Immigrés

The sound of being at a late-night backyard party illuminated by string lights on a hot summer night with a glass bottle in your hand. Really fun, and has no bloat at all.

Not the type of music i would usually listen, but i loved it. The production is really good, all the drums sound fantastic and the vocals are wonderful.

“Immigrés” by Youssou N’Dour (1988) Gipsy Kings, meet Bob Marley. The West African country Senegal is the grand exception to the dictum “The worst thing you can be is a former French colony”. And Senegal is perhaps is the world’s best hope for an exemplary and peaceable Mohammedan nation. Out of Senegal comes N’Dour (one of Paul Simon’s collaborators on his album “Graceland” [1986–percussion on “Diamonds on the Soles of Her Shoes”]—Simon may have “appropriated” African musicians, but it sure didn’t hurt their subsequent careers). N’Dour is an able vocalist who has assembled a sizable team of performers in this rhythmic treat. This is your horizon-expanding opportunity to enlarge the musical palate. The lyrics to the opening song “Immigrés” playfully give sage advice to those who are contesting a disputed election: Have a cookie and get over it. I laughed out loud. However, I was unable find any other lyrics online (too bad—they are in Wolof, I believe, and are essential for seriously assessing this work), but the real substance of this album is the colorful and exciting instrumental work, especially percussion. The four tracks are multidimensional, well-composed, evocative, and extended. Sorry, I had to give up on “Taaw”—I could never find the groove. Play this as background music while you work, and you’ll not only be efficient, but you’ll also be eager to wrap your arms around a world of music. Who could ask for more on a Monday morning? 3/5

Really good music. This is the type of s*** that I want when I started listening to a list of albums like this.

This album is awesome. The songs were long but never got boring. Consistently fun throughout.

THIS IS AWESOME

Almost halfway through the list, and the "Other" origin is consistently rated higher than "UK" and "US". A bit surprising to me, but especially the picks from Africa have been excellent, and Immigrés from legend Youssou N'Dour is no exception. A perfect blend of percussion, bass and synth.

The African entries on this list are mostly top class. This album by the former Senegalese minister of tourism is no exception.

sacré bleu!

I quite like world music, so I enjoyed this one.

Very pleasant listen. As with much African music, I can't quite put my finger on what I do and don't like.

Decent world music, interesting to hear once but that's it

Oh, this is wonderful. Joyful, richly arranged, musically gorgeous songs. Youssou N'Dour has really found the sweet spot where traditional Senegalese sounds blend perfectly with hints of Western pop, funk and jazz. The synths are actually pretty restrained and balanced for that era, so I don't know why anyone would single them out for criticism. Overall, this is really splendid. Fave Songs (All songs, from most to least favorite): Taaw, Badou, Immigrés/Bitim Rew, Pitche Mi

Really liked this! Don't have much to say, it was groovy. 9

It's difficult for someone my age to hear this without expecting Paul Simon to jump out from behind a door, but it's a lot of fun, and nice to imagine dancing in Senegal rather than clearing six inches of snow from the roof of the car.

Fun rhythms, fun melodies and instrumentals. This is such interesting, moving music!

Great experience getting some exposure to Senegal, but I still find it absurd to randomly throw in world content into a list of popular genres.

Im a fan of juju music and I am surprised that King Sunny Ade didn't make this list. However, this album certainly rivals his best work. Great record. Amazing voice and great instrumentation.

Brilliant, of course. 5 stars.

Awesome sound. I loved it; my cats loved it.

went absolutely crazy on this one. excellent instrumentals, catchy riffs and infectious rhythms. excellent excellent work

Big beautiful groove

I was not familiar with this particular album, but I really love Youssou N'Dour, so this particular assignment came as a "heck yes!" for me. As mentioned in a prior review, it's a bit hard to rate albums that aren't in English because I can't compare songwriting when I don't understand the lyrics. But dang, I love the SOUND of this album. The drums are amazing, the layers of guitar and brass, the sound of the vocals. Just wonderful. Wikipedia tells me that this album was criticized for the use of synthesizers? I like the synth sounds! So there you go. Love it. 5/5

Great world drumming album!

