Aline Khalaf - Sodfa

Though her voice may not turn heads, when it comes to Aline Khalaf, you can always count on there being an extremely catchy single. La Li Leih, Az Alaya, Law Andak Kalam, Ba'dak Aal Bal, and her latest Farhet Ainayeh stick whether you like it or not. Bardo Sodfa, the story of lover who stalks her, is no exception thanks to Mohamed Yehia and Medhat Khamis. It is followed up by Menni Lik, another catchy maksoum song, and Kelma Fi Albi, an R&B-style song composed and arranged by Khaled Ez. Rah El Wafa (Mish Inta), a Tarek Abou Jaoudeh-Hadi Sharara collaboration, is in the duo's signature style and easily the best ballad on the album. Another ballad worth mentioning is Addet Sana, and Khaled Ez does a great job incorporating swooping strings and ney into the song. Gani We Alli is another infectiously catchy song by Mohamed Yehia, albeit in the upbeat oriental style that suits Aline best. From beginning to end, Aline's 2005 album is thoroughly enjoyable, and even the less interesting songs, like Eyounak Shaghleh, are still good and listenable.



1. Bardo Sodfa
2. Menni Lik
3. Kelma Fi Albi
4. Ta'raf Tebtesem
5. Rah El Wafa (Mish Inta)
6. Gani We Alli
7. Ezay Ansak
8. Eyounak Shaghleh
9. Addet Sana
10. Adda Alaya

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Assi Al Hillani - Zghireh El Denyeh

Assi Al Hillani never made an album as diverse as Zghireh El Denyeh, and the success that followed was only natural. The album includes the smash hits Habibi Yalli Nasini, Senin, Ouli Jayeh, as well as Zghireh El Denyeh and an electronic remix of the the 2000 hit El Hawa Tayer. Though Tarek Abou Jaoudeh does not dominate this album (like he did Forset Omur), his work is stellar all the same on all four songs he composed: Habibi Yalli Nasini, Ouli Jayeh, Dayeb Fik, and Tarani. Whether its pure pop songs, like the title song or Dayeb Fik, dabke songs like Lamma Betkouni Ma'i and Ala Ain, or fusions like Habibi Yalli Nasini and Tarani, Zghireh El Denyeh is an album that doesn't disappoint. The list of musicians and arrangers Assi worked with is just as impressive, with arrangers Hadi Sharara, Jean-Marie Riachi, Boudi Naoum, and Ravi. Also on the list is İsmail Tunçbilek (on saz), Maher El Ali (ney and kawala), and strings by Jihad Akl, Raymond Nassif, and Orchestra Gundem from Turkey.



1. Zghireh El Denyeh
2. Habibi Yalli Nasini
3. Senin
4. Ouli Jayeh (feat. Karol Sakr)
5. Lamma Betkouni Ma'i
6. Tarani
7. Dayeb Fik
8. Ala Ain
9. Inti El Ha'i'a
10. Weili
11. Be Einak Shoug
12. Haniyalak
13. El Hawa Tayer (Remix)

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Moin Shraif - Albak Tayeb

Moin Shraif's excellent 2007 album, perhaps due to the lackluster title song, was quickly forgotten. It's undeniable, however, how popular the singles As'ab Kelmeh and Rsamtak later became. Moin's album consists of 8 tracks, diverse in terms of both composition and arrangement. Nicolas Saade Nakhle's compositions were extremely well-received, but the overly repetitive title song is quickly overshadowed by Rsamtak, and the electrifying arrangement done by Hadi Sharara. Rawad Raad composes another two stellar songs on this album; a great ballad, As'ab Kelmeh, and Addait El Nejmat, a great dabke song arranged beautifully by Bilal El Zein. Mahmoud Khayami's compositions, El Omr Kello and Yama Alou Fik, are the least interesting songs, but listenable still thanks to Adel Aayesh's rich arrangement. The last two tracks are composed by Samir Sfair and arranged by Tarek Aakef, and are both great ballads that harken back to the duo's 1990s work.



1. Albak Tayeb
2. As'ab Kelmeh
3. El Omr Kello
4. Yama Alou Fik
5. Rsamtak
6. Addait El Nejmat
7. Kel El Haq Alaik
8. El Moshkela Ennak Habibi

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Nancy Ajram - Ah We Noss (Collector's Edition)

If Ya Salam as Nancy's first taste of fame, Ah We Noss laid the foundation for the singer who was about to become one of the Arab World's biggest acts. Unlike her previous album, which succeeded thanks to its three wildly successful singles, Ah We Noss was full of excellent songs. Many collaborators return, such as Samir Sfair (tracks 7, 8, & 11), Mohamed Saad (Oul Tani Eih), Tony Saba (tracks 3 & 6), Adel Aayesh (Ta'ala Ya), Tarek Madkour (tracks 1, 4, & 7), and Mohamed Mostafa (Ana Leih). Nancy also worked with several musicians for the first time, like Tarek Aakef (tracks 8 & 11), Mahmoud Khayami (Baddala' Aleik), Walid Saad (Hobbak Liya), Fadi Saad (Sana Wara Sana), Khaled Jenaid (Ta'ala Ya), Medhat Khamis (Hobbak Liya), Mohamed Rahim (Ana Leih), and Tarek Abou Jaoudeh (Lawn Eyounak). Colossal hits like Ah We Noss, Lawn Eyounak, Oul Tani Eih, and Inta Eih need no introduction, but everyone has their own personal favorites as well among the remaining tracks (like mine, Baddala' Aleik). This remastered, repackaged version of Nancy's hit 2004 album gives the audio the quality and clarity it deserves.



1. Ah We Noss
2. Baddala' Aleik
3. Lawn Eyounak
4. Oul Tani Eih
5. Ta'ala Ya
6. Sana Wara Sana
7. Inta Eih
8. Gaiyin Ye'oulouli
9. Ana Leih
10. Hobbak Liya
11. La Teloum

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Tabbouche's: Vote

Bassima - Shou A Bali

Bassima began her career singing and reciting English and French songs, and when you listen to her graceful voice the western influence is evident. However, unlike the way Grace Deeb tends to do, she does not force the western vocal style on oriental songs, but rather compliments them, the way Asmahan did. Shou A Bali is one of, if not the, most successful albums she has released in her decade-long professional career. Samir Sfair, who was impressed with Bassima's voice, composed four of the six tracks, including the smash hit Shou A Bali. The title song and Souret El Hob are both typical pop ballads, though with different arrangement styles from Tarek Madkour and Hani Siblini respectively. The remaining four tracks are stellar, and much more traditional in terms of arrangement. Ah Yana and Ma Yhes El Garh are both moderately paced Egyptian songs. Etr El Madi and Mish Helwin are Lebanese songs composed by Samir Sfair, the former arranged beautifully by Hani Siblini and the latter with relatively generic arrangement from Nasser El As'ad (though the infectiously catchy composition shines through anyway). While Bassima is no stranger to success, Shou A Bali was a milestone in this down-to-earth singer's career.



