi to you
I greet all Malians…
Quit lying to me, don't deceive me; don't destabilise me, player
I don't like that
Chorus
Stop deceiving me for nothing, you are so far away
Stop deceiving me, players; don't mess me about
You call other people's daughter whore; do you know what yours will become?
Don't call someone else's son a drug addict, as you don't know the fate of your own
Don't call someone else's son a player/play-boy, as you don't know the fate of your own
Don't call someone else's son a drunk, as you don't know the fate of your own
Chorus:
Stop deceiving me for nothing, you are so far away.
Kokoro don baga mana ke ila i te malo la moko ma oko
Kokoro don baga mana ke ila i te siran na ko gne oko
Djigui moko ma na ke ila i te kabala ko ma oko
Kokoro don baga mana ke ila ite malola moko ma
I mi ni djoukourou dene yen kou yi kokoro don baga de yi i la de
Moko nin fing djoukourou dene ye kouye kokoro don baga de yi i la
Fourou ke djoukurou dene ye kouye foudou mousso gnouman le yi kokodo
Foudou mousso djoukourou denin ye kouye tche foudouke gnouman de yi kokodo ke
Massakeye djoukourou denin de kouye gnamadenyi de ye layi kokodo
Donkililala djoukourou denin ye kouye folila gnouman leyi kokodo ke
Mokoninfing djoukourou denin ye kouye tche kokorodo baga eh allah
Kokoro don baga mana kila i te malo la moko ma oko
Kokoro don baga mana kila i te siran kogne oko
Djigui moko mana ke i la i te kabala ko ma oko
Ko kokoro don baga mana kila i te malo la mogo tchi ma
Imini djoukourou denin ye kouye tche kokoro don baga le yi la de
Mokoninfing djoukourou denin ye kokoro don baga eh allah
Kouye kouye kouye kokoro don baga eh allah
Kouye kouye kouye kokoro don baga eh allah
Kokorodon baga te moko min na okonin be toro
Ni djigui moko te moko min na okonin be gnani
Dmebaga te moko min na okoni be toro
Djoukourou den baga te moko min na e konin be gnani
Kokoro don baga te moko min na okonin be gnani
Demebaga te moko min na okinin be toro
Ni djigui moko te moko min na okoni ni toro
Djoukourou den baga te moko min na e koni na gnani
Djoukourou denin le kouye kokoro don baga leyi la wa
Djoukourou denin ye kouye tche kokoro don baga leyi la deh
Djoukourou denin kouye kokoro don baga eh allah
__________
A person who has someone to lean on is full of confidence
A person who has someone to lean on fears nothing
A person who has a solid support is not easily impressed
A person who has someone to lean on is full of confidence
If your “backside” is resting, then you have someone to lean on
A person with their “backside” resting, means they have someone to lean on
An overconfident husband knows quite well he can lean on his strong spouse
An overconfident wife is also conscious she can lean on a loving husband
A head of state can only succeed with the support of his fellow countrymen
A singer with their “backside” resting means they can count on good musicians
A person who has someone to lean on is full of confidence
A person who has someone to lean on fears nothing
A person who has a solid support is not easily impressed
A person who has someone to lean on is full of confidence
If your “backside” is resting, then you have someone to lean on
A person with their “backside” resting, means they have someone to lean on
A person who has someone to lean on is full of confidence
A person who has someone to lean on fears nothing
A person who has a solid support is not easily impressed
A person who has someone to lean on is full of confidence
If your “backside” is resting, then you have someone to lean on
A person with their “backside” resting, means they have someone to lean on
Kuy kuy kuy kuy, you have someone to lean on
Kuy kuy kuy kuy, you have someone to lean on
Kuy kuy kuy kuy, you have someone to lean on
A person with nobody to turn to will struggle in life
If you have no one to support you, you will suffer in life
If you have no one to help you, you will struggle in life
If you have no one to lean on, you will suffer in life
A person with nobody to turn to will struggle in life
If you have no one to help you, you will struggle in life
If you have no one to support you, you will suffer in life
If you have no one to lean on, you will suffer in life
Chorus:
If your “backside” is resting, then you have someone to lean on
If your “backside” is resting, then you have someone to lean on
If your “backside” is resting, then you have someone to lean on
Kounkoun ai kana kounkoun mbona
Kounkoun ai kana kounkoun mbona
Nyenye kana nyenye mona
Nyenye kana nyenye mona
Ya mogolew ai ma kounkoun loa
Maliden nyuman no aima kounkoun me wa
Ai mai kounkoun noa
Neta ma nyogonlew ni e kounkoun ye alla
Mogo si na mousso djougou debe kounkoun moyela
Kounkoun
Moussou furuke djouroubi nye nye mode
Nye nye
Eh mogabara nyogon djougou debi koukoun boyela
Kounkoun
Mogota ma nyogon debi nye nye saratasa
Nye nye
Kounkoun ai kana kounkoun mbona
Kounkoun ai kana kounkoun mbona
Nyenye kana nyenye mona
Nyenye kana nyenye mona
_______
Chorus
Please stop slandering me, don’t spread lies about me
People, don’t you know what slanders are?