Fun, upbeat, different to what I would usually listen to. Honestly thoroughly enjoyed listening to this short album.

Awesome album

Joyous. I saw him on Peter Gabriel’s “So”tour in 1986. Became a huge fan. This is a great album!

Loved it, magical stuff.

Man, you see “1984” and “world music” and you’re instantly prepared for something with absolutely horrible, dated production. Well, I was wrong, and I’m big enough to admit when I’m wrong. The songs aren’t flashy, but when they settle into a groove and just build upon that groove, expanding it outwards, it’s really enjoyable. I quite like this, a very pleasant surprise.

Very pleasant listening. Unfortunate that it was storming today as this should be listened to in the back yard at a barbecue.

Not really sure how to rate this one, so I'll give it a three. Add a half-star because I'm pretty sure that Morrissey hates it. Take that, Moz!

Music like this is why I do this project. Immigrés doesn't introduce me enough to N'Dour's catalog but sure motivates me to looking more into it. 3.5/5

It was a new experience for anyone who primarily listens to American or English music, and a good foot in the door.

No. 292/1001 Immigrès/Bitim Rew 3/5 Pitche Mi 3/5 Taaw 4/5 Badou 3/5 Average: 3,25 Not my absolute favorite, but this was a fun and interesting listen.

Could use more Paul Simon.

Really interesting to hear Senegalese music. Throughly enjoyed it to begin with but couldn't listen for too long

Nice change. Can feel the 80's in this one.

Not something I would usually listen to, but pretty good. Good musicianship.

Instrumental is nice but the vocals are not my type.

Nice enough vibe but I don’t really enjoy his tone.

2.5 | No me terminó de convencer. Aprecio que esté bien hecho y que su calidad de compositor y mezcla con ritmos es correcta. De hecho hasta humor tenía para algo tipo Afro Beat, pero no me terminó de cuajar. Si lo comparo con algo como Fela Kuti siento que al menos en este disco Fela gana de calle facilmente. Quizá es la instrumentación, se termina escuchando con las partes electrónicas medio... apagadas? No estoy seguro pero simplemente fue un disco que vino, se fue y no encendió mucho en mí, aunque se escucha tecnicamente correcto. Para ser tantos ritmos africanos algo le falta de caracter.

This is straight up Senegalese music. Lots of percussion/African band sound. 4/10.

trust me, this is not an album you need to hear before you die.

Radio gazelle

Yesss, loved this! Perfect new discovery for a sunny Friday that I would’ve otherwise never have been exposed to.

Favorite songs: Taaw, Badou, Pitche Mi Least favorite songs: Immigres/Bitim Rew 5/5

Loved this album. A good example of how diverse Afrobeat is with parts of different genres the African diaspora has influenced. Only think I didn't like was how short album was.

