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Mogoya

Oumou Sangaré

NØF.36 — 2017

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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… 

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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 

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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 

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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 

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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.  

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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 

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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 

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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 

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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.” 


 


 NØF.47 — Acoustic— Oumou Sangaré

Mogoya