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Colin M.
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Colin M. The production lays down an enthralling soulful, funky blend of modern and traditional that allows Rokia Koné's powerful vocals to really shine through. I'm so glad I was introduced to this! Favorite track: Mayougouba.
VAST DEFERENS
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VAST DEFERENS Koné's volatile yet smooth voice dominates the throbbing funk, stirs the ballads soulfully, and meshes like 2 zipperlids when drawn together with the clear pop synth. Favorite track: N'yanyan.
Family Feet
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Family Feet February 2022 - If the three songs pre-released are any indication then the album is going to be pretty fucking great. Favorite track: Bambougou N'tji.
Faisal Jewell
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Faisal Jewell Shezita (Take a Seat) is the Best Song from the Album. I really Love those Electric Guitar Riffs Favorite track: Shezita (Take a Seat).
patstroudley
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patstroudley Many good things about this album, the best is Rokia's amazing voice, powerful and soulful
royleinfuss
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royleinfuss most everything on realworld has amazed me from your world to my world on realworld.. i look forward to meeting someone new that i never knew.....
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1.
(English translation below) Soyayo, bi ye tulonba ye Soyayo, bi ye tulonba ye Bi ta ye tulonba ye, bi ta ye wuyanba ye Bi ye wuyanba ye, bi ta ye ɲɛnajɛ ye, soyayo Soyayo, bi ye tulonba ye Soyayo, bi ye ɲɛnajɛ ye Bi ta ye tulonba ye, bi ta ye wuyanba ye Bi ye wuyanba ye, bi ta ye ɲɛnajɛ ye Bi ta ye tulonba ye, bi ta ye Ɲiagari ye, soyayo Soyayo, bi ye tulonba ye Sigi-bɛn-bali-lu, u ma diya dɔn Cɛ ni muso bɛnbalilu, olu ma diya dɔn Sigi-bɛn-bali-lu, u ma diya dɔn Balima fila bɛnbalilu, olu ma diya dɔn Sigi-bɛn-bali-lu, u ma diya dɔn Aritisiti fila bɛnbalilu, olu ma diya dɔn Sigi-bɛn-bali-lu, u ma diya dɔn Terima fila bɛnbalilu, u ma diya dɔn Wa n'alu ma sigi ladiya, jama yɛlɛtɔ le N'an ma sigi ladiya, jama yɛlɛtɔ le, soyayo Sigi-bɛn-bali-lu, u ma diya dɔn Cɛ ni muso bɛnbalilu, olu ma diya dɔn Sigi-bɛn-bali-lu, u ma diya dɔn Jaliden fila bɛnbalilu, olu ma diya dɔn Sigi-bɛn-bali-lu, u ma diya dɔn Aritisiti fila bɛnbalilu, olu ma diya dɔn wa n'aw ma sigi ladiya, jama yɛlɛtɔ le, soyayo Soyayo, bi ye tulonba ye Soyayo, bi ye tulonba ye N fa tɛ tunga la, n nana tulon kɛ N wolofa tɛ tunga nin na, n nana tulon kɛ aw fɛ Ne ba tɛ tunga la, n nana tulon kɛ N woloba tɛ tunga nin na, n nana tulon kɛ wa ne ba mana min kɛ so, o bɛ sara n ye ne ba mana min kɛ so, o de bɛ sara ne la, soyayo Ne fa tɛ tunga la, n nana tulon kɛ N wolofa tɛ tunga nin na, n nana tulon kɛ aw fɛ N ba tɛ tunga la, n nana tulon kɛ N woloba tɛ tunga nin na, n nana tulon kɛ N kɔrɔ tɛ tunga la, n nana tulon kɛ N balima tɛ tunga nin na, n nana tulon kɛ Ne ba mana min kɛ so, o bɛ sara ne la Maman mana min kɛ so, o bɛ sara ne la À mana waliden bugɔ, o bɛ sara ne na Maman mana ɲuman kɛ so, o bɛ sara ne la Maman mana juguman kɛ, o bɛ sara ne na Soyayo, bi ye tulonba ye Soyayo, bi ye tulonba ye I ye tungaranke ye o, aw ni su! Tungaranke minnu bɛ Faransi, aw ni su! Tungaranke minnu bɛ Kongo Baraza, aw ni su! Tungaranke minnu bɛ Shini, aw ni su! Mɔgɔkolon kana sɛbɛ sa, sɛbɛ kana tulonkɛ sa Ala, n b'i ma, tungarankew yo, An ka baara, baara ka di ni baarabaliya ye Wa kilomɛtɛrɛ kelen nana don i ni woloba cɛ, i bɛ tunga la Kilomɛtɛrɛ fila mana don i ni mansa cɛ, i bɛ tunga la A, n ko tungarankew ye: Tunga ma danbe dɔn, Nka tunga bɛ den ɲuman dɔn Soyayo, bi ye tulonba ye Soyayo, bi ye tulonba ye - - - Soyayo, today is a great party Soyayo, today is a great party Today is for the big party, today is for the wuyanba Today it’s the wuyanba, today is for celebration, soyayo! Soyayo, today is a great party Soyayo, today is a celebration Today is for the big party, today is for the wuyanba Today it’s the wuyanba, today is for celebration Today is for the big party, today is for the ɲiagari, soyayo! Soyayo, today is a great party Those who don’t agree, they can’t be happy A man and woman who disagree can’t be happy Those who don’t agree, they can’t be happy Two allies who don’t agree can’t be happy Those who don’t agree, they can’t be happy Two artists who don’t agree can’t be happy Those who don’t agree, they can’t be happy Two friends who don’t agree can’t be happy Between us all, if we can’t agree, they’ll laugh at us If we can’t get along together, people will laugh Those who don’t agree, they can’t be happy A man and woman who disagree can’t be happy Those who don’t agree, they can’t be happy Two griots who don’t agree can’t be happy Those who don’t agree, they can’t be happy Two artists who don’t agree can’t be happy And if we can’t get along together, people will laugh Soyayo, today is a great party Soyayo, today is a great party My father’s not on tunga, I came to party My birth-father’s not on tunga, I came to party with you My mother’s not on tunga, I came to party My birth-mother’s not on this tunga, I came to party with you And what my mother does, it’ll come back to me What my mother does at home, It will come back to me, soyayo! My father’s not on tunga, I came to party My birth-father’s not on this tunga, I came to