1. Shou A Bali
2. Ah Yana
3. Etr El Madi
4. Souret El Hob
5. Ma Yhes El Garh
6. Mish Helwin

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Amal Hijazi - Zaman

Amal Hijazi's second album is, arguably, her most successful to date, and most people usually assume that this was her debut album. When you see how many of her hits came from this album, it's easy to see why. Producer Jean Saliba's affinity for Bendeniz continues in this album, and the title song is a cover of the Turkish singer/composer's own 2001 hit of the same name. With the exception of the last two tracks, the album has an oriental flavor throughout, regardless of the style of composition. The album starts with the catchy Ed'ili, Amal's first and only collaboration with Amr Mostafa. "Prince of Rai" Faudel joins Amal on Ainak Ainak, the hit Rai song which proved again Tarek Abou Jaoudeh's diversity as a composer. Iraqis Ravi and Omar compose and sing with Amal. Waili Wah. Romansiya, composed by Mohamed Rahim, is a catchy pop song which mixes in strings and mizmar with western beats and guitar. The hit Oulhali, one of Nasser El As'ad's best songs to date, is an almost magical song which combines a pop beat with oriental strings and even Indian tabla. Zaman has something for everyone, and that's probably why it's Amal's most memorable album yet.



1. Ed'ili
2. Zaman
3. Ainak Ainak
4. Waili Wah
5. Ya Allah
6. Zein El Rouh
7. Romansiya
8. El Hawa
9. Oulhali
10. Albi Dawwa
11. Comme Çi Comme Ça
12. Mali Meil

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Pascale Machaalani - Shou Amaltellak Ana?

Happy Eid to everyone! Here's something to put in your car stereo on your way to the family! Pascale's 2003 album has many great tracks, like the title song, as well as the fun Leila Ba'd Leila, and her first Tunisian song, Ana Habbaitou. This is one of her most upbeat albums, and most diverse too, with composers Melhem Bou Shdid, Mahmoud Khayami, Salim Salameh, Samir Sfair, Riyad El Hamshari, Khaled El Bakri, and Imad Shamseddine all on board. Enjoy!



1. Shou Amaltellak Ana?
2. Leila Ba'd Leila
3. Moush Arfa Ansak
4. Jannanto
5. Yeslamli
6. Ana Habbaitou
7. Gai Walla Nsit
8. Elli Mou Aal Bal
9. Betkhaf Aleik Addi
10. La Far'a Ma'ak

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Assi Al Hillani - Yemken

Assi Al Hillani's latest album is less diverse than his previous offering, Daggat Galbi, but Assi never disappoints, and Yemken is no exception. Though his albums are always dominated by traditional songs, his past two albums focused on more electronic and pop-oriented songs like Zghireh El Denyeh and Sa'alou Ainayeh, so pop fans will not like the fact that Assi seems to have grown out of it (for the time being anyways). Seven of the album's 14 tracks are composed by Assi himself (Dalli Ma'i, Halet Galbi, Bendah Ma Am Yesma', Sahra El Sharq, Lebnani, Kheil El Arab, and Khada'tena); and the remaining seven are by Haitham Zayyad (Rja'li Aw Raja'li, El Hawa Dhalem), Maher El Ali (Eyoun Al Maha), Hisham Boulos (Am Oul El Ah), Jean-Marie Riachi (Yemken), and Cem Erman (Nour El Sahar). Yemken, a very mellow title song when compared with Daggat Galbi, starts off as an uninteresting ballad, but about two minutes in, when west finally meets east, the song turns into a much more powerful song that deserves it's place as the first single. In Nour El Sahar, Nasser El As'ad takes Erman's Gümüş theme and remixes it into a far more interesting, dancefloor-worthy song. Assi, who has dueted with (and practically launched the career of) Grace Deeb and Karol Sakr before, sings two duets on this album (and Melissa does a bit of humming in Nour El Sahar as well). Rja'li Aw Raja'li is a ballad featuring Tunisian Star Academy 3 contestant Chaima Hilali, and she excels as usual in this melancholic song which combines both clarinet and oud solos. In Sahra El Sharq, Rouwaida Attieh joins Assi in one of the best dabke songs of the year, and steals the show in the process. Adel Aayesh does a great job also, with very organic arrangement made up of mizmar, ney, kawala, and violins. Assi includes two patriotic songs he previously released as singles, the powerful Kheil El Arab and Lebnani. Bouset Khanjar is a cover of Davut Güloğlu's Ham Yaparim, made more electronic and even more dramatic by Aytekin Kurt. Am Oul El Ah, which is arranged by Hadi Sharara, is a "nouveau-dabke" song in the vein of Najwa Karam's Ta'a Khabbik.



1. Dalli Ma'i
2. Halet Galbi
3. Yemken
4. Nour El Sahar (feat. Melissa)
5. Rja'li Aw Raja'ni (feat. Chaima Hilali)
6. Bendah Ma Am Yesma'
7. Am Oul El Ah
8. El Hawa Dhalem
9. Sahra El Sharq (feat. Rouwaida Attieh)
10. Bouset Khanjar
11. Eyoun El Maha
12. Lebnani
13. Kheil El Arab
14. Khada'tena

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Mayada El Hennawi - Bayent El Hob Alaya

Syrian diva Mayada El Hennawi's 1993 album is a good example of popular music in the 1990s. The album starts off with the playful Bayent El Hob Alaya, the relatively short song (by 90s standards) is an accordion-infused Tarek Aakef composition. Alouli Ansa, which saw a dramatic resurgence in popularity when it was sampled on Aaliyah's More Than A Woman, is also composed and arranged by Tarek Aakef. Mahma Aghanni is a great example of the oriental style of saxophone playing, and Addemt El Rouh is a beautiful classically-influenced ballad. The lengthy Ma'ak Lel Nehaya closes the album on a relatively upbeat note. Once nicknamed Motrebet Al Jil (Singer of the Generation), Mayada's style, which borders on conversation, and her old-world grace, is what she is known for to this day.



1. Bayent El Hob Alaya
2. Alouli Ansa
3. Mahma Aghanni
4. Addemt El Rouh
5. Ma'ak Lel Nehaya

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Various Artists - Dance H1ts

As simply as the title states, this album is a collection of some of the top Arabic hits released between 2006 and 2008, remixed into dance songs by Aytekin Kurt. The album opens with Tigi Mennak, originally a typical Madkour maksoum song, now remixed into a great dance song. Aytekin successfully transforms Ensa Elli Rah, Ayami Bik, Hayda Haki, Nwakel Aleik Rabbi, Aini Alaik, and Bihen, making you listen to them as if they were new again. The majority of the songs are great dance songs, what Aytekin does best, while Saber's is turned into a hip-hop song, and Amal and Wael's are turned into mellower, chillout songs. Aytekin keeps the original strings in many of the songs, keeping the oriental origins of the music intact. The less interesting songs, Eini Aal Gharam and Ana Wel Lail, were not remixed as smoothly, and Aletli Oul drowns the vocals out too much for this listener. Nasser El As'ad and Cem Erman collaborate on Nour El Sahar, taking Erman's Gümüş theme and turning it into a full-blown dance song, with Assi Al Hillani's expressive voice taking it to new places. Definitely one of the best compilations this year, Dance H1ts is for fans of dance and club music as well as those simply looking to rediscover the songs they love already.