## In-Depth Review of *Immigrés* by Youssou N'Dour Youssou N’Dour’s *Immigrés* stands as a landmark in African music, a vibrant showcase of Senegalese culture and the mbalax genre. Released in 1984 and later distributed internationally, the album not only catapulted N’Dour to global recognition but also became a touchstone for the African diaspora, blending infectious rhythms, poignant lyrics, and a unique production style. This review examines the album’s lyrics, music, production, themes, and influence, and provides a balanced assessment of its strengths and weaknesses. --- ## Lyrics **Narrative and Language** N’Dour’s lyrics are primarily in Wolof, the dominant language of Senegal, which immediately grounds the album in its local context and resists the temptation to pander to Western audiences[1][2]. The lyrics are rich in allegory, personal reflection, and social commentary, often addressing the Senegalese diaspora and the emotional complexities of migration. **Key Tracks and Messages** - **“Immigrés/Bitim Rew”**: The title track is a heartfelt message to Senegalese living abroad, reassuring them of their roots and the inevitability of return. The lyrics evoke longing and cultural pride: > “Our compatriots who are abroad don’t live there – they only reside for a short time. For they belong here (in Senegal). And sooner or later they will come home. Because their roots are here...”[1] - **“Pitche Mi”**: This song uses the allegory of a newborn bird and a crocodile to caution against blind trust in Western aid, urging African leaders to scrutinize foreign assistance[2]. - **“Taaw”**: Here, N’Dour reflects on the responsibilities of the eldest child in Senegalese families, singing from personal experience and highlighting the importance of familial duty[2]. - **“Badou”**: An elegy for the late musician Badara Samb, the lyrics are both a tribute and a meditation on loss and remembrance[2]. **Pros** - Deeply personal and culturally resonant, the lyrics offer both specific and universal insights into migration, identity, and responsibility[1][2]. - The use of allegory and social commentary elevates the songs beyond mere entertainment, positioning N’Dour as a modern griot—a storyteller and social conscience[2]. **Cons** - For non-Wolof speakers, the full depth of the lyrics may be inaccessible without translation, potentially limiting the album’s immediate lyrical impact for international audiences[1]. --- ## Music **Mbalax and Musical Structure** *Immigrés* is a definitive example of mbalax, a genre that fuses traditional Senegalese rhythms (notably the sabar drum) with elements of jazz, funk, and Afro-Cuban music[1][3][2]. The album’s sound is characterized by: - **Polyrhythmic Percussion**: The sabar and tama drums provide intricate, syncopated rhythms that are both danceable and complex[2]. - **Electric Guitars and Keyboards**: The use of the Yamaha DX7 synthesizer gives the album a distinctive 1980s sheen, while the guitars add melodic and harmonic depth[2]. - **Brass and Saxophone**: Horn lines introduce Islamic melodic influences and provide a soaring counterpoint to N’Dour’s vocals[4][2]. **Vocal Performance** N’Dour’s tenor is a force of nature—soaring, expressive, and imbued with Middle Eastern inflections[3]. His voice is both technically impressive and emotionally direct, able to convey joy, longing, and resolve within a single phrase. **Production and Arrangement** - **Live Energy**: The album was largely cut live to tape, capturing a sense of immediacy and communal energy[2]. - **Balance of Elements**: Unlike some later African pop that leans heavily on Western production, *Immigrés* maintains a balance between indigenous rhythms and modern instrumentation[4][3]. - **Analog Warmth**: The production retains a warmth and freshness that has aged well, avoiding the overproduction that dated many 1980s records[2][5]. **Pros** - Infectious, danceable grooves that retain complexity and depth[1][2][5]. - Innovative blending of traditional and modern elements, making the music accessible yet authentic[3][2]. - N’Dour’s vocals are a standout, both technically and emotionally[4][2]. **Cons** - Some listeners may find the synthesizer sounds dated, though others view this as part of the album’s charm[2]. - The short length (just over 34 minutes) may leave some wanting more[2][5]. --- ## Production **Producer and Studio Approach** Produced by George Acogny, with input from Peter Gabriel’s circle, the album was recorded in Paris but retains a distinctly Senegalese identity[4][2]. The production is notable for: - **Clarity and Space**: Each instrument is given room to breathe, allowing the complex rhythms and interlocking melodies to shine[2]. - **Minimal Overdubs**: The live feel is preserved, lending authenticity and energy to the performances[2]. - **Analog Techniques**: The use of analog equipment contributes to the album’s enduring warmth and immediacy[2]. **Pros** - The production enhances rather than overwhelms the music, keeping the focus on rhythm and voice[4][2]. - Avoids the pitfalls of 1980s overproduction, resulting in a sound that remains fresh[2][5]. **Cons** - Some tracks, like “Macoy,” have been critiqued for being slightly overwhelmed by synth washes, though this is a minor quibble in the context of the album[4]. --- ## Themes **Migration and Identity** The central theme of *Immigrés* is the experience of migration—the longing for home, the challenges of assimilation, and the enduring pull of one’s roots[1][2]. N’Dour’s lyrics and music both celebrate and counsel the Senegalese diaspora, offering reassurance and a call to remain connected to their heritage. **Social Commentary and Responsibility** Through allegory and direct address, the album tackles issues such as: - The responsibilities of family, especially the eldest child (“Taaw”)[2]. - The need for critical engagement with Western influence and aid (“Pitche Mi”)[2]. - The importance of cultural pride and resilience[1][2]. **Spiritual and Cultural Pride** While not overtly religious, the album is suffused with the values of N’Dour’s Mouride Sufi background, emphasizing community, humility, and perseverance[1][2]. --- ## Influence **On Senegalese and African Music** *Immigrés* is widely credited with popularizing mbalax and shifting the focus of Senegalese pop away from the Afro-Cuban styles that had previously dominated (e.g., Orchestra Baobab)[1][3]. The album’s success led to a surge in local pride and set a template for subsequent generations of Senegalese musicians. **On Global Music** The album’s international release brought N’Dour to the attention of Peter Gabriel and the wider world music scene, paving the way for later collaborations and the global spread of mbalax[2]. Its influence can be seen in the way African music was received and marketed in Europe and beyond during the 1980s and 1990s. --- ## Pros and Cons | Pros | Cons | |------------------------------------------------------------------------------------------|-------------------------------------------------------------------------------------------| | Deeply rooted in Senegalese culture, offering authentic representation | Lyrics may be inaccessible to non-Wolof speakers without translation | | Infectious, complex rhythms and danceable grooves | Some synthesizer sounds may feel dated to modern ears | | N’Dour’s vocal performance is exceptional | Album’s short length (34 minutes) may leave listeners wanting more | | Balanced, warm production that has aged well | Occasional synth-heavy arrangements can overwhelm subtler moments (“Macoy”) | | Powerful, relevant themes of migration, identity, and responsibility | Limited tracklist (only four songs) may not fully showcase N’Dour’s range | | Pioneering influence on Senegalese and global music scenes | | --- ## Conclusion *Immigrés* is a masterwork of African music, a concise yet potent album that distills the essence of Youssou N’Dour’s artistry and the spirit of Senegal. Its blend of infectious rhythms, heartfelt lyrics, and innovative production make it both a dance record and a profound social document. While some production choices date the album and the language barrier may limit its lyrical impact for some, the emotional and musical force of *Immigrés* remains undiminished. It is essential listening—not only for those interested in African music, but for anyone seeking to understand the universal themes of migration, identity, and belonging.