Good people of Mali, have you not heard the lies?
Don’t you know about the slanders?
My dear companions, these are slanders
They are spread by wicked co-wives
They can be spread by a bad husband
They can be spread by a jealous co-worker
They can be spread by a malicious travelling companions
Even by an ill-intentioned family member
My dear companions, these are the slanders
You can pound rice; you can pound maize, millet or fonio
To sort out the grains, but not with humans
A bad neighbour will take you apart by slandering you
Your wicked sibling is capable of slandering you
Your bad husband will slander you without a shame
Please stop slandering me, don’t spread lies about me
I don’t want anyone to spread false news about me
I don’t want anyone to spread false news about me
People of Wassulu, don’t you know what slanders are?
Aunt Mineta, we will talk about slanders in Wassulu
People of Daoudabougou, have you not heard the lies?
Aunt Mineta, we haven’t talked about the false news
There are so many lies being spread about Sangaré Oumou
Good people of Mali, please don’t spread these lies
My dear companions, these are the slanders
Please stop slandering me, don’t spread lies about me
I don’t want anyone to spread false news about me
Please stop slandering me, don’t spread lies about me
I don’t want anyone to spread false news about me
Please stop slandering me, don’t spread lies about me
I don’t want anyone to spread false news about me
Ah ah minata waraba ah ah nelanyon a temba
Ah ah minata waraba ah ah nelanyon a temba
Neta ma nyogonlew ni e kounkoun ye alla
Mogo si na mousso djougou debe kounkoun moyela
Kounkoun
Moussou furuke djouroubi nye nye mode
Nye nye
Eh mogabara nyogon djougou debi koukoun boyela
Ah ah minata waraba ah ah nelanyon a temba
Ah ah minata waraba ah ah nelanyon a temba
Neta ma nyogonlew ni e kounkoun ye alla
Mogo si na mousso djougou debe kounkoun moyela
Kounkoun
Moussou furuke djouroubi nye nye mode
Nye nye
Eh mogabara nyogon djougou debi koukoun boyela
Ah ah minata waraba ah ah nelanyon a temba
Ah ah minata waraba ah ah nelanyon a temba
_____________
Chorus:
Ah Mineta the lioness, there is no one like my mother
Numu Tènèn’s daughter Mineta, the lioness with no equals in Wassulu
Madio Salimou’s lioness, you are incomparable
Lioness!
Mineta Sidiki’s lioness, she has no equals
Lioness!
Diakité Sekoba’s lioness, she is incomparable
Diakité Mamadou’s mother, lioness, she is incomparable
Sangaré Faly’s mother, lioness, she is incomparable
Lioness!
Sangaré Oumou’s mother, the lioness, my mother has no equals
Sangaré Maissata’s mother, the lioness with no equals
Lioness!
Diakité Mamadou’s mother, lioness, she is incomparable
Diakité Bakari’s mother, lioness, Mina is incomparable
Lioness!
Diakité Benogo’s mother, lioness, she is incomparable
Ma Sangaré’s mother, lioness, Mina is incomparable
Lioness!