1. Nawal Al Zoghbi - Tigi Mennak
2. Amr Diab - Aletli Oul
3. Najwa Karam - Hayda Haki
4. Elissa - Ayami Bik
5. Fadl Shaker - Ensa Elli Rah
6. Marwan Khoury - Ana Wel Lail
7. Ramy Ayach - Eini Aal Gharam
8. Saber Rebai - Nwakel Aleik Rabbi
9. Amal Hijazi - Aini Alaik
10. Wael Kfoury - Bihen
11. Assi Al Hillani - Nour El Sahar (feat. Melissa)
12. Sanawat Al Daya' (Music Remix)

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Myriam Faris - Nadini

Myriam Faris truly broke out of the mold of her debut album with Nadini. Instead of tired remakes, Myriam worked with some of the greatest names in the industry, new and old. With only two ballads on the album (the très traditionnelle Hassait B'Aman and the more pop-ish Hassesni Bik), Myriam's album is young and whether it goes for Europop or belly dance beats, it's upbeat dance music. The album opens with hit title song, a fast-paced, and extremely catchy, electronic song, composed by Mohamed Rahim from Egypt, and arranged by Jean-Marie Riachi from Lebanon. Anadiya is an irresistable mix of traditional Arabic music and electronic beats, with the song moving from violins and riqq to accordions and club beats in a heartbeat. To a similar effect, Ha'leq Ala Rahtak opens like something out of a Zorro movie and turns into a quintessential belly dancing song. Boudi Naoum follows up 2003's Shou Baddo Ysir, with another very Europop offering, Leih Habibi, which the versatile Myriam works with very well. Za'lan Menni is for fans of the Latin sound, with brass and Latin beats mixing with heavier Arabic beats. Ma'rafsh Had Bel Ism Dah takes a similar path, adding mizmar and doing away with the Latin beat. Khallini Tir, which more or less qualifies as a ballad too, combines Tarek Abou Jaoudeh's dramatic composition with Ravi's excellent arrangement, combining heavy strings with kanun, riqq, and powerful beats. The album's last single, Waheshni Eih, continues where Nadini left off, but adds Arabic beats and mizmar to the mix, making for a much more interesting song.



1. Nadini
2. Anadiya
3. Hassesni Bik
4. Ha'leq Rahtak
5. Leih Habibi
6. Ma'rafsh Had Bel Ism Dah
7. Hassait B'Aman
8. Khallini Tir
9. Za'lan Menni
10. Waheshni Eih

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Magida el Roumi - Kalimat

Magida el Roumi's 1991 album was one of the most important in her career. Reissued several times, and with the iconic title song etched in the minds of Arab listeners everywhere, Kalimat set the stage for what was to come from this living Lebanese legend. Combining "the women's poet" Nizar Qabbani's beautiful poetry with Ihsan El Mounzer's beautiful fusion of classical and Arabic music, Kalimat is one of those songs you never forget. The great Mayada El Hennawi also talked about her love for this song when interviewed on Shako Mako.



1. Kalimat
2. Esma' Albi
3. El Iyam
4. Inta We Ana
5. Koullon Youghanni Ala Lailah
6. Beirut Set Eddounia

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Oum Kalthoum - Daret El Ayam

Oum Kalthoum was not only a symbol of Egypt, but the symbol of a unified Arab world. Whether she sang classical poetry or in her native dialect, religious songs or patriotic songs, her voice was heard from Morocco to Oman. The young bedouin girl who simply came to sing in the big city not only became a milestone in Arabic music, but became the voice of Nasserism, of Arab unity. Though the dreams she and Gamal Abdel Nasser envisioned may have died with them, her music lives on and she remains Kawkab Al Sharq (Star of the East). Daret El Ayam, written by Ma'moun El Shennawi and composed by the great Mohamed Abdel Wahab, is one of Oum Kalthoum's most well-known songs. The song speaks of how years after two lovers parted, seeing each other awakened old emotions and made them forget why they ever parted. From the moment the melancholic accordion begins to play to the end, Daret El Ayam is a testament to the genius of Mohamed Abdel Wahab and the beauty of Oum Kalthoum's world.



1. Daret El Ayam

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Elissa - Ahla Dounya

Elissa's 2004 album was a turning point for the Lebanese singer in many ways. It not only cemented her Egyptian success, got her a contract with Pepsi, and won her her first World Music Award, it also marked the most active point in Elissa's career. It was her last album with producer Jean Saliba, and her last collaboration with Jean-Marie Riachi, who arranged the whole album. The album is dominated by western-style ballads and Latin touches, but there are a number of songs which shine through. Elissa remakes another Turkish song here also, Bain El Ain is a cover of İzel's Dile Benden, and although I prefer İzel's voice, Jean-Marie Riachi gives the arrangement slightly more depth. The hit Erga' Lel Shouq, Elissa's first completely Arabic-sounding single, makes you almost feel the orchestra around you. The sad Hobbak Waja', exhilarating Arrabli, upbeat Irham Albi, and emotional Gouwaya Lik, are all more than enough to merit this album a listen. For fans of Hossam Habib, after working with her on Ayshalak, Hossam also composed Ad Ma Bashta'lak. Jean-Marie Riachi fell out with Elissa after this album for reasons that remain unclear, but Ahla Dounya remains a testament to his contribution to her success.



1. Erga' Lel Shouq
2. Ahla Dounya
3. Kol Youm Fi Omri
4. Khallini A'ish
5. Bain El Ain
6. Hobbak Waja' (Inta La Min?)
7. Ad Ma Bashta'lak
8. Kan Nefsi A'raf
9. Zikra
10. Irham Albi
11. Gouwaya Lik
12. Arrabli
13. Law Nerja' Sawa

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Diana Haddad - Men Diana Ela...

Diana Haddad returns to the music scene with Men Diana Ela... (a.k.a. From Diana To), a Khaliji album from beginning to end. The styles range from pop and ballads to the traditional. Some songs use typical Arabic beats (be it from the Gulf or Iraq), while others use styles that border on Latin, African, and Indian music. Never one to depend on one lyricist or musician, Diana works with a number of composers, like Walid El Shami, Abdelqader El Hedhoud, Fayez El Sa'id, and Essam Kamal. Arrangers Ziad Nadim, Ali Msafer, Bilal El Zein and Ahmed Asadi each do great jobs on Shloun Ashoufah, Tahreg A'sabi, Leit El Goloub, and Ajiba respectively. Though most would have liked to see Diana release a more diverse album, after a two-year wait, Men Diana Ela... is thoroughly enjoyable album.