party with you My mother’s not on tunga, I came to party My birth-mother’s not on this tunga, I came to party with you My elder’s not on tunga, I came to party My brother’s not on tunga, I came to party What my mother does, it will come back to me What Mom does at home will come back to me If Mom hurts another’s child, it’ll come back on me When Mom does good, it will come back to me If Mom does bad, it will come back on me, soyayo! Soyayo, today is a big party Soyayo, today is a big party To all on the tunga, good evening! To the tungaranke in France, good evening! To the tungaranke in Congo-Brazzaville, good evening! To all the tungaranke in China, good evening! Don’t let worthless people stop you working hard But don’t let the work prevent the party Oh God! I speak to the tungarankew: Let’s work hard, it’s better than not working at all And if just one kilometre is between you and your Mom, you are in tunga And if only two kilometres are between you and your parents, you are in tunga Oh, I say to all the tungarankew: Tunga won’t recognise your honour But tunga knows a good person! Soyayo, today is a big party Soyayo, today is a big party
2.
(English translation below) Ɛ! Musow yo! Bamaɲare musow yo! U ko an ye nsɔnw de ye— n m'à fɔ U ko an ye fana ye— n m'à fɔ U ko an bɛ jalonya kɛ— n m'à fɔ Mɔgɔ jugu tɛ kɔli sɔn na k'o da i la Ɛ o ɛ! Cɛ yo! Sudanɲare cɛw yo! U ko an ye sɔnw de ye— n m'à fɔ U ko an bɛ binnakali kɛ ye— n m'à fɔ U ko an bɛ jalonya kɛ— n m'à fɔ Mɔgɔ jugu tɛ kɔli sɔn na k'o da i la laminɛli: Á ye to an ka chaise-i ta k'an cogo! Mɔgɔ jugu tɛ kɔli sɔn na k'o da i la Ɛ juru o, juru o Ɛ muso yo! Monde entier musow yo! Ɛ muso yo! Bamaɲare musow yo! Ɛ muso yo! Sɛnɛgali musow yo! Ɛ cɛw yo! Monde entier cɛw yo! U ko an ye nsɔnw de ye. N m'à fɔ! U ko an ye sɔnw de ye— n m'à fɔ U ko an bɛ binnakali kɛ ye— n m'à fɔ U ko an bɛ jalonya kɛ— n m'à fɔ Mɔgɔ jugu tɛ kɔli sɔn na k'o da i la Ɛ! Tu tɛ kɔli Senkɔrɔjugu tɛ kɔli sɔn na k'o da i la Balima-jugu tɛ kɔli sɔn na k'à da i la Teriɲɔgɔn jugu tɛ kɔli sɔn na k'à da i la Yebaga jugu u tɛ kɔli sɔn na k'à da la Musow yo! Sɔn t'aw la! Mɔgɔ jugu tɛ kɔli sɔn na k'o da i la Muso furuɲɔgɔn, Jugu tɛ kɔli sɔn na k'o da i la Ɛ! Maa man ɲi! Maa man ɲi! Maanin man ɲi! Maanin man ɲi! Maaninfin sen man ɲi! Jaajaa, maa man ɲi! Faden jugu man ɲi Fadenjuguya kuma la, ah U ye nkalon da, k'i ye Kone lankolon den-sɔn ye Senkɔrɔjugu man ɲi! Senkɔrɔjugu kumala k'à da... Ɛ! Musow yo! Bamaɲare musow yo! U ko an ye fana ye— n m'à fɔ! U ko an ye nsɔnw de ye— n m'à fɔ U ko an bɛ jalonya kɛ— n m'à fɔ Mɔgɔ jugu tɛ kɔli sɔn na k'o da i la Ɛ o ɛ! Cɛ yo! Sudanɲare cɛw yo! U ko an ye sɔnw de ye— n m'à fɔ U ko an bɛ binnakali kɛ ye— n m'à fɔ U ko an bɛ jalonya kɛ— n m'à fɔ Mɔgɔ jugu tɛ kɔli sɔn na k'o da i la K'o da i la, Mɔgɔ jugu tɛ kɔli sɔn na k'o da i la - - - Hey ladies, yo! Bamaniaré ladies, yo! They called us thieves— I didn’t say it They called us liars — I didn’t say it They said that we sleep around— I didn’t say it Haters always find a reason to hate Yeah, yeah guys, yo! Soudaniaré guys, yo! They called you thieves— I didn’t say it They said you commit crimes— I didn’t say it They said that we sleep around— I didn’t say it Haters always find a reason to hate Chorus: Let’s take a seat, sit back, Haters always have a reason to hate Yeah, juru, juru! Hey ladies, yo! Ladies across the world, yo! Hey ladies, yo! Bamaniaré ladies, yo! Hey ladies, yo! Senegalese ladies, yo! Hey guys, yo! Guys across the world, yo! They called you thieves— I didn’t say it They said you commit crimes— I didn’t say it They said that you sleep around— I didn’t say it Haters always find a reason to hate Yeah, there’s so much hate! Those two-faced friends They’ll always find a reason to hate Those enemies in the family They’ll always find a reason to hate Those so-called friends They’ll always find a reason to hate Those damn hypocrites They’ll always find a reason to hate Ladies, there’s nothing wrong with you Haters always find a reason to hate A woman’s wicked husband... Haters always find a reason to hate Oh yes, people are bad! People, they’re bad! People are bad, they’re BAD! Lowdown people are bad Really though, they’re BAD! A mean-spirited rival is no good Oh, their mean-spirited words! They lied about me and said, ‘Koné, you’re a worthless thief’ Two-faced friends are bad They speak… and they hate Hey ladies yo, Bamaniaré ladies, yo! They called us liars— I didn’t say it They called us thieves— I didn’t say it They said that we sleep around— I didn’t say it Haters always find a reason to hate Yeah, guys, yo! Soudaniaré guys, yo! They called you thieves— I didn’t say it They said you commit crimes— I didn’t say it They said that you sleep around— I didn’t say it Haters always find a reason to hate A reason to hate, Haters always find a reason to hate
3.
Kurunba 04:26