Ah Mineta, you bring hope to the hopeless
Thank you
Hey Mineta, you take care of the poor
Thank you
Ah Mineta, you bring hope to the orphans
Thank you
Hey Mineta, you console the sick
Thank you
Ah Mineta, you take care of the poor
Thank you
Hey Mineta, you take care of yours and other people’s children
Ah, my mother used to buy and sell at the market
She used to go to Koniakari market
She used to go to markets Kayes-ba
She used to go to markets in Abidjan
She used to go to markets in Bamako
She used to go to markets in Timbuktu
Mmm, my mother has no equals
I sing this part for all the mothers
If your mother does not do something for you
She will do something to you
Numu Tènèn’s daughter Mineta, you did a lot for me
Solomini’s Mineta, you did a lot for me
Mmm, thank you so much mum
Mineta, you never accepted to betray your dignity in Bamako
Mineta, you did not accept anything else but decent work
Mineta who would take her breast out of her own child's mouth
and breastfeed other people's children.
Numu Tènèn’s daughter, thank you for everything
Numu Tènèn’s daughter Mineta, thank you so much
Mmm, my mother, my mother, thank you
Hmm mogoya nyesilani mogoyanye ah ah sisan mogoya
Konia na mogomima oye keli djoukouye dounia he he sisan mogoya
Miniana i furuyon mina oye farali djoukouloukan kan he sisan mogoya
Konia na mogomiwala oye ke li djoukouye dounia he sisan mogoya
Bi mokolou ou te kolaban
Bi mokolou ou te kolaban
Ahi mogoya ne amina mogoya la eh eh sisan mogoya
Hmmm mogoya ne amini mogolew la eh sisan mogoya tewa
Bi mokolou ou te kolaban
______
Cover Artwork - JP Mika
Design - element-s
Executive Production
Laurent Bizot & Thibaut Mullings
Producers
Andreas Unge & A.L.B.E.R.T
A.L.B.E.R.T is Ludovic Bruni,
Vincent Taeger and Vincent Taurelle
Recorded between Bamako
Paris and Stockholm
Bena Bena
Per Lindvall - Drums
Andreas Unge - Bass guitar
Benogo Diakite - Kamele ngoni
Guimba Kouyaté - Acoustic and electric Guitar
Jesper Nordenström - Piano, Wurlitzer
Adama Diarra - Djembe, Chekere
Thomas Eby - Congas
Oumou Sangaré - Lead vocals, Karignan
Dandio Sidibe, Mariam Kone, Pamela Badjogo, Naba Traoré - Backing Vocals
Recorded by Simon Nordberg and Andreas Unge at Stureparken Studio (Stockholm)
except
Backing vocals recorded by Barou Oumar Diallo et Yaya Diarra at Studio Yeelen (Bamako)
Percussions recorded by Philippe Brun & Andreas Unge at Studio Bois & Charbon (Paris)
Backing Vocals directed by Cheick Tidiane Seck
Produced by Andreas Unge - Additional production by A.L.B.E.R.T
Mixed by Bertrand Fresel at Studio Juno (Paris)
Mastered by Chab at Chab Mastering Studio (Paris)
Yere Faga (feat. Tony Allen)
Tony Allen - Drums
Ludovic Bruni - Bass guitar / Guitar
Vincent Taurelle - Keyboards
Vincent Taeger - Marimba/ Shaker
Oumou Sangaré - Lead Vocal, Claps
Dandio Sidibe, Mariam Kone, Pamela Badjogo, Naba Traoré - Backing Vocals
Bass, guitars, marimba, shakers, keyboards recorded by Vincent Taurelle at Studio La Marquise (Pantin, Fr)
Drums recorded by Philippe Brun & Andreas Unge at Studio Bois & Charbon (Paris)
Lead vocal recorded by Simon Nordberg and Andreas Unge at Stureparken Studio (Stockholm)
Backing vocals recorded by Barou Oumar Diallo et Yaya Diarra at Studio Yeelen (Bamako)
Backing Vocals directed by Cheick Tidiane Seck
Produced by A.L.B.E.R.T
Mixed by Bertrand Fresel at Studio Juno (Paris)
Mastered by Chab at Chab Mastering Studio (Paris)
Fadjamou
Tony Allen - Drums
Andreas Unge - Bass
Guimba Kouyate - Electric Guitar, claps
Benogo Diakité - Kamelé N´goni
Jesper Nodenström - Hammond Organ,Wurlitzer
Sebastian Notini - Talking Drum, Block, perc efx
Thomas Eby - Congas, chekere, shaker, cowbell, claps
Cheikh Oumar Diabate - Djembe
Anders Hedlund - Drum fills
Dandio Sidibe, Mariam Kone, Pamela Badjogo, Naba Traoré - Backing Vocals
Oumou Sangaré - Lead Vocals, claps
