Daby Touré (born in Mauritania in 1975) is a Mauritanian singer-songwriter … Read Full Bio ↴Daby Touré (born in Mauritania in 1975) is a Mauritanian singer-songwriter who was based in Paris and is now based in Montréal, Canada. Born into the Touré Kunda musical heritage, he co-founded Touré Touré in Senegal before moving to Paris, France, and becoming a solo artist.
Touré's story goes back two generations when four brothers were living in a village near Kayes, in what is now the modern state of Mali. They were all shoemakers and leather workers and they strived to sustain the old traditional family trade by turning the skins of crocodiles from the nearby river into shoes, bags, pouches and wallets. But for some reason, perhaps drought or excessive hunting, the crocodile population began to fall dramatically and the family were no longer able to live from their craft. The brothers decided to disperse to the four winds and they never saw each other again. One of them, Daby Touré, went to live near Zinguinchor in Casamance, the southernmost province of Senegal, where he married four wives and produced a large brood of children. For reasons that no one has ever been able to really explain, this new Touré generation was touched by a deep love and gift for music. A younger member of the clan, Hamidou Touré, was brought up by an uncle up north in Mauritania. Once he had graduated as a doctor in the Mauritanian capital Nouakchott, he was sent to a sand blown desert town called Boutilimit, where he married a beautiful woman, who was half Moorish or Hassaniya and half Toucouleur. They gave birth to a son who they called Daby, in honour of his grandfather, the patriarch of the family.
Daby Touré grew up in Boutilimit, Nouakchott, and Casmance before going to live with an uncle in the village of Djeole, near Kaedi, on the banks of the Senegal river in Mauritania. His parents had divorced, and Touré's father couldn't be seen to be raising young children on his own. In Djeole, Daby soaked up the language, culture and music of his Soninke people, as well as Touré of the neighbouring Toucouleur and Wolof. He learned all about farming and cattle rearing. It was a secure village childhood. 'With hindsight, I think the times I spent in the village were the most important in my life, because that's where I was forged,' Touré remembers. In the black velvet warmth of the night, he would get together with friends to bang out rhythms on old tins, canisters and cardboard boxes and entertain the village. And when diversion was required at henna and wedding feasts, Touré and his mates would often be sent for.
Later, Touré moved back to the capital Nouakchott to live with his father. After a tiring day at the hospital, Hamidou would often relax by playing music with his friends. Touré wasn't allowed to touch the guitars, because his father did not want him to develop any crazy ideas about becoming a musician. But he stole time on the instruments anyway and taught himself the basics. He also began discovering the exotic joys of western pop music, thanks to radio, pirated cassettes and the occasional TV broadcast. The Police, Dire Straights, Bob Marley, Stevie Wonder and Michael Jackson were powerful formative influences. Although a deep fascination and hunger for music was developing in the teenager, Touré's father continued to insist that music was not a career option for a any well brought-up young man. 'In Mauritania, the profession of musician doesn't really exist,' explains Touré. 'A profession is something you train for and get a diploma. My father was more fearful for me than anything else, because he knew what a musician's life consisted of and for him it wasn't a future.'
In 1989, political unrest and inter-ethnic conflict was making life in Mauritania very difficult, so when Hamidou received an invitation from his younger brothers Sixu and Ismael to join their group Touré Kunda, although at first he hesitated, the offer seemed too good to refuse. He sold his house to pay for his son to come along with him. The rich musical life of Paris was a magical revelation to the eighteen-year-old Touré, and although his father continued to brow-beat him about his studies, music slowly became his whole life. He began to play little gigs in bars and college parties with rock and cover bands. After he finally gave up his course at Business School, despite his father's objections, and went to live in an African hostel or foyer in Paris, Touré teamed up with his cousin Omar and formed Touré Touré; the two 'Touré'. They began to explore the vivid common frontiers of jazz and African music.
A meeting with Jean-Pierre Como, the keyboard player with established avant-jazz-fusionists Sixun, kick-started a chain-reaction which lead to a record deal with French independent label Pygmalion Records and the release of Touré Touré's one and only album 'Ladde'. The Sixun connection opened up the doors to the bubbling Parisian jazz scene, with its open-mindedness and vitality, and Touré fell in love with bands like Weather Report, Joe Zawinul and Pat Metheny. It was their originality and artistry that fascinated him above all else. Despite the fact that 'Ladde' was very well received in France and Touré Touré played hundreds of concerts all over the country, as well as further afield in Canada and Brazil, Touré felt dissatisfied with the band's progress. It seemed that the industry, the media and audiences were only interested in the roots, African and dance band aspects of the group.