(English translation below) N ko kurunba, ne tɛ fɛn fɔ i ye, Kurunba, ne tɛ fɛn fɔ Laminɛli: N ko kurunba, ne tɛ fɛn fɔ i ye, Kurunba, ne tɛ fɛn fɔ A kurunba, ne tɛ fɛn fɔ i ye, Kurunba, walayi, ne tɛ fɛn fɔ Ne ka furu fatɔya rɔ, Da ma tugu n da la Ka kɔnɔ ta fatɔya rɔ Da ma tugu n da la Ka na n den wolo fatɔya rɔ Da ma tugu n da la Ka n den lamɔ fatɔya rɔ Da ma tugu n da la Ɔ, den ka se cɛlasigi, Da ka tugu n da la Kurunba, walayi, n tɛ fɛn fɔ i ye N ko kurunba, mɔgɔ kurunba, Badenma jugu ye kurun ye, ne tɛ fɛn fɔ i ye Sinji jugu de ye kurun ye, ne tɛ fɛn fɔ Furuɲɔgɔn jugu ye kurun de ye Ne tɛ fɛn fɔ Kurunba, n tɛ fɛn fɔ i ye Balima jugu ye kurun de ye, Ne tɛ fɛn fɔ i ye Sinji jugu ɲɔgɔn ye kurun de ye, Ne tɛ fɛn fɔ i ye I fɛn-fɛn jugu o, Kurun dɛ, Ne tɛ fɛn fɔ i ye, Kurunba, walayi, ne tɛ fɛn fɔ - - - Oh Kurunba, I’ve got no more to say to you Kurunba I have nothing to say Chorus: Kurunba, I’ve got no more to say to you Kurunba I have nothing to say Ah Kurunba, I’ve got no more to say to you Kurunba I swear I’ve nothing to say I was crazy when I got married, The door wasn’t shut on me I was crazy when I got pregnant, The door wasn’t shut on me And I was crazy when I had a child, The door wasn’t shut on me I was crazy when I raised my child, The door wasn’t shut on me And yet, now my child is of age, Suddenly the door is shut on me Kurunba I swear I’ve nothing to say Kurunba, Kurunba, A cruel brother is a kurun I’ve got no more to say to you A cruel relative is a kurun I’ve got no more to say to you A cruel husband is a kurun Kurunba, I swear I’ve nothing to say A cruel kin is a kurun I swear I’ve nothing to say There are cruel family members like a kurun I have nothing to say to them To all of you, kuruns: I’ve got no more to say to you Kurunba I swear I’ve nothing to say
4.
N'yanyan 03:36
(English translation below) Ɲaɲa fo de, aw ma Ɲaɲa ko mɛn wa? Ɲaɲa fo de, n tɛ Ɲaɲa bɔyɔrɔ dɔn O Ɲaɲa fo de, aw ma Ɲaɲa ko mɛn wa? Ɲaɲa fo de, n tɛ Ɲaɲa bɔyɔrɔ dɔn Jaliw ɲininkala, ko u bɛ Ɲaɲa bɔyɔrɔ dɔn U ye n jaabi ko u tɛ Ɲaɲa bɔyɔrɔ dɔn Funɛw ɲininkala ko u bɛ Ɲaɲa bɔyɔrɔ dɔn U ye n jaabi ko u tɛ Ɲaɲa bɔfan dɔn Sakew ɲininkala ko u bɛ Ɲaɲa bɔyɔrɔ dɔn wa? U ye n jaabi ko u tɛ Ɲaɲa bɔfan dɔn Jɔnbadenw ɲininkala ko u bɛ Ɲaɲa bɔyɔrɔ dɔn wa? U ye n jaabi ko u tɛ Ɲaɲa bɔfan dɔn A, Ɲaɲa bɔra min? N ma Ɲaɲa bɔyɔrɔ dɔn Ko Ɲaɲa bɔra min? N ma Ɲaɲa bɔfan dɔn A Ɲaɲa fo de, aw ma Ɲaɲa ko mɛn wa? Ɲaɲa fo de, n tɛ Ɲaɲa bɔyɔrɔ dɔn Ɔ Ɲaɲa bɔra min? Yiii, n m'à Ɲaɲa bɔfan...? Jaliw ɲininkala ko u bɛ Ɲaɲa bɔyɔrɔ dɔn U ye n jaabi ko u tɛ Ɲaɲa bɔyɔrɔ dɔn Funɛw ɲininkala ko u bɛ Ɲaɲa bɔyɔrɔ dɔn wa? La hila ilala A, diɲɛ bɛ ban, Janko diɲɛ-kɔnɔ-fɛn Woyo, maaya ye sanga ye Ɲaɲa! Maaya ye waati ye Maaya ye sanga ye Maaya ye waati ye Maaya ye sanga ye - - - ENGLISH Greet N’yanyan, haven’t you heard of N’yanyan? Greet N’yanyan, I don’t know where N’yanyan comes from Oh, greet N’yanyan, haven’t you heard of N’yanyan? Greet N’yanyan, I don’t know where N’yanyan comes from The griots were asked, ‘Where does N’yanyan come from?’ They replied to me, they don’t know where N’yanyan comes from The wordsmiths were asked, ‘Where does N’yanyan come from?’ They replied to me, they don’t know the origin of N’yanyan The carpenters were asked, ‘Where does N’yanyan come from?’ They replied to me, they don’t know the origin of N’yanyan The enslaved were asked, ‘Where does N’yanyan come from?’ They replied to me, they don’t know the origin of N’yanyan Oh, where does N’yanyan come from? I don’t know where N’yanyan comes from I ask, where does N’yanyan come from? I don’t know where N’yanyan comes from Oh greet N’yanyan, haven’t you heard of N’yanyan? Greet N’yanyan, I don’t know where N’yanyan comes from Oh, where does N’yanyan come from? Oh, from where…? The griots were asked, ‘Where does N’yanyan come from?’ They replied to me, they don’t know where N’yanyan comes from The wordsmiths were asked, ‘Where does N’yanyan come from?’ La ilaha illallah! Oh the world will end one day And, of course, everything in it Oh this is one moment in time N’yanyan! This life is passing It’s only a moment in time This life is passing It’s only a moment in time
5.
(English translation below) Laminɛli: Nin ye anw de tile ye Tile diyara Nin ye anw de tile ye Nin ye anw ka fɔlikɛ-jamana tile ye Tile diyara O mana fɔ maa min kɔ, ko duman kɛli kɔ Ɲɛnama-minɛ, ne nana bɔ i ye N ko wulalakɔnɔ maa ɲuman kokɛbaa Jula nana bɔ i ye so Donso jugu n'à sogoku ban Selenbeten! Bunteni man bon nka à ka farin! Iye juru iye! Nin bɛ fɔ bamanana don min Maa min maa faden-to dun bamanana jaa jaa fadenkan caman bɛ fɔ i ye Á ye tɔ n ka Bamandenw weele, Bɛlɛdugu ni Segu Nin fɔra Tɔɔman-kɔrɔ-Soroke Soroke tɔgɔ de Kunba Nin fɔra Bamanan matigi ye Segu Ko Segu naani, Marakadugu kɔnɔntɔn, Dɔdugu tan ni fila, fula dugu-dugu duuru Kuku, Nbenba, Wenegana, Wɛta k'à fɔ manumanufin k'à tila k'à fɔ manumanujɛ Kɔrɔ tɛ maa sigi Bamanan, n'à kɛbaa t'i bolo Nin fɔra Bamanana (("ne-bɛna-taa-i-ye")) Segu Kulubali Bitɔn y'à tile kɛ Segu Bitɔn jamana banna Ngolo y'à tile kɛ Ségou, Ngolo jamana banna Banbugunci Jara, à y'à tile kɛ Bambougou, Bambougou N'tji jamana banna Ɲɛnama-minɛ, ne nana bɔ i ye Laminɛli Nkɔyɔnin bɛ lɛlɛ Seegu-foroba-nkɔyɔnin bɛ lɛlɛ Nka à karibaa tɛ. Ka kɔrɔnna yaala Ka ne kɛ duga ye N tun k'à kɛ kɔrɔnnaduga ye ka tilebin yaala N tun k'à kɛ duga ye Ne tun k'à kɛ tilebinduga ye Ka Bani-fɛ yaala N tun ka kɛ duga ye N tun ka kɛ maa-dun-duga ye Ka baba-fɛ yaala Nkɔyɔnin bɛ bilennen Segu-foroba-nkɔyɔnin bɛ bilennen Nka à karibaa tɛ Á ye n to à bolo, à ka n jakalimɛ-kari Á ye n to à bolo, à ka n jakalimɛ-kari Tile diyara ɲumankɛbali la Á ye n to à bolo, à ka n jakalimɛ-kari Tile diyara ɲumankɛbali la Ɲɛnama-minɛ, ne nana bɔ i ye Wulalakɔnɔ maa ɲuman kokɛbaa Jula nana bɔ i ye so Donso jugu n'à sogoku ban Tile diyara ɲumankɛbali la - - - Chorus: This is our time, This time is golden This is our time, This is the time of our orchestra, This time is golden, Those who missed it, it was a great time The invincible hunter, I’ve come to visit