Recorded by Simon Nordberg and Andreas Unge at Stureparken Studio (Stockholm)
except
Drums recorded by Philippe Brun & Andreas Unge at Studio Bois & Charbon (Paris)
Backing vocals recorded by Barou Oumar Diallo et Yaya Diarra at Studio Yeelen (Bamako)
Backing Vocals directed by Cheick Tidiane Seck
Produced by Andreas Unge - Additional production by A.L.B.E.R.T
Mixed by Bertrand Fresel at Juno Studio (Paris)
Mastered by Chab at Chab Mastering Studio (Paris)
Kamelemba
Vincent Taeger - Drums, conga
Ludovic Bruni - Bass Guitar
Vincent Taurelle - Keyboards
Jesper Nordenström - Piano, wurlitzer, keyboards
Benogo Diakité - Kamele ngoni, Karignan
Guimba Kouyate - Electric guitar
Thomas Eby - Congas
Oumou Sangaré - Lead vocal
Valerie Belinga, Oumou Sangaré - Backing Vocals
Drums, conga, bass guitars, keyboards recorded by Vincent Taurelle at Studio La Marquise (Pantin, Fr)
Lead vocal, Kamele ngoni, Karignan, Guitars, Piano, Wurlitzer, keyboards recorded by Simon Nordberg and Andreas Unge at Stureparken Studio (Stockholm)
Backing vocals recorded by Philippe Brun & Andreas Unge at Studio Bois & Charbon (Paris)
Produced by A.L.B.E.R.T - Additional production by Andreas Unge
Mixed by Bertrand Fresel at Juno Studio (Paris)
Mastered by Chab at Chab Mastering Studio (Paris)
Mali Niale
Benogo Diakité - Kamele ngoni
Guimba Kouyaté - Acoustic Guitar, djeli ngoni, claps
Andreas Unge - Upright bass
Jesper Nordenström - Piano,Wurlitzer
Adama Diarra - Calabash, djembe, claps
Sebastian Notini - Pandeiro, tama, congas
Harry Wallin - Brushes, ridecymbal
Thomas Eby - Chekere
Oumou Sangaré - Lead & backing vocals, karignan, claps
Valerie Belinga - Backing Vocals
Recorded by Simon Nordberg and Andreas Unge at Stureparken Studio (Stockholm) except lead vocal recorded by Philippe Brun & Andreas Unge at Studio Bois & Charbon (Paris)
Produced by Andreas Unge - Additional production by A.L.B.E.R.T
Mixed by Bertrand Fresel at Juno Studio (Paris)
Mastered by Chab at Chab Mastering Studio (Paris)
Djoukourou
Vincent Taeger - Drums
Etienne Mbappe - Bass
Vincent Taurelle - Keyboards
Ludovic Bruni, Vincent Taurelle, Vincent Taeger - Claps
Guimba Kouyate - Electric and acoustic guitar
Oumou Sangaré - Lead vocal
Dandio Sidibe, Mariam Kone, Pamela Badjogo, Naba Traoré - Backing Vocals
Drums, keyboards recorded by Vincent Taurelle at Studio La Marquise (Pantin)
Lead vocal, guitars recorded by Simon Nordberg and Andreas Unge at Stureparken Studio (Stockholm)
Backing vocals recorded by Barou Oumar Diallo et Yaya Diarra at studio Yeelen (Bamako)
Bass guitar recorded by Bertrand Fresel at Studio Juno (Paris)
Backing Vocals directed by Cheick Tidiane Seck
Produced by A.L.B.E.R.T
Mixed by Bertrand Fresel at Studio Juno (Paris)
Mastered by Chab at Chab Mastering Studio (Paris)
Kounkoun
Vincent Taeger - Drums
Ludovic Bruni - Bass guitar
Guimba Kouyate - Acoustic and electric guitar
Benogo Diakité - Kamele ngoni
Jesper Nordenström - Wurlitzer
Ludovic Bruni, Vincent Taurelle, Vincent Taeger - Claps
Oumou Sangaré - Lead vocal
Dandio Sidibe, Mariam Kone, Pamela Badjogo, Naba Traoré - Backing Vocals
Drums, bass guitar, keyboards recorded by Vincent Taurelle at Studio La Marquise (Pantin, Fr)
Lead vocals, kamele ngoni, guitars, Wurlitzer recorded by Simon Nordberg and Andreas Unge at Stureparken Studio (Stockholm)
Backing vocals recorded by Barou Oumar Diallo et Yaya Diarra at studio Yeelen (Bamako)
Backing Vocals directed by Cheick Tidiane Seck
Produced by A.L.B.E.R.T - Additional production by Andreas Unge
Mixed by Bertrand Fresel at Studio Juno (Paris)
Mastered by Chab at Chab Mastering Studio (Paris)
Minata Waraba
Oumou Sangaré - Lead and backing Vocals
Sebastian Notini - Percussion efx
Thomas Eby - Congas
Jesper Nordenström - Piano,wurlitzer
Benogo Diakité - Kamele ngoni
Guimba Kouyate - acoustic and electric guitar
Djembe Cheikh Oumar Diabate - Karignan, Djembe, Dum-Dum drums