1. Sheft Ettesalek
2. Shloun Ashoufah
3. Tahreg A'sabi
4. El'ab Ala Galbi
5. Allah Ykhallik
6. Ajiba
7. Ya Za'lan
8. Ma Yet'ebni
9. Leit El Goloub
10. Rouh Ya Sghayer

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Sara Al Hani - Haik Bta'mel

The young Sara Al Hani returns this year with a completely different album, Haik Bta'mel. The beautiful title song is composed by the talented Ramy Ayach, which is bound to help her attract some of the well-loved star's fans. Walid Saad, who composed her debut single Karrahni Fik, returns also with two songs, the mizmar-infused Elli Nasini and slow Eftakart, both arranged by Adel Aayesh. Salim Assaf has written most of the lyrics, and he also composed Ma Hada Byeb'edni, as well as Sara's first Khaliji song, Fedeit Rouhak. Olt Eih is also an enjoyable song also, composed by Mazen Zawaydi and arranged by Hadi Sharara. Though Sara's voice, and Jean-Marie Riachi's arrangement, on Haik Bta'mel will steal you away at first, be sure to listen to the whole album.



1. Haik Bta'mel
2. Olt Eih
3. Law Khayarouni
4. Al Shou A Balou
5. Elli Nasini
6. Fedeit Rouhak
7. Ma Hada Byeb'edni
8. Eftakart

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Melhem Zein - Alawwah

Melhem Zein, who caused audiences to jump on to the stage the day he left Superstar, is one of Lebanon's most well-loved former talent show contestants. His last two albums focused mostly more pop-orientied or slower Arabic songs, but Melhem finally realized where his voice was best put to use with Alawwah. The album is dominated by Lebanese dabke songs, which it seems most popular singers have distanced themselves from lately, singing only one or two songs from the genre on their albums. Tarek Madkour is absent from this album, but the variety of arrangers is impressive. From Lebanon, there's Roger Khoury, Bassem Mounir, Bilal El Zein, Dani Helou, Hadi Sharara and Walid Eblan; from Egypt, Karim Abdelwahab and Mohamed Mostafa. The dabke songs range from playful like Alawwah, Aawed, Sheddi El Ghetra, and Ya Ahl Allah, to melancholic like Ghibi Ya Shames and Ma Hammak. Melhem doesn't neglect fans of the style prevalent in his first two albums however. Nami Aal Hada, Ma Ba'ref Laish Bhebbak, Maryam (dedicated to his newborn daughter), and his hit single Mamnounak are pop and jazz-influenced songs. The remaining three songs are just as enjoyable, Wallah W'alla'tek Fiyeh is a catchy maksoum song, Yemken a very traditional, organic mawal, and the album finishes the equally traditional ballad, Ghab El Ghali.



1. Alawwah
2. Wallah W'alla'tek Fiyeh
3. Sheddi El Ghetra
4. Aawed
5. Ghibi Ya Shames
6. Ma Hammak
7. Nami Aal Hada
8. Ma Ba'ref Laish Bhebbak
9. Ya Ahl Allah
10. Maryam
11. Mamnounak
12. Yemken
13. Ghab El Ghali

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Reeda - Shaklak Ma Ytammensh

Reeda's absence from the music scene could not have been cut short in a better way than her 2006 album, Shaklak Ma Ytammensh. To announce her return, she released a video for Mashi Ya Zaman which showed her at work in the studio with Iwan and Tarek Abou Jaoudeh, as well as other musicians, production teams, and makeup artists. A few months later, Reeda released her album and the video for the title song simultaneously. Though the arrangers incorporate western instruments to spice things up, the album is a very oriental one. The catchy title song, composed by Riyad El Hamshari, is made up of heavy beats, accordion, and kanun for the most part. The third single, Bala Betthebni, is another catchy, upbeat song composed by Mohamed Yehia, and Khaled Nabil incorporates the electric guitar (similar to the way he did on Aadi by Nora Rahal). Hadi Sharara's arrangement on the upbeat Khallik Ala Rahtak is also reminiscent of his work on Razan's hit debut single, Law Hob Dah, which came out later that year. Apart from the very Turkish Bes'al Hali, which doesn't fit Reeda at all, and the sleepy Tamma'tak Feya, the album is a success. However, is no doubt that Mashi Ya Zaman remains the gem in this album, and the proof is that most to people refer to this album by that title.



1. Bala Betthebbeni
2. Kol Dmou' El Koun
3. Shaklak Ma Ytammensh
4. Tamma'tak Feya
5. Bes'al Hali
6. Khallik Ala Rahtak (Narak Men Nari)
7. Khod Albi
8. Mashi Ya Zaman
9. Mashi Ya Zaman (Remix)

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Julia Boutros - Ta'awadna Alaik... Habibi

Julia Boutros' follow-up to her hit 2004 album, La B'ahlamak, came in the form of this 2006 release. The album tones down some of the jazz elements Julia incorporated in her past two releases, and concentrates on what Julia seems to do best, oriental songs (like Ala Shou?) and dramatic ballads (like La B'ahlamak). The majority of the album has an Arabic orchestra, with the exception of Habibi and Deblet Bakkir which employ more western arrangment. Ta'awadna Alaik kicks off the album with a very rich, traditional feel and sets the mood. Habibi is in the vein of La B'ahlamak, and goes for more dramatic, western ballad arrangement. Tghayart Ktir and Mfakker Inta returns to the Arabic style, and is typical of Ziad Boutros' compositions for Julia, with lyrics that tell a story. Ma Btefhamni and Menhebbak Aih are bit more upbeat, with heavier percussion and lighthearted lyrics in which she tells her lover that he is loved regardless of his flaws. Julia always sings a song for her country, and Khawfi A Weladi does the honors here. Julia's attention is usually focused on meaningful lyrics that you can relate to, or at least think about. The whole album is composed by Julia's brother, Ziad Boutros, and arranged by Michel Fadel, who also conducts the orchestra. Despite the first-rate music, the summer 2006 Israeli-Hizbollah war cut Julia's plans to promote the album. She did not release any videos or go on tour, and instead of returning to her home in Dubai, she remained in her Lebanon to protest the war. She became an outspoken supporter of Hizbollah, for the simple reason that they were protecting Lebanon. Her songs Ahebba'i, inspired by the words of Hizbollah leader Nasrallah, and Intasara Loubnan made enemies for her at a sensitive time when most Lebanese singers were trying to keep their political views to themselves. Julia raised thousands from her Ahebba'i campaign that went towards rebuilding Lebanese homes destroyed by Israeli fire. Though Julia is reportedly back to work on secular music again, it's unlikely this album will be revisited.