This shit rips. I’m very thankful for this introduction to N’Dour. I feel like my life is better now. Music rules.

cincazo

I was aware of Youssou N'Dour because of "7 Seconds," his collaboration with Neneh Cherry, which was a pretty big hit in the UK. I remember bleating along to his line "A meeeeliion voices" on the school bus but as much as I mocked it, even at the time I knew it was like nothing else on the airwaves. Back to this album: it sounds great, it's so layered and wonderfully produced. Neneh made the right choice.

You really can't help but move along, it's involuntary and forceful participation! It is so incredibly groovy while also being very, uh, cultural? I don't know how describe it without sounding like a white lady experiencing her first luau. It's very refreshing, but more the sort of thing i'd expect to hear in the background while drinking cocktails on holiday or at a restaurant, somewhere it's still hot at 8PM and the sound of the music has to cut through a busy venue of happy and energetic people. I can't imagine myself ever playing this in my house, but I just know i'd say "oh I love this music" while grooving with my shoulders at my table and taking another heavy sip if I were on that holiday. But it's too good for just that, the production is incredibly layered and intricate. There's a really good mix of modern/traditional instruments and a heavy bassline through the whole album, which I love. Electronic elements mixed with exotic (I hate that word) percussion - it's fantastically fun and intoxicating, really. Can't resist grooving along. The gap between most and least favourite, for me, is very small, the whole package is very good. Most: Taaw Least: Pitche Mi Rating: 5

A pretty impressive record! I liked it a lot.

det här var otroligt gött. 4 låtar, 35 minuter senegalesisk eufori. ge mig det i mitt blod.

