In 1995, while Coolio’s “Gansta Paradise,” TLC’s “Waterfalls,” Seal’s “Kiss from a Rose” and Madonna’s “Take a Bow” were floating on the airwaves of Western pop stations, a wonderful collection of songs was cutting a swath through the musical streets of Africa’s Senegal. It just so happened that musician, singer, songwriter, composer and studio owner Youssou N’ Dour came across a demo by fellow Senegalese musician and composer Cheikh Lo.
Setting up Mr. Lo, along with percussionists Assane Thiam and Mbaye Dieye Faye and guitarist and arranger Oumar Sow, into Mr. N’Dour’s Xippi Studio in Dakar, the recording Ne La Thiass was born. Mr. N’Dour went so far as to lend his own vocals to that of Mr. Lo’s on the tracks “Set” and “Guiss Guiss.”
So, while we were being browbeaten by overplayed songs like Hootie &the Blowfish’s “Only Wanna Be With You” and Nicki French’s “Total Eclipse of the Heart,” the good people of Senegal were dancing to Ne La Thiass’s “Boul De Tagle” and “Cheikh Ibra Fall.”
In 1996, World Circuit Records corrected this injustice by releasing an enhanced version of Ne La Thiass and the world was set to rights again as world music fans around the globe were treated to the Latin-flavored Senegalese goodness of Cheikh Lo.
Mr. N’Dour would go on to record scores of albums such as 7 Seconds: The Best of Youssou N’Dour, Joko: The Link and Africa Rekk, win a Grammy Award for 2004 album Egypt, appear as Olaudah Equiano in the movie Amazing Grace and earn an honorary doctoral degree in music from Yale University. Mr. Lo would go to record such albums as Bambay Guieej, Lamp Fall, Jamm and Balbalou, as well as collaborate with Cuban pianist Ruben Gonzalez’s on his recording Chanchullo singing alongside the esteemed Ibrahim Ferrer and work with Les Nubians and Manu Dibango for the Fela Kuti tribute recording of Red Hot and Riot.
So, now it could be that the planets have aligned just so or that we’ve been very good (this might be a bit of a stretch) that fate has once again smiled down upon us. Of course, it could just be the person at World Circuit sent to rummage through shelves and boxes that we owe our good fortune. This sweet luck would be the re-issue of Ne La Thiass from its original 1995 cassette tapes. Available on vinyl, CD and digital down load, with color booklet, Ne La Thiass has been lovingly remastered and has hit the streets.
Even after more than 20 years, Ne La Thiass hasn’t lost a bit of its keenly addictive appeal. It takes only the barest listen to opening track “Boul Di Tagale,” to fall under Cheikh Lo’s spell.
Weaving a magic spell out of vocals that will raise the hairs on the back of your neck, acoustic guitar, double bass, flute, electric bass, keyboards, some truly spectacular mbalax rhythms and talking drum (and those who don’t like a good talking drum are out of the club), Ne La Thiass is masterful and electrifying as it makes its way through treats like title track “Ne La Thiass,” the feel-good feel conjured on “Ndogal,” the plummy rhythms of “Set” and the sweet swing of “Cheikh Ibra Fall.”
The intricate rhythms of “Bamba Sunu Goorgui” and the Youssou N’Dour vocals laced “Guiss Guiss” are additional icing on the cake that is Ne La Thiass.
There’s always that moment before listening to a re-issue where you wonder if it will be as good as you remembered. With Ne La Thiass it’s not as good as you remembered – it’s better. So intensely addictive, this is the music that if you listened to it all the time you’d never get anything done. And, I doubt you’d care.
Cheikh Lô is one of the great trailblazers of African music. A superb singer and songwriter as well as a distinctive guitarist, percussionist and drummer he has personalized a variety of influences from West and Central Africa, to create a style that is uniquely his own.
Lô dedicates both his life and music to Baye Fall, a specifically Senegalese form of Islam and part of the larger Islamic brotherhood of Mouridism. Established by Cheikh Ahmadou Bamba M’Becke at the end of the 19th century, Mouridism emerged from opposition to French colonialism and many fabulous stories are told of Bamba’s struggles with the authorities who feared that the rapid spread of Mouridism would inspire armed insurrection. Bamba’s closest disciple Cheikh Ibra Fall (also known as Lamp Fall) established the Baye Fall movement, and he was the first to wear the patchwork clothes and long dreadlocks that are still Baye Fall trademarks today. Cheikh Lô’s own marabout, Maame Massamba N’Diaye is said to be over 100 years old, and was a disciple of Cheikh Ibra Fall; Cheikh Lô wears his picture in a pendant around his neck.
