One of MC Solaar's first claims to fame was the rap he did on a level one French language education tape: "Comment t'appelles-tu?".
MC Solaar's first single, Bouge de là, was a French hit in 1990 that went platinum, as was his first album, Qui Sème le Vent Récolte le Tempo. His second album, Prose Combat, may be his most acclaimed.
As a rapper MC Solaar is known for the complexity and poetry of his songs, which rely on wordplay, lyricism, and philosophical inquiry. The music is based on dance rhythms and sensual grooves. In the English-speaking world, Solaar was signed by London acid jazz label Talkin' Loud and invited to record with British group Urban Species and Guru, a member of the famous and highly-acclaimed New York group Gang Starr.
MC Solaar gained new fans in North America in early 2004, when his 2001 song La Belle Et Le Bad Boy was featured on the final episode of the popular television series Sex and the City. MC Solaar remains best-known outside of France for his work on Guru's Jazzmatazz project and as a guest rapper on the Missy Elliott track All N My Grill. Out of Guru and Solaar's collaboration, the single Le Bien, Le Mal (The Good, The Bad) was a popular Hip Hop/Dance crossover hit receiving playtime on MTV.
Pili-pili
MC Solaar Lyrics
Jump to: Overall Meaning ↴
Mercredi Bas-Congo, Zaïko et ndombolo
Zulu de Soweto, princesses des Mureaux
Africa c'est l'avenir alors il faut se lever tôt
Enfant du Sud, dans les échoppes
Tu trouveras milk-shakes, Fanta, Yop
Faudra aussi que t'assimiles Cheik Anta Diop
Non-stop
N'entrais pas dans les polémiques entre Mick et Paul
Arôme Maggi, pili-pili et le son décolle
Si tu passes à Paris, viens me voir à Milipol
Ici Sadio se transforme en B-boy, oh
On doit en baver pour la bavette d'aloyau
On chauffe au toto et puis on troque au yoyo
Afrique envers toi nous devons rester loyaux
Ici Sadio se transforme en B-boy, oh
On doit en baver pour la bavette d'aloyau
On chauffe au toto et puis on troque au yoyo
Afrique envers toi nous devons rester loyaux
Emballe l'illuminati dans l'aluminium
Mets-le sur le grill et il en sortira mi-homme
Mettons de nouvelles bases dans le millenium
Portez l'abacost avec des Palladium
Y a de l'uranium dans mon comdominium
Et le flow devient fluo comme le radium
Fais le maximum ou bien fais le minimum
Mais le maximum n'atteint pas mon minimum
On est là si t'as l'palu, Lariam
On a le son pour te faire redécoller, Ariane
Que ce soit dans la savane ou bien sur le macadam
L'amour rend aveugle, Amadou, Mariam
Ici Sadio se transforme en B-boy oh
On doit en baver pour la bavette d'aloyau
On chauffe au toto et puis on troque au yoyo
Afrique envers toi nous devons rester loyaux
Ici Sadio se transforme en B-boy oh
On doit en baver pour la bavette d'aloyau
On chauffe au toto et puis on troque au yoyo
Afrique envers toi nous devons rester loyaux
The lyrics of MC Solaar's song "Pili-pili" showcase a rich tapestry of cultural references and messages. The opening lines juxtapose different locations - from Bamako to Monaco, Bas-Congo to Soweto - highlighting the diversity and interconnectedness of Africa and its diaspora. The mention of Zaïko and ndombolo, musical styles originating from Congo, and Zulu culture from Soweto, celebrates the vibrancy and creativity of African heritage. The call to embrace African identity and heritage early in the morning symbolizes the importance of recognizing and valuing one's roots.
The lyrics also touch upon the fusion of traditional and modern influences in African communities. References to popular beverages like milkshakes, Fanta, and Yop alongside the need to understand the works of intellectual figures like Cheik Anta Diop reflect a blend of contemporary consumer culture and intellectual discourse. The nod to iconic musicians like Mbilia Bel, Tabu Ley, and Billy Paul, while avoiding petty controversies, underscores the importance of appreciating and preserving cultural legacies with dignity and respect.
The chorus, where Sadio transforms into a B-boy, symbolizes the resilience and adaptability of African youth in overcoming challenges and hardships. The imagery of struggling for a slice of beef steak resonates with the idea of striving for a better life amidst difficulties. The references to traditional games like toto and yoyo hint at the nostalgia for simpler times and the resourcefulness required to navigate life's obstacles. The repeated call to remain loyal and true to Africa emphasizes the importance of unity and solidarity within the continent.
The final verse delves into more complex themes, such as societal power dynamics and individual agency. The mention of Illuminati and aluminum alludes to conspiracy theories and the idea of questioning authority. The image of grilling Illuminati and it emerging as half-human suggests a defiance against forces seeking to manipulate or control. References to Uranium, Palladium, and Millennium hint at the potential for change and progress in the new era. The assertion of artistic freedom and creative expression through "fluorescent" flow stands as a metaphor for breaking boundaries and standing out. Overall, "Pili-pili" conveys a message of cultural pride, resilience, and a call for unity and progress in the face of challenges.
Lyrics © O/B/O APRA AMCOS
Written by: Eric Krocsynski, Claude M'Barali
Lyrics Licensed & Provided by LyricFind