'The music that I play is based on exploration, on original compositions. It's like a painter who gets up to paint a painting. I get up in the morning, I pick up my guitar and I start working. I don't know where I'm going but I go.'
Touré locked himself away in his room, with his own home-studio and equipment and began to write and arrange songs. He controlled every aspect of the creative process, from composition, to arrangements, to performance and mixing. That was important. Touré was in pursuit of a very individual musical vision, and he needed the time, space and solitude to make it a reality.
After several years hard work, Touré teamed up with electronic musician and digital wizard Cyrille Dufay to develop the sound further. The result of all this experimentation, exploration and hard graft is 'Diam'.
The songs on the album tell of Touré's life, of the people around him and of the world in general. He sings of relationships, his family, freedom and, above all, of being positive when times are hard. It is perfectly fitting then that the title, 'Diam', means peace, something that Touré has looked for throughout his life.
Source: http://www.realworldrecords.com/dabytoure/?section=aboutdaby
Touré's story goes back two generations when four brothers were living in a village near Kayes, in what is now the modern state of Mali. They were all shoemakers and leather workers and they strived to sustain the old traditional family trade by turning the skins of crocodiles from the nearby river into shoes, bags, pouches and wallets. But for some reason, perhaps drought or excessive hunting, the crocodile population began to fall dramatically and the family were no longer able to live from their craft. The brothers decided to disperse to the four winds and they never saw each other again. One of them, Daby Touré, went to live near Zinguinchor in Casamance, the southernmost province of Senegal, where he married four wives and produced a large brood of children. For reasons that no one has ever been able to really explain, this new Touré generation was touched by a deep love and gift for music. A younger member of the clan, Hamidou Touré, was brought up by an uncle up north in Mauritania. Once he had graduated as a doctor in the Mauritanian capital Nouakchott, he was sent to a sand blown desert town called Boutilimit, where he married a beautiful woman, who was half Moorish or Hassaniya and half Toucouleur. They gave birth to a son who they called Daby, in honour of his grandfather, the patriarch of the family.
Daby Touré grew up in Boutilimit, Nouakchott, and Casmance before going to live with an uncle in the village of Djeole, near Kaedi, on the banks of the Senegal river in Mauritania. His parents had divorced, and Touré's father couldn't be seen to be raising young children on his own. In Djeole, Daby soaked up the language, culture and music of his Soninke people, as well as Touré of the neighbouring Toucouleur and Wolof. He learned all about farming and cattle rearing. It was a secure village childhood. 'With hindsight, I think the times I spent in the village were the most important in my life, because that's where I was forged,' Touré remembers. In the black velvet warmth of the night, he would get together with friends to bang out rhythms on old tins, canisters and cardboard boxes and entertain the village. And when diversion was required at henna and wedding feasts, Touré and his mates would often be sent for.
Later, Touré moved back to the capital Nouakchott to live with his father. After a tiring day at the hospital, Hamidou would often relax by playing music with his friends. Touré wasn't allowed to touch the guitars, because his father did not want him to develop any crazy ideas about becoming a musician. But he stole time on the instruments anyway and taught himself the basics. He also began discovering the exotic joys of western pop music, thanks to radio, pirated cassettes and the occasional TV broadcast. The Police, Dire Straights, Bob Marley, Stevie Wonder and Michael Jackson were powerful formative influences. Although a deep fascination and hunger for music was developing in the teenager, Touré's father continued to insist that music was not a career option for a any well brought-up young man. 'In Mauritania, the profession of musician doesn't really exist,' explains Touré. 'A profession is something you train for and get a diploma. My father was more fearful for me than anything else, because he knew what a musician's life consisted of and for him it wasn't a future.'
In 1989, political unrest and inter-ethnic conflict was making life in Mauritania very difficult, so when Hamidou received an invitation from his younger brothers Sixu and Ismael to join their group Touré Kunda, although at first he hesitated, the offer seemed too good to refuse. He sold his house to pay for his son to come along with him. The rich musical life of Paris was a magical revelation to the eighteen-year-old Touré, and although his father continued to brow-beat him about his studies, music slowly became his whole life. He began to play little gigs in bars and college parties with rock and cover bands. After he finally gave up his course at Business School, despite his father's objections, and went to live in an African hostel or foyer in Paris, Touré teamed up with his cousin Omar and formed Touré Touré; the two 'Touré'. They began to explore the vivid common frontiers of jazz and African music.