Cheikh Lô was born in 1955, to Senegalese parents in Bobo Dioulasso, Burkina Faso, not far from the border with Mali, where he grew up speaking Bambara (language of Mali), Wolof (language of Senegal) and French. His father was from a long line of marabouts. From an early age Lô was only interested in music, running away from school to teach himself guitar and percussion on borrowed instruments.
During his teens he listened to all kinds of music, especially the Congolese rumba which was popular throughout Africa. Cuban music was also all the rage in West Africa at this time, so when his older brothers started up their 78s and danced to ‘El Pancho Bravo’, Cheikh, without understanding a word, would mime exactly to the Spanish lyrics.
At 21 he started singing and playing percussion with Orchestra Volta Jazz in Bobo Dioulasso. The band played a variety of music from Burkina Faso and neighboring countries, as well Cuban and other styles.
In 1981 he moved to Dakar, Senegal where he played drums for the renowned and progressive singer, Ouza, before joining the house band at the Hotel Savana, drumming and singing an international repertoire.
In 1984 he moved to Paris and worked as a studio session drummer. He recalls: ”Studio – sleep – studio for two years. I love Congolese and Cameroonian music and I absorbed a lot of it during this period”. On his return to Senegal he found that his (now very long) dreadlocks made him no longer entirely welcome at the Hotel Savana so he concentrated on his own music.
Cheikh’s first cassette ‘Doxandeme’ (‘Immigrants’), on which he sang about the experience of being Senegalese abroad, came out in 1990. Despite his reservations about the quality of the local production, it sold well and earned him the ‘Nouveau Talent’ award in Dakar. The following year he started to work on the compositions for his album ‘Ne La Thiass’.
Youssou N’Dour first encountered Lô as a session singer in 1989. “Whenever he sang the choruses I was overwhelmed by his voice,” explains N’Dour, “but I really got to know him from his cassette ‘Doxandeme’. I heard his voice and said “wow” – I found something in his voice that’s like a voyage through Burkina, Niger, Mali”.
Lô continued to develop his own repertoire, holding out for better recording conditions for his next production. In August 1995 Youssou N’Dour agreed to produce the next album at his Xippi Studio in Dakar.
On this album ‘Ne La Thiass’, Lô is joined on vocals by Youssou N’Dour (‘Guiss Guiss’ and ‘Set’) and by musicians from N’dour’s Super Etoile de Dakar. Lo’s signature sound – a semi acoustic, Spanish-tinged take on the popular mbalax style – was an instant success in Senegal gaining him a dedicated local following. ‘Set’ – a plea to clean up the streets during a Dakar municipal strike, was broadcast on loudspeakers throughout the country in a campaign by the Ministry of Health.
Ne La Thiass was released internationally on World Circuit in 1996 and followed by a highly successful European tour. His early performances prompted rave reviews.
In 1997 he was awarded Best Newcomer at the Kora All-African Awards in South Africa and the following year he toured the US, as part of the ‘Africa-Fête’ line-up that included Salif Keita and Papa Wemba. In 1999 he received the prestigious ‘Ordre National de Merite de Léon’ from the President of Senegal.
Cheikh’s second album Bambay Gueej (World Circuit) was released in 1999. It was co-produced by Nick Gold and Youssou N’Dour in Dakar with additional recording in Havana and London. Expanding on his previous album, he drew on sounds from Burkina Faso, Mali (with guest Oumou Sangare), and incorporated touches of Cuban son (with Richard Egues on flute) and funk (with Pee Wee Ellis of James Brown fame on saxophone).
His eclectic mix was furthered on Lamp Fall (World Circuit 2005) by his discovery of Brazilian sounds and rhythms and he traveled to Bahia, Brazil to work with acclaimed producer Alê Siqueira (Tribalistas, Omara Portuondo). These Brazilian recordings were coupled on the album with sessions recorded in Dakar and London.
For the next few years Lo withdrew from the international stage and immersed himself in the Dakar scene playing regularly with his own band. This return to home is reflected in his album ‘Jamm,’ His which blends semi-acoustic flavors, including West and Central African, Cuban, and flamenco.
In 2015, Cheikh Lô received the World Music Expo (WOMEX) Artist Award.