you Unbreakable hero of the forest’s depths Your griot has come to visit you The fierce hunter and his conquests Selenbeten! The scorpion is small, but it stings! Juru! I speak to the true Bambaras The day these words were spoken In the land of Bamana, If a person ate the food of their rival Then they’d better expect reprisal Let me call the Bambara of Bélédougou and Ségou This song is for the great Soroke of Ségou Soroke’s name is Kunba This song is for the great Bambara lord of Ségou As they say, the four villages of Ségou The nine villages of Marakadougou The twelve villages of Dodougou The five villages of the Fulani Koukou, Mbemba, Wenegana, Ouita, This is said today, that is said tomorrow There is no rest amongst the Bambara If succession is not assured This was said of the master Bambara of Ségou Biton Coulibaly had his day in Ségou Biton’s reign has ended Ngolo had his day in Ségou Ngolo’s reign has ended Bambougou N’tji Diarra, He had his day in Bambougou, His reign has ended The invincible hunter, I’ve come to visit you Chorus The little eggplant is red Ségou’s little eggplant is red But it’s not just anyone can pluck it To wander the East To be a vulture I should have been a vulture of the East To wander the West I should have been a vulture I should have been a vulture of the West To wander the Bani I should have been a vulture I should have been a man-eating vulture To wander the Baba The little eggplant is red Ségou’s little eggplant is red But not just anyone can pick it Leave me in their hands, let them set me straight Leave me in their hands, let them set me straight It was a good time for bandits Leave me in their hands, let them set me straight It was a good time for bandits The invincible hunter, I’ve come to visit you Unbreakable hero of the forest’s depths Your griot has come to visit you The fierce hunter and his conquests It was a good time for bandits
6.
(English translation below) Nin tɛ fɔ den si ye Nin tɛ fɔ maa lankolon si ye Nin tɛ fɔ den si ye Ani nin tɛ fɔ yɛrɛɲɛbali si ye Nin tɛ fɔ den si ye Ani nin fɔ tɛ fitiriwale si ye Ka nɛgɛ bila nɛgɛ kɔnɔ sangalama! N ko: jɔn de bɛ ŋana sɔsɔ? Ŋana-kɛ ta tora jaliden mara Ŋana ta tora funɛden mara ma Ŋana-kɛ ta tora jamaden mara ma Jalilu b'i kɔ! Iye, soyiye Ŋalanba Soyiye Ŋalanba, mori, i jo! Nin tɛ den si ye Nin tɛ kɛ à ɲumandɔnbali si ye Nin tɛ kɛ den si ye Ani nin tɛ kɛ fitiriwale si ye Nin tɛ kɛ den si ye Ani nin tɛ maa lankolon si ye Nin tɛ kɛ den si ye Ani nin tɛ kɛ fitiriwale si ye Ka nɛgɛ bila nɛgɛ kɔnɔ sangalama! N ko: jɔn de bɛ ŋana sɔsɔ? Ŋana-kɛ ta tora jaliden mara Ŋana ta tora funɛden mara ma Ŋana-kɛ ta tora jamaden mara ma Jalilu b'i kɔ! Soyiye Ŋalanba Soyiye Ŋalanba, mori, i jo! La ilaha illa illa-ilah Muhammadan rasul ullah Ala doni man girin Iya! N bɛ ni ŋanaw ye A, sabali dugu ma da Nin fɔra ŋanaw ye Maaninfin sɔn-ntan tɛ diɲɛ na Maaninfin sɔn-ntan tɛ diɲɛ na Nin fɔra ŋana-kɛ min ye a? À mana diya n ye, n b'à fɔ i ye Kone N'à diyara n ye Jara N'à diyara n ye Njayi N'à diyara n ye, Kanute N'à diyara n ye Male N'à diyara n ye, Malegise Nin bɛɛ jamu ye Kone Sangaraga Ko i ma Do Kamisa Kone ko mɛn wa? Do janjow diyara À ye ŋanaw kɛlɛ su ka nganaw kɛlɛ tile À ye ŋana caman ni janjow fara ɲɔgɔn na Diarra-w ye o ye A! Kone o, Jara, Sangaranka Duga Denbele de ye ŋana bawulantan ye Jarakɛ kasira ko ‘Soma Jara’ Soyiye Ŋalanba, Soyiye Ŋalanba, mori, i jo! Kamisa Kone ni ŋanaw kɛra ɲɔgɔn na don min Do Wulani, Wulanba, wulantanba Turamankansi, Tidiani Kalou Muru banna, Turamakan ma ban Taama banna Turamakan ma ban Kɛlɛkɛcɛ le banna Turamakan ma ban Soyiye Ŋalanba, Soyiye Ŋalanba, mori, i jo! - - - This song isn’t just for anyone This isn’t sung for the worthless ones This song isn’t just for anyone This isn’t sung for the useless ones This song isn’t just for anyone This isn’t sung for the thankless ones To cut iron with iron, that’s no mean feat! Who would challenge the king? The king who takes care of the griots The king who takes care of the wordsmiths The king who takes care of all people The griots salute you Oh, soyi N’galanba Soyi, N’galanba you are great! This song isn’t just for anyone This isn’t for those who don’t recognise good deeds This song isn’t just for anyone This isn’t sung for the thankless ones This song isn’t just for anyone This isn’t sung for the worthless ones This song isn’t just for anyone This isn’t sung for the thankless ones To cut iron with iron, that’s no mean feat! Who would challenge the king? The king who takes care of the griots The king who takes care of the wordsmiths The king who takes care of all people The griots salute you Soyi N’galanba Soyi, N’galanba you are great! La ilaha illallah! Muhammadan rasul ullah! Oh, a charge from God is never heavy Hey, I’m with the champions Ah, a land of patience doesn’t exist This song is sung to the very best A flawless one does not exist A flawless one does not exist And this song, who is it for? If I feel like it, it’s the Koné If it pleases me, it’s the Diarra If it pleases me, it’s the Ndiaye If it pleases me, it’s the Kanouté If it pleases me, it’s the Malié If it pleases me, it’s the Maliguissé All of these last names are Koné Sangaraga You say you haven’t heard of Do Kamissa Koné? Their exploits they were great They fought champions night and day They put an end to many kings’ reign It was the Diarra Koné, oh Diarra, Sangaraga Douka Dembélé, a flawless hero The lion cries out, ‘Soma Jara’ Soyi N’galanba Soyi, N’galanba you are great! Kamissa Koné and the kings met at Do Woulani, Woulanba, Woulantanba Turamakansi, Tidiani Kalou The knife refused to pierce Turamakan did not refuse The journey ended But Turamakan was not ended His rival did give in, But Turamakan he did not Soyi N’galanba Soyi, N’galanba you are great!
