"If you're an African group coming to France you need some pretty solid connections," declares Baïdy Sall, who makes up one third of Bideew Bou Bess alongside Moctar Sall and Pape Massamba Diop. Realising the importance of evolving in the wake of a major star, the group supported Youssou N’Dour on his European tour in 2000 and thought they had found the ideal 'godfather' in the figure of Senegal's world music hero. However, the trio then went on to meet French rapper Passi whom they soon realised could be the one to wave the magic wand for them in France. "We just felt a lot closer to him," the trio say, "because we have a lot more in common. And that's normal because what Passi does is much more rap."

Passi, a former mate of Stomy Bugsy in hardcore French rap outfit Ministère Amer, had his own connections in Dakar too, having often flown out to the Senegalese capital to work at the "Xippi Studio" owned by Youssou N'Dour. It was while he was out there recording his second album, Genèse, that he started looking round for backing singers to help him out on the track Familles et Amis. Bideew Bou Bess turned up to audition and the moment he saw the group's performance in front of the mikes, Passi was hooked. He not only asked the trio to guest on another track, Ex-Nihilo, but was soon inviting them over to France to promote his album. And it was not long before the French rapper turned round and offered to help Bideew Bou Bess make their own album. "The original idea was that we'd work with (Youssou N’Dour's) label Jololi," says Passi, "but the problem was we didn't really agree on things. It turned out we just weren't on the same wavelength!"

Accepting to act as Bideew Bou Bess's producer on the album, Passi assumed the role of a sort of "older more experienced brother" who was on hand to dole out guidance and advice and encourage the trio "when they'd done something good." Passi also structured the Senegalese group, getting them into a professional working rhythm. "I love to work with people who have a completely different take on rap culture," the French rapper enthuses, pointing out that Senegalese rap has its own particular characteristics, the triple-time beats of African rhythms leading artists to place their vocals differently from their Western counterparts. "The other thing is youngsters don't necessarily have professional equipment or backing singers," says Passi, "So they have to find different ways of doing things with what they've got. Bideew Bou Bess started out singing on the beach, you know. That meant assuring the verse and the chorus all by themselves which trained them in the art of singing melodies and holding notes. That's turned them into the kind of group where you can give them three mikes and nothing else and they'll get up on stage and put on a real show. Now that's what I call impressive!"

Bideew Bou Bess's big break came when scouts from the Jololi label spotted them performing at a talent contest (organised to commemorate the tenth anniversary of the death of Cheikh Anta Diop). Before that the three young rappers had had to jump countless hurdles in the music world since getting together in 1992 when they were just 12 or 13 years old. "We've been through a lot of hard times together," says Baïdy in his light airy voice. "In fact, so much so that I don't think we'll have time to explain it all here!" Unlike other groups based in central Dakar, who were always available for gigs and extra-curricular networking, Bideew Bou Bess had to make the long journey into the capital from their suburb. However, inspired by the Public Enemy songs they heard pumping out at the start of the 90s, the trio determined to follow the same path as their American heroes and "voice the concerns of young Africans." The threesome started out using American instrumentals as a base to rap over, but soon realised that turning their back on their own culture was not the answer. Instead, they started using mbalax and reggae as a base for their music, instantly giving their rap an original edge.