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Amadou & Mariam: Remixes

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Download links and information about Amadou & Mariam: Remixes by Amadou & Mariam. This album was released in 2011 and it belongs to Dancefloor, World Music, Pop, Dance Pop genres. It contains 13 tracks with total duration of 50:42 minutes.

Artist: Amadou & Mariam
Release date: 2011
Genre: Dancefloor, World Music, Pop, Dance Pop
Tracks: 13
Duration: 50:42
Buy on iTunes $9.99

Tracks

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No. Title Length
1. Africa (Bob Sinclar Remix Radio Edit) [feat. K'NAAN] 3:20
2. Coulibaly (Akon Remix) [feat. Akon] 3:13
3. Ilbiwan (Laskez Remix) 4:20
4. Poulo (Busta Funk Remix) 3:24
5. La Realite (Yuksek Remix) 3:51
6. Sabali (feat. Theophilus London) [Grey X Sage Remix] 2:53
7. Je pense a toi, mon amour, ma cherie (DJ Alix Remix) 4:24
8. Ce n'est pas bon (DJ Aero Remix Radio Edit) 4:26
9. Sabali (Vitalic Remix Radio Edit) 3:15
10. Coulibaly (Ashley Beedle’s Afrikanz On Marz Remix) 3:00
11. Artistiya (SABO's Disco Edit) 4:23
12. Masiteladi (Mo DJ Remix) 4:21
13. Sabali (Miike Snow Remix) 5:52

Details

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The blind Malian duo of guitarist/vocalist Amadou Bagayoko and vocalist Mariam Doumbia — who are also husband and wife — have been playing together since the early ‘80s. They fuse local elements with rock and other styles to create African–rooted pop with global appeal. 2011’s Remixes draws its source material from albums such as Wati (2003), Dimanche à Bamako (2005), and Welcome to Mali (2009). It opens with Bob Sinclar’s charged version of “Africa,” which features the Somali-Canadian MC K’NAAN. The remix is fairly straightforward, but its pumped-up beats point it toward the dance floor. Akon brings a sense of swing to “Coulibaly,” which also finds the Senegalese-American hip-hop artist on the mic; the Barbadian-Brit Ashley Beedle’s take on the same song has fluttering guitar decorations and drums that tumble. Remixes includes three interpretations of “Sabali,” Amadou and Mariam’s catchy hit from Welcome to Mali. Grey X Sage’s take spotlights the lover-man rapping of Theophilus London; Vitalic’s version brings out the song’s neo-‘80s sense of grandeur and rhythm; and Miike Snow’s reworking closes things out.