I love when world music pops up on this list, and I love Afro-pop. What a treat to hear something from the early stages of the genre. Must-listen #124

Fantastic world beat jam session

I loved this. It made me so happy.

I loved it. The percussion was on point, and the rhythm had a captivating flow. The keyboard elements gave it so much color and texture. A very beautiful and lush album that was worth every minute. I'm so glad I came across this album, and I'm definitely keeping track of this one for future enjoyment.

After this banger, I was disappointed when I skimmed the rest of his catalog. But this was a treat to listen to!

The album is both short (4 songs) with long individual songs. I need to listen to more.

This is so sick. The production is fantastic but not distracting, it really lets the musicians shine.

Feels like I've just entered the toilets at a fun African restaurant, and life is good

hullunkurinen hulvaton vibes (funny language) on muuten hyvää musiikkia tämä. sanoisin jopa ehkä että ei ole olemassa sarjaa afrikkalaista talletusta koskaan julkaistu joka on yhtä jatkuvasti mahtavaa tai historiallisesti tärkeää kuin maatoiminnot.. emt onko ehkä järjetöntä sanoa mutta... piru sentään se on minun välitön mielipide tästä!!! hmm vai onko... noh... ei, ei! en nyt ala vääntelemään sanoja vaikka kuinka PSYKOLTA ne kuulostaakin, pysytään nyt vankasti omamme päällä.. ja joo viis kautta vittu viisi eiköhän se ole selvää, albumi alkaa jo vahvasti mutta lähes kokoajan paranee. neljä biisiä ja 34 minuuttia, eikä yksikään tulenpalava sekunti ole pitkästyttävä, suatana sentään pitche mi

Really enjoying the vibe and groove of this

The music you find on Youssou N'Dour album Immigrés makes the person who is listening get up and move.

Love, love, love. I forst discovered Youssou N'Dour in the 80's. I always considered him the "Bob Marley" of African music. His voice, the music is all just an amazing marriage of beautiful sound.

I love the interplay between strings, percussion and voice here, with twists and turns around every corner!

what an album!

Beautiful and vibrant!!

there is absolutely no significance to whatever the random generator throws at me, so me getting a rly great record for my day 100 milestone isnt crazy, but it being my first easy First Listen 5/5 of the entire project does feel a lil extraordinary. ive been listening a lot lately to the black saint and the sinner lady, an absolutely unhinged musical accomplishment that combines a wide variety of disciplines into something that feels so effortlessly singular yet also in conversation with so many strands of history. i am far less familiar with the styles and cultures being mixed here, but even after just one listen it feels comparably vibrant and unstoppable, channeling the most color and complexity possible into pure gut-level dance and emotion. the feelings sliders are thrown way towards joyousness, togetherness, and healing. i have no idea how u even start to make music like this. i should explore a lot more west african pop whenever i feel the mental capacity for such a task

Loved this album. Have no idea what he’s singing about. But that really helps to emphasize how great the music and melodies are.

4.5/5

Can't get fresher than this

This album took me by surprise. I knew the voice thanks to Peter Gabriel. Blown away by this album and instantly became a favorite

This is the stuff. Never heard of Youssou and probably never would have without the album generator. This is why I'm here. Pitche Mi is standout for me. Nice separation of instruments, lots of good grooves. Just exactly perfect for an early Sunday morning.

As good as World Music gets.

Can tell from the first 10 seconds that I’m going to enjoy this. The sound mixing is wonderful. Really balanced. Loving this.

Youssou N'Dour is a Senegalese singer and bandleader. His strong, soaring voice is the central feature of these upbeat, rhythmic tracks. He was featured in a Peter Gabriel song, "In Your Eyes," which catapulted N'Dour to international fame. Touring with Gabriel gave N'Dour a chance to perform world-wide. Immigres is an album N'Dour released just before becoming a star, and is a good sample of the music N'Dour made relatively early in his career. These are infectious, danceable songs with universal appeal.

Muhkeaa soittoa

Didn’t know what was being sung but it really doesn’t matter. This album has great energy and has a little of everything instrumental wise and at a high level.