1. Ta'awadna Alaik
2. Habibi
3. Tghayart Ktir
4. Deblet Bakkir
5. Mfakker Inta
6. Ma Btefhamni
7. Menhebbak Aih
8. Khawfi A Weladi

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Asalah - Erga' Laha

Asalah's 1996 album is a mix of both light Egyptian pop songs, like Heya Keda and Khodni Ma'ak (Meshwar Hawak), and heavier, lengthy tarab songs like Erga' Laha and her popular rendition of Alli Gara. The album is composed by Mohamed Diya', Helmi Bakr, Amir Abdel Majid, and the great Sayed Mekkawi.



1. Heya Keda
2. Shi' Yerga'lak
3. Alli Gara
4. Katabtak
5. Khodni Ma'ak (Meshwar Hawak)
6. Erga' Laha

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Darine Hadchiti - Kel El Ossa

Darine Hadchiti's third album is a solid effort from the young Lebanese singer. As always, Kel El Ossa boasts a stellar list of musicians, including Tarek Abou Jaoudeh, Hadi Sharara, Wissam El Amir, Roger Khoury, George Karam, Zaher El Baba, Mohamed Yehia, Walid Saad, Adel Aayesh, and Boudi Naoum. As is usually the case, Darine's album is quite lengthy, and so there are a number of great songs with not-so-great songs filling the gap. The album opens like her previous two, with a Tarek Abou Jaoudeh-Hadi Sharara collaboration. Meshta'a is another catchy song with an amazing fusion of Arabic and electronic music. The title song, an upbeat and fun Lebanese song composed by Wissam El Amir, follows. Kel El Ossa's arrangement is reminiscent of the style Roger Khoury used with his last collaboration with Wissam El Amir, on Melhem Zein's Alawwah. Next up is Ana Aheb (Fiha Eih Ya'ni), which is composed by one of the busiest men this year, Mohamed Yehia. Tarek Madkour's upbeat, poppy arrangement on this song is one of his better works this year. The album's first single, Rasi Ala Rasak, is an equally great song, thanks to both George Karam's upbeat composition and Boudi Naoum's fusion of pop with an Arabic beat and mizmar. Ma Bta'refni, composed by Zaher El Baba, is another enjoyable, upbeat song, even though the arrangement takes a backseat with nothing special. Hobbak Ghali Alaya, Darine's first Egyptian single, is fairly good although her vocals don't do much for the song. Darine Hadchiti's vocals are not necessarily bad, her failure to create a niche for herself is what holds her back, even after the release of her third album. Regardless of what you hear from others, Kel El Ossa is definitely worth a listen, with a number of good songs to be discovered.



1. Meshta'a
2. Kel El Ossa
3. Ana Aheb (Fiha Eih Ya'ni)
4. Maw'oudeh
5. Denyeh B'ideh
6. Rasi Ala Rasak
7. Mamnou'
8. Ma'ouleh Hayda El Hob
9. Ma Bta'refni
10. Khedni Wrouh
11. Hobbak Ghali Alaya

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Nawal - Nawal 2009

Nawal's long-awaited follow-up to Nawal 2006 has finally arrived, and it is definitely good. As always, Nawal has an infectiously catchy single, and the rest of the album is filled with well-chosen lyrics, and generally mellow music. Mou Liya, like El Shoug Jabek, Bi Yahsedouni Aleih, and Tammen Galbak before it, is infectiously catchy and goes places Nawal has never been before. After joining Nawal on his compositions like El Shou Jabek and Fel Bedaya, Mish'al El Orouj returns even more prominently in Mou Liya, although it is his only composition here. On this album, Nawal's Egyptian song is composed by Walid Saad, after working with the late Riyad El Hamshari on her past two albums. Bahraini arranger Sirouz has much more prominent presence on Nawal 2009 than any other arranger, a fact this listener doesn't like, but listening to the work Khaled Ez and Hani Farhat do on Hathi Jedida, Wein Antehi, and Khed'a, or İsmail Tunçbilek does on Mou Liya is gratifying enough to forget it. Sah is another beautiful song, combining Turki's meaningful lyrics with Sahm's skillful composition (which he already proved in Asalah's 2007 album, Sawaha Galbi), and Essam El Sharaiti & Hani Farhat's arrangement. Nawal 2009 caters to those who like the polished Nawal as much as it does to those who like the rougher, more old school Nawal.



1. Dhagat Aleik
2. Meshtag Galoli
3. Sam
4. Leih Saket
5. Hathi Jedida
6. Mou Liya
7. May Eini
8. Sah
9. Ghab Nourek
10. Khed'a
11. Aghla Hob
12. Has Be Ghalteto
13. Min Allemek
14. Eyoun El Nas
15. Wein Antehi

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Hoda Saad - Ertaht

Moroccan singer Hoda Saad's debut album is a mellow, mostly traditional one. Hoda skillfully sings in the Egyptian, Lebanese, and Khaliji dialects, as well as her native Moroccan dialect. Hoda's soft, feminine voice does not instantly distinguish itself, but it is good and well-employed throughout the album. Hoda works with some of the top names in the business, including Walid Saad, Salim Salameh, Mahmoud Khayami, and Mohamed Rifai. Looking like Egyptian songstress Sherine can't hurt either.



1. Ma Kontesh
2. Ma Sadda'
3. Maghroumeh Fik
4. Abou El Erreif
5. Jit Nsidou
6. Ma Tfakkarnish
7. Ma Baddak
8. Ertaht Ashan Nesitni
9. Allah Yaster

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Mohamed El Majzoub - Hann Albi

Mohamed El Majzoub was a favorite to win the second season of Rotana TV's Arab import of The X Factor. And not surprisingly, the 17-year-old Syrian won it. As promised, Mohamed went to work on his debut album, courtesy of Rotana, and one year later here it is. Like fellow X Factor winner Rajaa Qasabni before him, Mohamed works with Walid Saad, Salim Salameh, and Adel Aayesh. The album also maintains the same oriental feel throughout, with traditional instrumentation and only the title song using a pop beat. However, unlike Rajaa's album, Lebanese songs dominate this album and there is far more variety in terms of composers and arrangers with Hisham Boulos, Marc Abdelnour, Khalil Abou Abeid, and Dani Helou on board also. Rotana has produced another winner in Mohamed, and this album is definitely one of the strongest debuts in years.



