Echoes of Echoes

Several of you have asked about my album "Echoes", saying it holds a special place in you, so I wanted to unfold a bit of the story behind and my thoughts around it.

When I recorded Echoes, I never thought it would become the record people would remember me by. To me, it was meant as a collection of teasers, backward “echoes” of music still to come. Yet, for many listeners, it became the defining work. Sometimes music decides its own destiny.

Late nights composing "Echoes"

Things were clear in my head: it would feature any kind of pieces, some African, some jazzy, and some more romantic ones — a way to display the visual potential of my palettes. Chris Blackwell insisted it should be instrumental, quite a departure from where I thought I was headed with Barclay Records. Looking back, he was right.

More than a set of songs, I imagined Echoes as a soundtrack — the imaginary journey of a little boy traveling the world. That’s why the tracks crossfade into one another, something I had admired so much in Stevie Wonder’s Talking Book and Innervisions. On a trip back to Nassau, Chris made me listen to Trevor Horn’s production of Malcolm McLaren’s Duck Rock. Its dynamic and variety convinced me I was on the right path. All I had to do was pick the right fragments from my demos.

Most of my demos back then (and still today) were not complete songs. They were sketches — “pierres d’attente,” little fragments waiting to be developed, sometimes just a drum machine and a synth-bass, sometimes only a chord progression. The more melodic, harmony-driven ones (the more “Western-sounding” pieces) were the only ones fully fleshed out before entering the studio.

Andy is working something on those Linn-Drum percussions,while the Prophet V is momentarily put to rest.

And so Echoes came to life. It was never conceived as an “African” album, nor as “new-age,” nor as an “experiment.” It simply was what pre-MIDI technology allowed me to create at the time, a way to express the multicultural roots I felt inside: an African-born Parisian who had grown up with Brahms, James Brown, João Gilberto, The Beatles, Myriam Makeba, Jacques Brel, and Celia Cruz all at once. I was no exception — many with open minds could embrace this eclecticism.

But the industry always needs categories. With Hi-Life, I became an “African artist” overnight — meaning, to some, that I was bound to make only African music. In the US and UK, Chief Inspector pushed me into the hip-hop lane, thanks to the explosion of the remix phenomenon.

All this at a time when an album like Echoes — today more easily defendable — was nearly impossible to promote. It crossed too many genres. But that was the whole point: it was meant to be like a dream, where a fierce jungle scene (Jungle) could fade into a melancholic one (Rain). A score for an unshot movie.

Remember the phone 'clang'in between Endless Race and Chief Inspector ?

At first, Echoes went mostly unnoticed in own country France, except within Black communities. In the UK, immigration officers at Heathrow would greet me with “Hey! Mr Chief Inspector is back!” In Africa and the Antilles, Hi-Life became an anthem. The album resonated in unexpected ways, across borders I hadn’t drawn myself.

That may be why Echoes still travels today. It wasn’t built for one genre or one place. It was built to wander. Would love for you to leave a comment, if you have anything you wanna ask?