Andreas Unge - Bass
Harry Wallin - Drums
Recorded by Simon Nordberg and Andreas Unge at Stureparken Studio (Stockholm)
Produced by Andreas Unge - Additional production by A.L.B.E.R.T
Mixed by Vincent Taurelle at Studio La Marquise (Pantin, Fr)
Mastered by Chab at Chab Mastering Studio (Paris)
Mogoya
Oumou Sangaré - Lead and backing vocals
Clément Petit - Cello and synths
Jesper Nordenström - Keyboards, effects
Recorded by Simon Nordberg and Andreas Unge at Stureparken Studio (Stockholm) and by Clément Petit in Paris
Arranged by Clément Petit
Mixed by Florian Monchatre at Flam Studios (Paris)
Mastered by Chab at Chab Mastering Studio (Paris)
_______
Cover Artwork - JP Mika
Design - element-s (Jérôme Witz)
Photos - Benoit Peverelli
It’s eight years since Oumou Sangaré last released an album of new material and much has changed since we last heard from the greatest living female voice in African music.
The power of her voice and the potency of her message remain inviolable but with a new label, an all-new production team and a vital new set of songs, her latest album Mogoya (it translates roughly as ‘people today’) represents an exciting new chapter in Oumou Sangaré’s storied career.
While her sound remains rooted deep in the continuity of Malian tradition, at the same time this is Oumou as we have never heard her before. Recorded in Stockholm by Andreas Unge, and produced in Paris with the crack French production team A.L.B.E.R.T. (Vincent Taurelle, Ludovic Bruni and Vincent Taeger), Mogoya is a record that both draws upon a rich musical heritage and looks to the future.
Traditional African instruments such as the kamele n'goni (harp), karignan (metal scraper) and calabash percussion are augmented by electric guitar, bass, keyboards and even synths while Tony Allen, once Fela Kuti’s band leader, guests on drums.
“We wanted to emphasise the raw power of Oumou’s voice and songs and to avoid the glossy smoothness of so many current African productions,” says Ludovic Bruni, who with his co-producers Taurelle and Taeger, has worked with the likes of Air, Charlotte Gainsbourg, Beck and Franz Ferdinand. “We wanted to find a new modernity".
It’s only the fifth studio album since Oumou’s spectacular debut announced the arrival of an audaciously fearless new African voice some 27 years ago. But Mogoya sounds and feels like a career defining moment, the rich fruit of hard-won experience over a life spent confronting prejudice and obstacles - and triumphing over them.
“This album is the result of many years of work. I’ve collaborated with many people and I’ve been able to observe people’s mentality,” Oumou says. “This time around I wanted to go for more of a modern sound, to satisfy young people in Mali, but being careful, all the while, to respect my culture and my tradition.”
Stylish, elegant, feisty and charismatic with a soulful, soaring voice, Sangaré has become an emblem for African womanhood and makes a striking role model. Born in 1969 in the Malian capital of Bamako, the moment which she defines as shaping her career occurred when she was just two years old. With her mother, Aminata Diakité, struggling to bring up a brood of small children and pregnant with another, Oumou’s father took a second wife, abandoned his family and emigrated to Côte d'Ivoire.
Her mother, a singer who made her living performing at traditional wedding ceremonies and baptisms, sank into a deep depression at this desertion. But it also made her “a fighter”, a quality Oumou inherited in abundance along with her mother’s singing talent. By the time she was five, mother and daughter were singing together and by the age of thirteen, Oumou had become the family’s main breadwinner. "That's what has given me strength in my life,” she says. “It was a very hard childhood and it gave me an incredible character. I can face up to any obstacle".