1. Allah Shou Bhebbak
2. Hann Albi
3. Keda Tensani
4. Hebbini
5. Ba'dek
6. Ma T'oulsh Ana
7. Ana A'mel Eih
8. Bhessak Ma'i

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Asmahan - Les Archives De La Musique Arabe

Born Amal Al Atrache to Syrian Druze nobility, Asmahan's life was almost as interesting as her sublime voice. Asmahan's father, Fahd Al Atrache, was the governor of the Demirci district in Ottoman Turkey. After Turkey lost Syria to the French, the Atrache family fled fearing Turkish retribution and Asmahan was born on the ship that took them back to Syria. Having lost their wealth, Asmahan's mother was forced to sing for a living and became young Asmahan, and her brother Farid's inspiration. One of the earliest singers to introduce the western influence to Arabic music, Asmahan's voice excelled at almost anything. Though Farid lived quite a long life and became a legendary singer, actor, and composer, Asmahan was not so lucky. Her mysterious death in Egypt was blamed on the intelligence wars of the time, and it was rumored she was a spy. Other more ridiculous conspiracy theories account even accused Oum Kalthoum of having her murdered "to kill off the competition". This is a compilation of Asmahan's greatest songs, and even includes Ya Habibi Ta'ala and Layali El Ons, which are still concert favorites to this day.



1. Aleik Salat Allah
2. Layta Lel Barqi
3. Farraq Ma Beinna
4. Naweit Adari
5. Layali El Bashar
6. Ash'inha
7. Layali El Ons
8. Ya Habibi Ta'ala

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Pascale Machaalani - Sa'beh Eish... Men Dounak

Pascale Machaalani's eleventh studio album, Sa'beh Eish... Men Dounak, was released in 2004. Apart from the odd intro or beat, the majority of the album is quite purist, working with strings and Arabic beats rather than chasing new trends. As we have come to expect from Pascale in the past few years, the majority of the album is arranged by Melhem Abou Shdid, and he did some of his best work here. With the exception of the title song, the album is written by Egyptian lyricists, and composed by both Egyptian and Lebanese composers, such as Tarek Abou Jaoudeh, Mostafa Aoud, Mahmoud Khayami, and Boudi Naoum (who brings a pop song to the table as usual). Pascale had many unforgettable hits with this album, such as Sa'beh Eish Men Dounak and Sana Oula Gharam, but many of the songs that weren't given the spotlight, like Ba'd Keda and Aal Youm El Youm, are equally great.



1. Sa'beh Eish Men Dounak
2. Rouhi Inta
3. Ana Toul El Youm
4. Ba'd Keda
5. Balak Tawil
6. Sana Oula Gharam
7. Aal Youm El Youm
8. Omri Lik
9. Bahebbohou

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Amal Hijazi - Akher Gharam

Amal Hijazi's debut album was producer Jean Saliba's second major undertaking, after he launched Elissa in 1998. However, Amal differentiated herself from the beginning. Much like Elissa before her, and Myriam Faris, Cyrine, Melissa, and Rayan after her, Amal's debut album features many Turkish composers. For example, the album's first single Rayeh Balak is a remake of Yeşim Salkım's Kavanoz Dipli Dunya. However, unlike the aforementioned singers' debuts, the majority of the album is composed by Arab composers like Tarek Abou Jaoudeh, Marwan Khoury, Hassan Abou El S'oud and Jean-Marie Riachi. The hit title song is composed by the late Azar Habib and arranged by Jean-Marie Riachi in a style that melds Arabic mawals and strings with flamenco-pop. When compared to Amal's latest offerings, it is obvious how much Amal has grown as an artist and matured.



1. Rayeh Balak
2. Wainak
3. Habibi Oud
4. Kif Ma Baddak
5. Alli El Mousiqa
6. Ashgar
7. Zalem
8. Maghroum
9. Nefsak Tegma' Ma Beinna
10. Ghannait
11. Akher Gharam

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Asalah - Ad El Horouf

Asalah's 2003 album was the last one in which she mixed Khaliji, Syrian, and Egyptian songs on the same CD. Two of the biggest hits, Misheit Senin and A'taz Bek, are by Saudi poet Al Nasser and Kuwaiti composer Dr. Ya'coub Al Khubaizi. Though Al Nasser works mainly with singers from the Gulf, he has written several songs for Magida el Roumi in classical/written Arabic, such as Ouhibbouka Wa Ba'd and Al Hob Wal Wafa', but he wrote Misheit Senin in the Egyptian dialect. Khalli Hal Tabeq Mastour, composed by Syrian singer Elias Karam, is a humorous song in which she tells her lover not to bring up fidelity, because "he who lives in a glass house shouldn't throw stones at others". Though some songs suffer from somewhat archaic arrangement, and Asalah seems to get alittle overenthusiastic on others, like Tasawar and Mali, there are enough good songs on this album to merit a thorough listen.

1. Tasawar
2. Damirak Sehi
3. Misheit Senin
4. Mali
5. A'taz Bek
6. Ad El Horouf
7. Khalli Hal Tabeq Mastour
8. Lawen Omri
9. Ayez El Haq
10. Aashet El Asami

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Myriam Faris - Myriam

Myriam Faris entered the music scene with an album that was essentially a tribute to Turkish singer/composer Bendeniz, with six songs credited to her and the two remaining songs to Roger Halabi and Boudi Naoum. Seen as Jean Saliba headed her entry into the music scene, it is not so surprising that her debut album is so different, and Turkish, compared to the albums that came after it. The majority of the songs came from Bendeniz's Zaman album, from which Saliba also remade the title track for Amal Hijazi in her beginnings. Myriam was introduced to music scene with the now ubiquitous Ana Wel Shouq, a remake of Bendeniz's Helal. The music of electronic Ghmorni and Europop Shou Baddo Ysir offsets the otherwise quintessential Turkish style on the rest of the album. Though Myriam was a decent entry for Myriam, she did not truly define her style until her hit 2005 album.



1. Ana Wel Shouq
2. Ghmorni
3. La Tes'alni
4. Shou Baddo Ysir
5. Inta El Hayat
6. Ahebbak Heyl
7. Hal Gharam Mish Gharam
8. Ya Aalem Bel Hal

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Shams - Shams (2007)

After her 2005 album, Mudhahara Nesa'iya (Women's Rebellion), Shams stayed out of the public eye for a long period of time. The news of the termination of her Rotana contract made many think that her career could only be headed downwards. She returned however, in 2007, with a strong pan-Arab promotional campaign and a controversial video that satirized the American politics in the Middle East, Ahlan Ezayak. Now signed on as Surpr!se Entertainment first artist, Shams' return couldn't have been stronger. Her new album contained two (very different) discs, the first in the Khaliji/Gulf and Iraqi dialects, and the second in the Egyptian dialect.