Outrageous! What a record! Absolute education in how to blend 4000 musical genres and make them all harmonise perfectly! Completely took me by surprise! 4.7

N'Dour takes the jazzy relaxed open feel of 70s West African Golden-era of Afro-Cuban rumba (from his Star Band de Dakar days) and opens it up. This album lowers the role of the guitar and makes space to incorporate more Senegalese musical traditions (the interwoven griot-style vocals, the wide range of hand drums and the talking drum) and for some smooth jazz sounding horns/keyboards. The horns are great, but the keys, combined with the very 80s production and the bass tone in particular, do give this a very corny dated feel. Along with Salif Keita's, N'Dour is one of the cornerstones of the whole Putomayo world music 'genre' and forged a sound that would become the somewhat stultifying generic default for West African musicians seeking an international audience, combining glossy global sheen with the authenticating use of local instruments. But here in its nascent stage, there's plenty of energy and excitement to the music, and even the corny keyboard sounds have an endearing nostalgic wistfulness to them.

Jeg lå og vippede mellem en 4'er og en 5'er, for jeg ved ikke, hvor ofte den vil komme på i fremtiden, men jeg blev simpelthen i for godt humør til at rate den andet. Fantastisk instrumentation, interessant stemme, rigtigt sommeralbum

Just amazing. Put this on right as I headed out to walk the dog, and what a great listen on a nice breezy 63 degree (F) morning!

Really fun sound. I had never heard this before, but I love this kind of thing. Great party music.

This was super sweet. I loved it. Awesome vocals and I loved the rhythms and guitar work. Cool stuff

I know nothing about this at all but saw on Spotify that this dude was on "In Your Eyes" by Peter Gabriel and that's how the larger world population found out about him. I can get quite into African music because it's so different to so much else, and I am enjoying this from the first chords. This rules. It's catchy while still being strange and meandering.

Joyous! Superb voice, superb rhythm. Been watching the AFCON 2024 and the crazy scenes, so this feels timely. sadly for Youssou, Senegal got knocked out. My awareness of him extends basically to 7 Seconds, so this was lovely to hear his earlier, more traditional work. Although I understand it was criticised for using synths. Well they aren't intrusive to my ear. I guess when they come in halfway through Taaw they arguably take away more than add to the rhythm, but otherwise. This is just a delight, uplifting and fantastic from start to finish. Obviously I haven't a scooby what he's singing about, which is a shame, as from what I can work out he's a sound geezer. I didn't want Badou to end, 5 minutes wasn't enough!

Enjoyed all of this album very much, had never heard it in full before. No wonder western musicians were queuing up to collaborate! Will certainly be listening again. I can't think of anything I'd change so in the absence of 9 out of 10 I've rounded up. 5 stars from husband, too.

Beautiful music

This was great! I loved every moment.

Beautiful album from the former minister of tourism for Senegal

Joyful, catchy and easily a relisten

Familiar funkiness with some greatly influential African twist. You can see N'Dour's fingerprints across so much, and that's a good thing.

This was a great listen. This was perfect to have on while I'm doing what needs to be done. Lots of very subtle percussion in the background gave the tracks some extra depth.

Loved it. I really want to go to Senegal in the meantime I'll listen to big Youssou.

Wow, this viscerally takes me back to my childhood. Sub 10 - maybe 6 or 7? My very first media device of any description, that was mine rather than the family's, was a crystal radio kit. You pushed the components into a perforated cardboard circuit board, wired them up, connected a wire to a radiator to act as an antenna, and listened through a little ear piece that looked like an old fashioned hearing aid. It had no power source of its own, and seemed like magic to me! It was not capable of picking up too many radio stations, but one thing it reliably picked up quite strongly was a show playing world music that sounded a lot like this. Probably the first music that _I_ sought out for myself, rather than was just passively exposed to. Fave track - "Immigrés/Bitim Rew" I guess, but the whole album is lovely....

Че за кайфарик

What an incredible tenor

Yes, this is good. I like the flavor and just great to have on.