7.
(English translation below) laminɛli: N ko: bamananya kɛ, Bamananya kɛ, Banbugu Nci, bamananya N ko: bamananya kɛ, Bamananya kɛ, Banbugu Nci K'i ka bamananya kɛ, bamananya kɛ, O ye kɔrɔlen ye, a I ka bamananya kɛ, Bamananya kɛ Misiri tɛ seli barisoba la Selifana tɛ seli barisoba la Fajiri tɛ seli barisoba la Selifana tɛ seli barisoba la Laansara tɛ seli barisoba la, O ye kɔrɔlen ye, a laminɛli Iye! N bɛ ni Jara ye Ko n bɛ ni Jara ye Segu, a Bamanan matigi, N bɛ ni Jara ye, Tankani Jara Ɛ! Jarakɛ kasira ko ‘soma Jara’ Jaramuso kasira ko ‘sɛmɛ sunsun’ laminɛli Iye, n bɛ ni Jara ye Segu Wa n bɛ ni Jara ye Kɔlɔkanin N bɛ ni Jara ye Bɛlɛdugu Wa bɛ ni Jara ye Banbugu Ko Segu tiɲɛni-ngala don O don ma kɛ Jara-kɛ kɔ, Banbugu Banbugu Nci Jara, Sangaraga Ɛ! Ngɔlɔ Jara den belebeleba, Jara k'i nɔngɔma Dugufin ni dugujɛ cɛ ko ngɛrɛ masa. Ɛ! Sabali-dugu ma da laminɛli Ala ko dɔlɔ bɛ min barisoba la, o ye kɔrɔlen ye Ba bilen bɛ faga barisoba la, o ye kɔrɔlen ye Dondo kɔrɔ bɛ faga barisoba la, o ye kɔrɔlen ye Misi bilen bɛ faga barisoba la, o ye kɔrɔlen ye Wa seli tigɛ barisoba la, o ye kɔrɔlen ye N ko: bamananya kɛ, Bamananya kɛ, Banbugu Nci N'i bɛ ɲɛ o ɲɛ, Dɔ bɛ sɔn da i la, K'à sɔrɔ sɔn t'i la N'i bɛ ɲɛ o ɲɛ, Dɔ bɛ sɔn da i la, K'à sɔrɔ sɔn t'i la Sɔrɔ sɔn t'i la - - - Stick with Bamananya, Stick with Bamananya, Bambougou N’tji, be a Bambara Oh, stick with Bamananya, Stick with Bamananya, Bambougou N’tji Oh, let all you do be Bamananya Stick with Bamananya It’s an old custom You should stick with Bamananya Stick with Bamananya There is no prayer from the mosque to the bar Selifana isn’t practised at the bar Fajiri isn’t practised at the bar Selifana isn’t practised at the bar Laansara isn’t practised at the bar It’s an old custom Chorus Yeah, I’m with the Diarra! I’m talking about the Diarra of Ségou The famous Bambara, I’m talking about Diarra, Tangani Diarra The lion cries, ‘soma Jara’ The lioness cries out, ‘sɛmɛ sunsun’ Chorus I’m talking about the Diarra of Ségou The Diarra of Kolokani The Diarra of Bélédougou The Diarra of Bambougou The great battle of Ségou didn’t occur without Diarra Bambougou Bambougou Diarra, Sangaraga, The mighty son of N’golo Diarra Let Diarra walk proudly Between the night and the day: a king! Oh, a town of patience has never been built Chorus Drinking at the bar: that’s an old custom Killing a red goat at the bar: that’s an old custom Killing a rooster at the bar: that’s an old custom Killing a red cow at the bar: that’s an old custom Ending prayers at the bar is an old custom Oh, stick with Bamananya, Stick with Bamananya, Bambougou N’tji No matter how good you are, They’ll always have something to say But you’re doing nothing wrong No matter how good you are, People always have something to say Oh, you’re doing nothing wrong You’re doing nothing wrong
8.
Dunden 04:48
(English translations below) Laminɛli: Dunden, o Maanu! Ne ka dunden, O maanu, dunden! Jaa seere! Jaa seere! Jaa seere! N bolo bɛ n kɔ aw ye Ne jaa seere, kɔrɔti-tigi! Wa ne jaa seere, yebali fana o! Ne jaa seere, senkɔrɔjuguman! Jaa seere! N bolo bɛ n kɔ aw ye Laminɛli Ne taara Segu sugu, Ne ye bazin kura san Segu sugu
 Kabako jiginna n kɔnɔ Furukɛnin jugu ko jiginna n kɔnɔ N ye bazin fili wɔyɔ la N ye bazin kura fili wɔyɔ la Ne taara Bamakɔ sugu la Ne ye sanu bilen san Bamakɔ sugu Kabako jiginna n kɔnɔ Sinamuso jugu ko jiginna n kɔnɔ N ye sanu fili wɔyɔ la N ye sanu bilen fili wɔyɔ la Ne taara Moti sugu Ne ye jɛgɛ sama Moti sugu Kabako jiginna n kɔnɔ Burankɛnin jugu ko jiginna n kɔnɔ N ye jɛgɛ seri wɔyɔ la N ye ba jɛgɛ seri wɔyɔ la Ne taara Jabali sugu N ye jaba kɛnɛ san Jabali sugu Kabako jiginna n kɔnɔ Buranmuso jugu ko jiginna n kɔnɔ N ye jaba seri wɔyɔ la Ne ye jaba kɛnɛ seri wɔyɔ la Ne taara Ɲano sugu Ne ye malokisɛ san Ɲano sugu Kabako jiginna n kɔnɔ Nimɔgɔnin jugu ko jiginna n kɔnɔ Wa n y'à seri wɔyɔ la N y'à jaba kɛnɛ seri wɔyɔ la. Ne taara Joro sugu... Laminɛli N ba o, i kɛ sunun ye Asitan Ture i kɛ sunun ye Ɲaman jugu bɛɛ ka kɛ i kan Maman Sitan Ture i kɛ sunun ye Ɲaman jugu bɛɛ ka kɛ i kan N ba o, i kɛ sunun ye Balima jugu ka ɲaman, O ka fili i kan N ba o, i kɛ sunun ye Furukɛ jugu ka ɲaman, O ka fili i kan N ba o, i kɛ sunun ye Sigiɲɔgɔn jugu ka ɲaman, O ka fili i kan - - - Chorus: A Dunden, oh listen up! My dunden, Oh listen up, a dunden! Dear witness! Dear witness! Dear witness! My hands are behind my back for you Dear witness, wicked person! Dear witness, hidden liar! Dear witness, backstabber! Dear witness! My hands are behind my back for you Chorus I went to Ségou market I bought a new bazin at Ségou market Then I remembered what he’d done I remembered that cruel man And I cast the bazin into the stream I cast a new bazin into the stream I went to Bamako market I bought gold at Bamako market Then I remembered what she’d done I remembered that cruel co-wife And I cast the gold into the stream I cast pure gold into the stream I went to Mopti market I bought fish at Mopti market Then I remembered what he’d done I remembered that evil in-law And I cast the fish into the stream I cast fresh fish into the stream I went to