Abdelqader El Hedhoud composed the majority of the first disc, with the exception of tracks 3, 5, and 6. The album opens with Million, a lighthearted and comedic song arranged by Tarek Aakef, who gives the song the strong percussion he likes to use on his Khaliji work. Tarek Aakef arranges the most traditional-sounding songs on the album, Million, Ba'ad Omri and La Tetawel Lesanek included. La Tgoul Ma Aridek, composed by Samer Rashed and arranged by Walid Fayed, is the album's sole Iraqi song. Nadhra, which borders on the noisy, is given the Egyptian maksoum treatment by Dr. Ashraf Abdo. The remaining songs have a very different sound, the arrangers, Mohamed Mostafa, Medhat Khamis, and Karim Abdelwahab, are from Egypt, while Ismail T. Black hails from Turkey. Mohamed Mostafa arranged Afia Alay and the hit Loha Me'aqeda, both ballads that he did an excellent job on, though he took a more traditional approach with the former. Tefl, also arranged by Dr. Abdo, is a mix of both oriental instruments and western beats, and very different from Nadhra (in a good way). Karim Abdelwahab does his best work on ballads, and Halat Ferag is no exception, because he makes sure that a slow song doesn't have to be a boring one. The first disc bows out with Qessa Aalamiya, which İsmail Tunçbilek arranges, using his signature strings (which you can hear on Al Hob Wal Wafa', as well as Nawal's El Shoug Jabek and Ma'goula Tensani) combined with clarinets and a purely Iraqi beat.



1. Million
2. Loha Me'aqeda
3. Ba'ad Omri
4. Nadhra
5. La Tgoul Ma Aridek
6. Sema'na
7. La Tetawel Lesanak
8. Afia Alay
9. Tefl
10. Halat Ferag
11. Qessa Aalamiya

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The majority of the songs on the second disc of Shams' album tend to either be comedic (and subsequently noisy at times) or beautifully sung and composed ballads. Shams' pronounciation is excellent for a Kuwaiti native, though at times her voice does falter. Mohamed Diya'eddin, who is credited with much of Asalah's early success, composed and arranged five songs on this disc. Mohamed Rahim's composition, Ahlan Ezayak, opens the second disc on a lighthearded note also. Ana Arfa is not as interesting, but it's followed by the album's second single, Ghammadt Eineik, which Shams shot a meaningful video for, depicting the life of a person riddled with a drug addiction. Wakhed Balak and Neb'ed Youmein are musically neutral, maksoum songs, with nothing interesting or off-putting. Moush Eshq La, by Mohamed Diya'deddin, has a beautiful, traditional orchestra-style feel to the music. Za'lan and Eih Dah Aslo, an annoying shot at hip-hop, are the album's low points, with not much in terms of lyrics or music to appreciate. However, listening to the great work done on songs like Albi Be Youga'ni (composed by Mohamed Rifai, arranged by Karim Abdelwahab) and Lazem Asibak (composed by Walid Saad, arranged by Mohamed Mostafa) is gratifying enough to make you forget the not so stellar songs. Shams just released a video for Ta'ta'ah (Stutters), the love-it or hate-it song of the season, with mixed reviews. Some simply hate the shrieking Shams does, others love the comedic lyrics and the funny video which portrays Shams as a corrupt judge in what appears to be a red devil suit. As always, Shams also injects some politics under the surface of the video.



1. Ahlan Ezayak
2. Ana Arfa
3. Ghammadt Eineik
4. Wakhed Balak
5. El Wa't El Mounaseb
6. Ta'ta'ah
7. Albi Be Youga'ni
8. Za'lan
9. Moush Eshq La
10. Neb'ed Youmein
11. Lazem Asibak
12. Eih Dah Aslo

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Asalah - Moushta'a

Asalah's 2002 album was, musically, a 180 degree shift from its predecessor, Ya Akhi Es'al. Instead of Dr. Al Khubaizi and Tarek Aakef, Mohamed Diya'eddin and Walid Saad anchor this album. Also included are Asalah's first and only collaborations with Samir Sfair and Ziad Boutros. Samir Sfair's mellow E'tef Habibi became the second single (after Ayeshni Sawani). Ziad Boutros' melancholic Mish Be Mwa'idi, Asalah's first Lebanese song, has much more substance in terms of lyrics, thanks to Nabil Abou Abdo. Walid Saad's songs are, as they usually are, ballads with lyrics that speak of lost love. However, the upbeat Mo'gaba Fik is an exception and a great change of pace for Walid. It's no secret that, at least pre-2006, ballads are what Asalah always does best. The both sad and empowering Ma Ba'ash Ana, composed by Mohamed Diya', is one of Asalah's most well-known songs to this day.



1. Ayeshni Sawani
2. Ya Eini
3. Mokhade'
4. E'tef Habibi
5. Mish Be Mwa'idi
6. Mo'gaba Fik
7. Fouq Men Wahmak
8. Ma Ba'ash Ana

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Asalah - Ighdab

Ighdab marked Asalah's first (and only) collaboration with the great Syrian poet Nizar Qabbani. The title song, which is composed by Helmi Bakr, is a lengthy qasida, and stylistically very different than the first four tracks, which are composed by Mohamed Diya'eddin. The poem talks of an angry lover, and how his anger and attempts to hurt her will not make her falter, "for you are like a child, we love children no matter how they hurt us... And without waves, there would not be seas." Law Alf Ahebbak and Batthadda Eyounak are typical 1990s Egyptian maksoum songs with a synth, fast percussion, accordion, a bass line and little in the way of musical innovation. Magrouh Sout El Sa'at and Ma Tes'alnish are both slower, Egyptian ballads.



1. Law Alf Ahebbak
2. Ma Tes'alnish
3. Batthadda Eyounak
4. Magrouh Sout El Sa'at
5. Ighdab

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Asalah - Ya Akhi Es'al

Asalah's forays into the Khaliji genre began in the 1990s, but Ya Akhi Es'al is arguably her first truly successful Khaliji album. She worked with some of the top composers, such as Dr. Yacoub Al Khubaizi (Leih El Ghorour, Samehna), who composed some of her most successful later work too (Misheit Senin, Afwan) as well as Dina Hayek's summer 2007 hit, Jarreb El Ghira. The title track, Ya Akhi Es'al, is composed by Tarek Mohamed, the man behind so many of Nawal's recent hits, such as Inta Tayyeb, Tebgha El Sedeg, and Agsa Kalami. The songs tend to be traditional, however some songs like Leih El Ghorour and Samehna incorporate piano and bouzouk also.



