Nothings in Vain
- "Tan bi (Heat, Breeze, Tenderness) / Chaleur, brise, tendresse"
- "Moor Ndaje (Mr. Everywhere) / Moor Ndaje, ne fais pas la mouche du coche"
- Li ma weesu (As in a Mirror) / Comme dans un miroir
- Genne (For Those Displaced) / Chanson pour les sans-abri
- La femme est l'avenir de l'amour (Women Are the Future of Love)
- Mbeggeel Noonu La (Because Love 's Like That) / L'amour en est ainsi
- Il n'y a pas d'amour heureux (There is no Happy Love)
- Sagal ko (Honor Her) / Tu dois la proteger
- C'est L'amour (It's Love)
- Doole (Show Your True Mettle) / Fais tes preuves
- So Many Men
- Yaru (The Makings of Respect) / L'etoffe du respect
- "Africa, Dream Again / L'Afrique revit ses reves"
These days, Youssou N'Dour's Western releases seem to have more in common with florid '70s pop than his signature mbalax sound. This stunningly gifted singer is vastly overqualified for such uncomplicated material, and his rootsy acoustic backup band is repeatedly compromised by glaringly out-of-place programmed drums and synth patches. Most of the tunes were composed by N'Dour, but the set list also includes a chanson by Georges Brassens plus a cloying duet with French pop star Pascal Obispo. Why? Debates about authenticity are useless and demeaning, but N'Dour is clearly underestimating his potential non-African audiences. Meanwhile, longtime listeners still crave the dangerous beauty, visceral thrills, and ornate, jagged time signatures that characterize his Senegalese output. En passant, it is worth noting that Olatunji, Miriam Makeba, and Cesaria Evora all achieved lasting international fame by providing an irresistible alternative to the prevailing status quo, not more of the same in another language. --Christina Roden