Diabaly market I bought fresh onions at Diabaly market Then I remembered what she’d done I remembered that cruel mother-in-law And I cast the onions into the stream I cast fresh onions into the stream I went to Niono market I bought grains of rice at Niono market Then I remembered what he’d done I remembered that cruel brother-in-law And I cast them into the stream I cast them into the stream I went to Dioro market… Chorus Mother, oh, be a trash can Assitan Touré, be a trash can Let all the filthy garbage land on you Mama Sitan Touré be a trash can Let all the filthy garbage land on you Mother, oh, be a trash can Your cruel family’s garbage, Let it all land on you Mother, oh, be a trash can Your cruel husband’s garbage, Let it all land on you Mother, oh, be a trash can Your cruel neighbour’s garbage, Let it all land on you
9.
Mayougouba 04:26
Laminɛli: Maayugubayuguba! Sɔn t'i la Ko bɛɛ n'à waati don Sɔn t'i la! Ɛ Kia, sɔn t'i la, Baji-den o N ko Kia, sɔn t'i la, Asitan-den o Laminɛli I ye muso ye o, farafinna musow: Sɔn t'aw la Muso yo, Ameriki musow yo: Sɔn t'aw la I ye muso ye o, Sɛnɛgali musow yo: Sɔn t'aw la Laminɛli N ko sarama lamalo man ɲi Ko bɛɛ ye diya-n-ye ye Lanbema lamalo man ɲi Nin bɛɛ ye diya-n-ye ye Musow bɛ fɛn min na O ko ye ko duman ye Cɛw bɛ fɛn min na, O ko ye ko duman ye Denmisɛnnu bɛ fɛn min na O ko ye ko duman ye Laminɛli Ɛ Kia, sɔn t'i la, Badji-den o N ko Kia, sɔn t'i la, Asitan-den o A Kia! Sɔn t'i la, Bamaɲare Kiya o! Laminɛli Wa n bɛ ni n ni-n-kan-maw ye Sɔn t'á si la Wa n bɛ ni n goya-n-ye-maw ye Sɔn t'an na Musow bɛ fɛn min na O ko ye ko duman ye Cɛw bɛ fɛn min na O ko ye ko duman ye Aritisiw bɛ fɛn min na O ko ye ko duman ye Dɔnkɛlalu bɛ fɛn min na O ko ye ko duman ye Laminɛli N ko sarama lamalo man ɲi Ko bɛɛ ye diya-n-ye ye Lanbema lamalo man ɲi Laminɛli - - - Chorus: Move, dance, you’re perfect as you are There’s a moment for everything You’re perfect as you are Oh Kia, you’re perfect as you are Daughter of Badji, I said Kia, You’re perfect as you are Daughter of Assitan Chorus Yeah women, I say women of Africa: You’re all perfect as you are Yeah women, I say American women: You’re all perfect as you are Yeah women, I say Senegalese women: You’re all perfect as you are Chorus Serious people can dance too Love is the foundation Don’t shame a friend when they let loose Love is the foundation When the women are dancing It only leads to good things When the men are dancing It only leads to good things When the kids are dancing It only leads to good things Chorus Oh Kia, you’re perfect as you are Daughter of Badji, I said Kia, You’re perfect as you are Daughter of Assitan, oh Kia, You’re perfect as you are Kia of Bamako Chorus To all of those who adore me You’re perfect as you are And all my haters too, You’re perfect as you are When the women are dancing It only leads to good things When the men are dancing It only leads to good things When the artists are dancing It only leads to good things When the dancers dance It only leads to good things Chorus Oh serious people can dance too Love is the foundation Don’t shame your friend for letting loose Love is the foundation Chorus
10.
Mansa Soyari 05:00
(English translation below) À mana fɔ, an ka musolu wele A! N bɛ musow wele! I m'à ye musoya tɛ ‘ya’ lankolon ye Du tɛ diya musow kɔ Den tɛ lamɔ musow kɔ Jamana man ɲi musow tɛ Furu tɛ diya musow kɔ Musoya ka di! Musoya ka di! Hm! Musoya! A soyari, soyari! I m'à ye, sosoyari Muso lankolon ye musoya kɛ mɔnɛ Hali n'à kɛra cɛ ye, mɔnɛ tɛ bɔ! Soyari yo! Nin ye n miiri jigi jɔn na? A soyari, soyari Wasolonkayi la Ara sumana Wa Tata Jakite sumana Darame Sheshe, Darame Sheshe sumayana Fanta Darame, Fanta Darame sumana Fanta Danba, Fanta Jini Danba sumana Muso lankolon O ye musoya kɛ dimi ye, k'à kɛ dimi ye Hali n'i ye kulusi don à la, à tɛ mɔnɛ bɔ N'o tɛ, muso de ban n'à bange ye Muso ye alimu bange Muso bɛ minisiri bange Muso de bɛ peresidan bange, muso b'i Den jugu ni den ɲuman, muso de b'à bange Jaa! Diɲɛ ye baro-yɔrɔ ye Diɲɛ tɛ an to-yɔrɔ ye Soya-bulon bɛ fa Ɲɛnamala-bulon bɛ lankolonya, soyari! Truly, the child has seen that This world isn’t the destination The world will fill, this world will empty, soyari! I m'à ye musoya ka di - - - If it’s said that we should call the women Well, I call the true women Don’t you see, being a woman is a privilege A home isn’t a home without women A child isn’t raised without women A country isn’t great without women Marriage cannot work without the woman Ah, the sweetness of womanhood, The sweetness of womanhood Musoya! Ah soyari, soyari, sosoyari It’s a sorry woman who takes womanhood as a burden When even if she became a man She’d still find it a burden, soyari o! Who am I reminded of? A soyari, soyari Rah of Wassoulou has left us Oh, Tata Diakité has left us Dramé Cheché, Dramé Cheché has left us Fanta Dramé, Fanta Dramé has left us Fanta Damba, Fanta Djini Damba has left us A sorry woman, She makes womanhood out to be pain— to be pain! But even in trousers, she’d still find it a burden Otherwise, a woman ‘ends’ with childbirth But it’s a woman gives birth to the Imam It’s a woman gives birth to ministers A woman gives birth to the president— a woman! The bad child and the good child, It’s a woman who gives birth to them Truly, this world is a place for connection, But we’re only passengers in this place, This world will fill, and it will empty, soyari! Can’t you see the sweetness of womanhood?