The years of poverty and sorrow also informed her music and throughout her career she has used her songs to campaign fearlessly to improve the position of women in Mali and to oppose polygamy, child marriage and a system that defines a ‘good wife’ as a submissive woman. “Ever since I was a kid, I promised myself that one day I will scream about this problem to the whole world,” she says.
It was no coincidence that her first album was titled Moussolou (the title means ‘women’); or that her next album, Ko Sira, included a song titled Dugu Kamalemba (which translates as ‘the womaniser’); or that the title of her third album, Worotan (meaning ‘ten kola nuts’) was a reference to the price of a bride in an arranged marriage.
She also wrote Magnoumako (‘Agony’) about her mother’s suffering, “how she wept, how she was marginalised, how she was ignored, how she struggled,” The song appeared in 2003 on the compilation, Oumou. “How can an African woman hear that song without crying?” she asked at the time.
Her mother’s spirit continues to inspire her music and one of Mogoya’s key songs is Minata Waraba (‘Aminata the Lioness’), a tribute to her maternal courage and resilience. “Women have a hard time in Africa. We have no voice; our men do all our talking for us,” Oumou says. “My role is to speak directly to women both through my songs and setting an example and showing them that they can make their own decisions. I was the first one who started to speak out about correcting the inequalities and injustice that women still endure in Mali.”
Although born in Bamako, Oumou’s parents came from Wassoulou, a wooded region in southern Mali, which straddles the borders with Ivory Coast and Guinea, which she regards as her cultural and spiritual home. The region boasts a rich and distinctive tradition based around the special place in village life afforded to the caste of hunters, whose hypnotic, rhythmic music played on the kamele n'goni has from the outset exerted a powerful influence in Sangaré’s music.
In her teens she joined the Djoliba Percussion band, with whom she toured Europe in 1986, and went on to record her debut album at the age of twenty. On its release in 1990, Moussolou was a sensation in Mali, selling more than 200,000 copies on cassette – and proving highly controversial, both for her espousal of women’s rights and the song “Diaraby Nene” (‘the shivers of love’) which shocked a highly conservative society with its erotic expression of female sensuality.
“People couldn’t believe my music. They would say ‘what she sings about is heavy. She’s denouncing polygamy, she’s encouraging women to stand up to their husbands, she’s got guts’,” Sangaré recalls. “It was a kind of music revolution. Every household in Bamako had a copy of that record and my mother was so happy that she cried.”
The album was released outside Mali a year later on World Circuit, marking the beginning of a long-association with the label, for whom she went on to record three further albums between 1993 and 2009.
The long gaps between record releases were largely due to her heavy touring schedule. On the international stage she won the UNESCO International Music Prize (2001), became a Goodwill Ambassador for the United Nations’ Food and Agricultural Organisation (2003), collaborated and recorded with Bela Fleck (2010) and Dee Dee Bridgewater (2007), duetted live on French TV with Alicia Keys (2002) and featured on the soundtrack of Beloved, the film based on Toni Morrison’s novel and starring Oprah Winfrey (1998).
At home she built a significant business empire, owning and running a hotel, launching a range of 4×4 pick-ups and SUVs called the ‘Oum Sang’ in partnership with a Chinese manufacturer and marketing ‘Oumou Sangaré Rice’, proudly grown in her own fields.
After more than twenty years with World Circuit, she describes her move to the Paris-based No Format! label as “a bit nerve-wracking” but one she feels she had to make in order to expand her horizons and find a new energy.
“When we had the opportunity to sign Oumou, it felt like an exceptional chance,” says No Format! founder Laurent Bizot. “It was difficult to better the World Circuit albums by working in the same genre, so our concept was to seek a new sound and direction, keeping the magic of the Wassoulou melodies and traditional instruments but finding a harmonious marriage with more contemporary sounds.”
She approached the project, he reports, with a mixture of boldness, humility and confidence that are the hallmarks of a supreme artist. “It was new for me, because my music has never had this kind of arrangement and sound before,” Oumou says. “I’ve been totally in the tradition for years now so to get out of that and have a look around elsewhere was a total pleasure.”