A meeting with Jean-Pierre Como, the keyboard player with established avant-jazz-fusionists Sixun, kick-started a chain-reaction which lead to a record deal with French independent label Pygmalion Records and the release of Touré Touré's one and only album 'Ladde'. The Sixun connection opened up the doors to the bubbling Parisian jazz scene, with its open-mindedness and vitality, and Touré fell in love with bands like Weather Report, Joe Zawinul and Pat Metheny. It was their originality and artistry that fascinated him above all else. Despite the fact that 'Ladde' was very well received in France and Touré Touré played hundreds of concerts all over the country, as well as further afield in Canada and Brazil, Touré felt dissatisfied with the band's progress. It seemed that the industry, the media and audiences were only interested in the roots, African and dance band aspects of the group.
'The music that I play is based on exploration, on original compositions. It's like a painter who gets up to paint a painting. I get up in the morning, I pick up my guitar and I start working. I don't know where I'm going but I go.'
Touré locked himself away in his room, with his own home-studio and equipment and began to write and arrange songs. He controlled every aspect of the creative process, from composition, to arrangements, to performance and mixing. That was important. Touré was in pursuit of a very individual musical vision, and he needed the time, space and solitude to make it a reality.
After several years hard work, Touré teamed up with electronic musician and digital wizard Cyrille Dufay to develop the sound further. The result of all this experimentation, exploration and hard graft is 'Diam'.
The songs on the album tell of Touré's life, of the people around him and of the world in general. He sings of relationships, his family, freedom and, above all, of being positive when times are hard. It is perfectly fitting then that the title, 'Diam', means peace, something that Touré has looked for throughout his life.
Source: http://www.realworldrecords.com/dabytoure/?section=aboutdaby
We Don't Need
Daby Touré Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Seytanagual wonti asskoma
An koy a wonti nantino
Pediema koy min tampi
Lasslimen fetii yooliiiii
We don't need no more trouble
We don't need no more lies
We don't need no more trouble
We don't need….
Seytanagual wonti asskoma
An koy a wonti nantino
Pediema koy min tampi
Lasslimen fetii yooliiiii
We don't need no more trouble
We don't need no more suffering
We don't need no more trouble
We don't need iiii
We don't need
We don't need….
An koy a wonti nantino
Pediema koy min tampi
Lasslimen fetii yooliiiii
We don't need no more trouble
We don't need no more lies
We don't need no more trouble
We don't need….
An koy a wonti nantino
Pediema koy min tampi
Lasslimen fetii yooliiiii
We don't need no more trouble
We don't need no more suffering
We don't need no more trouble
We don't need iiii
We don't need
We don't need….
The lyrics to Daby Touré's song "We Don't Need" contain words in the Wolof language, spoken in Senegal and Gambia. The first four lines translate to "the devil is in the forest / we will not go to the forest / sadness is not our portion / peace is what we desire." These lines show a desire for peace and freedom from troubles and lies, suggesting that the song is a call for peace and an end to conflict. The repetition of the phrase "We don't need no more trouble" emphasizes this message of peace and unity.
The use of Wolof reflects Daby Touré's Senegalese heritage and adds cultural depth to the song's message. The song's rhythm and melody are inspired by Afro-pop and traditional West African music, which further support the song's message of peace and unity through music. The use of repetition in the song's lyrics reinforces the message of the song and adds to its memorability.
The song may have been inspired by social or political conflicts happening in Daby Touré's native Senegal. By calling for peace and unity, Daby Touré is encouraging listeners to come together and work towards a brighter future. The message is universal and could apply to any situation where conflict and division exist.
Line by Line Meaning
Seytanagual wonti asskoma
The devil's temptation is not necessary
An koy a wonti nantino
We don't need to be fooled
Pediema koy min tampi
We are tired of hiding
Lasslimen fetii yooliiiii
Let the peace reign
We don't need no more trouble
We are done with problems
We don't need no more lies
We are done with deceit
We don't need no more trouble
We are done with problems
We don't need…
We don't need anything else
We don't need no more trouble
We are done with problems
We don't need no more suffering
We are done with pain
We don't need no more trouble
We are done with problems
We don't need iiii
We don't need anything else
We don't need
We don't need anything else
We don't need….
We don't need anything else
Writer(s): Daby Toure
Contributed by Grayson I. Suggest a correction in the comments below.
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