about

It’s a voice that soars – pure, clear and true — above bass and synths, traditional percussion and infectious Mande guitar grooves. A stop-you-in-your-tracks voice instantly familiar to anyone in Mali, West Africa: Rokia Koné, aka the Rose of Bamako.

One of Mali’s most beloved and dynamic artists, Koné is a force to be reckoned with. Her captivating performances in the city’s local maquis clubs very often last for hours, as Koné runs the gamut of emotion from joy to despair, fury to tenderness, wielding that astounding voice with grace and power. For her debut album, Koné might have been content with showing off that soulful instrument on a traditional repertoire of songs.

Instead she’s teamed with Irish-born, California-based rock producer Jacknife Lee — and reimagined the Malian sound in ways leftfield and ground breaking.

Welcome, then, BAMANAN, a collaboration that connects the great ancient kingdoms of Mali and the bustling modern street life of its capital, Bamako to a remote recording studio nestled within California’s Topanga Canyon. That bridges deep tradition and forward-facing innovation.

Jacknife Lee is the acclaimed producer of bands including U2, R.E.M and The Killers, and has earned Grammy recognition for his work on Taylor Swift’s multi-million selling Red. Stadium-sized soundscapes are his speciality. Yet BAMANAN finds Lee upholding the stark beauty of Rokia’s voice with subtlety and sensitivity. Every nuance and breath is heard, each inflection and melismatic improvisation carefully preserved.

Koné’s musical journey began as a young child in the courtyard of her home in Dioro near Ségou, the cradle of the great Bamana Empire.

“I would mostly sing my grandmother’s songs,” she says. “My uncles and aunts on both sides of my family were also singers. I was always surrounded by music.”

The young Rokia headed to Bamako, becoming a backing singer for Alia Coulibaly, one of Mali’s biggest stars, then quickly earned top billing as a solo artist in her own right. In 2016 she caught the attention of Valérie Malot, founder of renowned French booking agency 3D Family, who invited her to join feminist supergroup (and later, Real World Records signings) Les Amazones d’Afrique and make her debut on an international stage. They collaborated on several songs for the band’s first album, sparking a close creative relationship.

“Rokia’s music is based in improvisation,” says Malot. “It’s very instinctive and passionate. She gives everything when she sings. But in order to do this, she has to make herself vulnerable, and that demands trust. Eventually, we found a great way of working together, and she wanted me to help her make a record of her own that could appeal to audiences beyond Mali.”
BAMANAN, long gestating, was born out of unexpected circumstances and seized opportunities: a recording studio becoming vacant in Bamako. A free stop-over day in Paris while on tour with Les Amazones d’Afrique. A jam during a band rehearsal in Mallorca. A pandemic.

“We knew early on that magic had been captured,” Malot recalls, “But then I was busy working on Les Amazones d’Afrique’s second album and tour and Rokia had her own commitments in Mali. Life got in the way, progress halted.”

Then came 2020’s enforced period of isolation and reflection. Locked down in her apartment in Portugal, Malot uncovered a hard drive marked ‘ROKIA’. Finally, the time is right.

Some 4000 miles west, amid the trees of Topanga Canyon, north of Santa Monica, Jacknife Lee had an empty diary and an urge to create. Having recently completed a role as a judge on a remix contest sponsored by Real World Records and audio hardware company Universal Audio, he found himself mesmerised by Les Amazones d’Afrique — more specifically, by a Mande guitar part amidst the remix pack for their song ‘Love’.

“I really wanted to find out more about the guitarist so Real World put me in touch with Valérie,” says Lee. “She told me his name was Salif, and that he played lead for a Malian singer called Rokia Koné. Then she told me they had started an album but needed help to finish it.”

Lee freely admits he was floored by Konés voice on ‘Anw Tile’, the first track he heard, after which he began picking apart the sessions he was sent. Isolating a drum part, looping a guitar, laying down some synth pads: “I’m thinking, damn, I have no idea how to approach this, but I kind of know where I’m going. I love that naiveté. It really allows me to create something good.”

Working on Koné’s music dovetailed with a change in attitude for Lee. A few years previously he’d taught music to teenagers whose enthusiasm around the machinations of Nineties hip-hop got him thinking about his own youth — when he was excited by the mystery of music making.

“I realised I had been lost for years,” he says. “I had been making bad decisions about the work I was doing. My motivation had been wrong. So I fell in love with music all over again, started frequenting record stores, seeking out new sounds.

“I wanted to switch from being the person who had the most amount of knowledge in the room to the one saying ‘I don’t have a clue what I’m doing but let’s just see what happens.’”

The opportunity to work on Rokia’s album met all of the criteria. “It actually felt like the thing I had always wished to do,” he says.

No matter that pandemic-related travel restrictions ruled out direct contact: “This process afforded Rokia and her musicians the freedom to create without being bothered by my presence, and I was allowed space to experiment. My biggest breakthroughs happen when the musicians aren’t there,” he says. “It’s how I prefer to work these days.”

At its heart, BAMANAN is a tribute to the Bambara of southern Mali, to their language, culture and the practices. Koné, while born into a noble caste, takes inspiration from the tradition of the hereditary griots, the praise singers vital to the fabric of Malian society. “It is the role of the griot to perpetuate the tradition,” says Koné. “To remind us of our origins, our culture.”

Rokia invokes her ancestors on a nostalgic, hugely dramatic trilogy of songs — ‘Anw Tile’, ‘Bambougou N’tji’ and ‘Soyi N’galanba’ – that praise the great kings of Segou’s past. In ‘Mansa Soyari’, a song she composed for Les Amazones d’Afrique, Koné opts to replace the male heroes of Mali’s history with female heroines including singers Ramata Diakité and Fanta Damba — singers who through their music were a source of inspiration and guidance to the women and children of their society, including Rokia herself.

“The advice I give to women and children in my songs is that there is always hope,” she says. “Nothing is impossible. I tell them not to feel rejected or forgotten by society.”

This message is clear on ‘Mayougouba’, a song that summons women and girls to the dancefloor: “Move, dance,” she sings. “You’re perfect as you are.”

On ‘Shezita’, ‘Kurunba’ and ‘Dunden’, Rokia warns of enemies close to home (think disrespectful husbands, jealous co-wives, gossipers and haters), preaching resilience in the face of adversity. Elsewhere, she holds the classic griot role as a bearer of advice and wisdom on the song ‘Bi Ye Tulonba Ye’. “The situation in Mali is very difficult right now. But other countries have their conflict too. The message of this song calls for us to end to all wars and disputes and come together for a great party.”

The album’s most reflective moment comes on the beautiful ‘N’yanyan’, which finds Koné accompanied solely by electric piano. The vocals were recorded in Bamako on 18th August 2020, the night of a coup d’état that marked another period of instability for Mali, a country troubled by severe political upheaval for almost a decade. Koné delivered a profound vocal performance in a single take, just before the power was shut down and a curfew imposed on the city.

“I sing ’N’yanyan’ for all human beings, to tell them that we are in the middle ground and all this will end one day. This difficulty is only a moment in time, and all things will pass.”

In Jacknife Lee, Rokia Koné found a musical soulmate, a collaborator who helped unlock her songs with exquisite, timeless arrangements.

“I love the new palette of colours,” says Koné, the next great voice of West Africa. “We’ve made something fresh. Something that stands out.”

credits

released February 18, 2022

Rokia Koné: vocals
Jacknife Lee: guitars, keys, drums & programming, electric piano
Sountoucoumba ‘Salif’ Koné: lead guitar
Llorenç Barceló: Minimoog bass
Amadou Dembélé: djembe
Mamadou Diabaté: doundoun
Abdou Diallo: doundoun superposé
Amadou Sissoko: tama
Harouna Samaké: kamele ngoni
Maïmouna Ouedrago: backing vocals
Fatoumata Coulibaly: backing vocals
Pamela Badjogo: backing vocals (track 10)
Mariam Koné: backing vocals (track 10)

Rokia’s vocals recorded by Patrick Ruffino in Paris, May – July 2018, except ‘N’yanyan’, recorded by Aba Sangaré a.k.a. Le Dynozor at Baniko House in Bamako, August 2020, and ‘Mansa Soyari’, recorded by Liam Farrell, assisted by Lassine Simintao, at Radio Libre in Bamako, 2016. Lead guitar, djembe, doundoun, tama and Maïmouna and Fatoumata’s vocals recorded by Yaya Samaké at Studio Teriya Mali Production, Bamako, May – July 2018. Kamele ngoni and Pamela and Mariam’s vocals recorded by Liam Farrell, assisted by Lassine Simintao, at Radio Libre in Bamako, 2016. Minimoog bass recorded at Es Cuartet Studio, Manacor, Mallorca, May 2018. Jacknife Lee’s parts recorded at The Garage, Topanga Canyon, California, May – August 2020.

Produced by Jacknife Lee

Mixed by Jacknife Lee at The Garage, Topanga Canyon, California, September 2020. Session preparation by Matt Bishop.

Mastered by John Davies at Metropolis, London.

All songs written by Rokia Koné & Garret “Jacknife” Lee, Published by 3D Family Publishing & France Media Monde – RFI Talent / Besme, administered by Kobalt Music Group Ltd.

Photography: Karen Paulina Biswell on Gorée Island, Senegal, June 2021
Styling: Cheikh Kébé, assisted by Fatima Charlotte Diagne & Madjiguene Samb
Hair & Make-up: Ndieme Ngom & Awa Diop

A Real World Design

Artistic Director: Valérie Malot
Artistic Coordinator: Oran Mullan

Original lyric translations into French by Aba Sangaré a.k.a. Le Dynozor. Bambara transcription and initial English translations by Coleman Donaldson. English adaptations by Oran Mullan. With thanks to Wilfred Willey.

Thanks:
First and above all, Rokia thanks Allah the Almighty. Rokia and Jacknife would like to thank Valérie Malot, Cynthia Rambaud and all at 3D Family, Aba Sangaré a.k.a. Le Dynozor, all of the musicians and singers who feature on this record, Amanda Jones, Oran Mullan and all at Real World, Jill Hollywood, Erica McDaniel and Universal Audio, Matt Bishop, Daniel Lieuze & France Media Monde – RFI Talent, Joseph Gaye Ramaka, Paulo Albeho, Ndiaga Bamba, Dudu Sarr, Felipe Cabrera and the wonderful people of Gorée Island.

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Rokia Koné Bamako, Mali

Rokia Koné is one of Mali's leading female artists. She is also a member of the West African music collective Les Amazones d'Afrique.

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