1. Leih El Ghorour
2. Samehna
3. Rajeitak
4. El Ghira
5. Ya Akhi Es'al
6. Khalas
7. Es'al Aleina
8. Asalli Nafsi

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Nancy Ajram - Ya Salam (Collector's Edition)

Nancy Ajram began her musical career in 1998, with Mihtagalak, and followed it up with Shil Eyounak Anni in 2000. But in a scene filled with burgeoning new talents, Nancy did not achieve true success until 2003, when Ya Salam was released. The first single, Akhasmak Ah, was the first video Nancy shot with director Nadine Labaki. Nadine had directed videos before for Pascale Machaalani and Katia Harb, but neither she nor Nancy had known the kind of success, fame, and controversy that arose from Akhasmak Ah's video. The catchy song and video, which depicted Nancy as a waitress/dancer at a local coffee shop, became Nancy's first pan-Arab hit and started her three-year professional relationship with Labaki, who recently received international acclaim for her debut film, Caramel. Though the album has some mediocre songs that try too hard to work in the boy band beats, there are more than a few good songs. Yay, an early Samir Sfair-Tarek Madkour hit, is one of the successful pop songs on the album, combining Samir's composition with some guitar, and a Far Eastern twang. Inta We Bas, composed by Ashraf Salem (the man behind much of Aline Khalaf's early success), is a fairly enjoyable once you get past the synth Mohamed Mostafa put in the intro as well. Salim Salameh composed three songs on the album, the hit ballad, Ya Salam, as well as the more upbeat Nassito Garho and Ahla Jaw. Often mistaken as Nancy's debut album, Ya Salam is worth listening to even if only for the hit singles (Akhasmak Ah, Yay, and Ya Salam). This collector's edition has been remastered by EMI, and the difference in sound quality is definitely noticeable when compared to the original Relax-In release.



1. Akhasmak Ah
2. Nassito Garho
3. Yay
4. Inta We Bas
5. Ya Salam
6. Ahla Jaw
7. Einan Tara
8. Inta
9. Ashkaraballi

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Karol Sakr - Da'et Albak

Though Da'et Albak is her debut album, Karol Sakr is no stranger to music, having worked in her twenties with Hadi Sharara and other musicians. Karol even released an obscure French single before marrying and settling down. After her divorce, and (later on) marriage to friend Hadi Sharara, Karol returned to the music scene in duet with Assi Al Hillani, Ouli Jayeh. Three years later, Karol released Da'et Albak. Carrying Hadi Sharara's name on every song is a rarity in itself, but the list of composers doesn't pale in comparison either. The hit title song, composed by Melhem Barakat, is a relaxed and upbeat song that manages to go both East and West without slipping into the oriental jazz cliche. Ya Albi Rouq, composed by Tarek Abou Jaoudeh (before his split with Karol and Hadi), opens with a light mawal and then the song, a great mix of strings, electronic motifs, and guitar, begins. The diverse ballad ends with a traditional, more dramtic mawal with much heavier percussion. Bmout Alaik is by the same team as Nancy Ajram's Ehsas Jdid and Najwa Karam's Ta'a Khabbik, however Ufuk Yildirm also joins Hadi Sharara on the arrangement. Sahhart Eyouni, one of the album's biggest undertakings, is arranged by Hadi Sharara, Aytekin Kurt, and Elie Barbar. A completely different song than the previous three, Sahhart Eyouni combines both club and traditional Arabic beats, combined with strings by Group Gumedim from Turkey. Tammenteni, the album's sole Egyptian song, takes the same relaxed tone as Bmout Alaik. Shou Baddak and Hakini, both composed by Tarek Abou Jaoudeh, are more upbeat than Ya Albi Rouq, but also relatively relaxed oriental songs reminiscent of the majority of his work with Hadi Sharara. Wain Bla'ik is an almost completely electronic song, both composed and arranged by Sharara himself.



1. Da'et Albak
2. Ya Albi Rouq
3. Bmout Alaik
4. Sahhart Eyouni
5. Tammenteni
6. Shou Baddak
7. Wain Bla'ik
8. Hakini

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Asalah - Awgat

Though Asalah had sung in the Gulf/Khaliji dialect numerous times before, she never experienced success with it at the scale of Awgat in 2004. Unlike her 2007 effort, the approach she took was extremely traditional, with the most foreign instruments in most of the songs being the odd synth and the focus in the majority of the songs being on the poetry. The album opens with the upbeat Tawwek Ala Bali and the hit Meta Ashoufek. Rawweh Ou Rouh is in Fayez El Sa'id's usual style, but stretches Asalah's vocals much more than Tawwek Ala Bali. Ya'coub Al Khubaizi's Ma Tewaqa't and Afwan, take a completely different route partly thanks to Egyptian arranger Amr Abdulaziz, who even incorporated clarinet into Afwan. Gemarhom Kellehom is an upbeat song about a jealous lover, that also became a successful single. Remsh El Ghala and La Salam pick up the pace again with faster and stronger percussion, though with a different feel than the first tracks on the album. Terfa' Jebinek, composed by Abdallah El Go'oud and arranged by Tarek Aakef, is slightly more relaxed but works in a lot more synth, in the arranger's signature style. Ma Gedar, another Khubaizi composition, starts like a slow pop song and then jumps into the traditional Khaliji beats. Awgat, composed by Mohamed Abdu and arranged by his Egyptian protégé Walid El Fayed, takes a completely different tone and feels like one of Abdu's own grand classics when it transitions from one style to another. Sadeq El Sha'er's beautiful Yes'ed Sabahak, a fifteen-minute ballad in the traditional Arabic tarab style, closes the album in the best way possible.



1. Tawwek Ala Bali
2. Meta Ashoufek
3. Rawweh Ou Rouh
4. Ma Tewaqa't
5. Gemarhom Kellehom
6. Afwan
7. Remsh El Ghala
8. La Salam
9. Terfa' Jebinek
10. Ma Gedar
11. Awgat
12. Yes'ed Sabahak

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Asalah - Sawaha Galbi

After the massive success of Awgat in 2004, Asalah promised another full-length Khaliji/Gulf dialect album. Three years on, and after the release of Aadi and Hayati, she released Sawaha Galbi in the summer of 2007. Despite a luckluster promotional campaign, and the fact Asalah didn't shoot a single video for the album, it was extremely well-received amongst its target audience. Unlike the very traditional Awgat, Sawaha Galbi modernizes and mixes in new styles with many of the songs. Asalah also worked with more female poets, and even a new female Saudi composer, Leil. The album opens with the most popular song, La Tekhaf, which mixes traditional beats and strings with an R&B feel. Tabi Tetrekni starts off like a jazz song, and transitions into the traditional beats, maintaining a slow pace throughout. Sawaha Galbi is the most unique song on the album, with rebab solos and composition and percussion that is very foreign to the ears of those who do not regularly listen to Khaliji music. Omnia is duller than the preceding tracks, but is listenable with nothing overly exciting or offensive. Kelmat Sheker is a poem that expresses a girl's love for her father, and so the music is secondary to the lyrics. Egreb Gerib and Dirat El Gherba (written/composed by the same team behind Rawweh Ou Rouh) are both quintessential Emirati songs, composed by Fayez El Sa'id, who is nominated for an MTV EMA this year. Talabtek takes a completely different tone; a ballad with powerful arrangement and the kind of composition that allows Asalah to truly put her vocals at work and shine. The album closes with another ballad, Shomoukh Ezi, which is written and composed by female Saudi poet Mo'taza and composer Leil, and arranged by Egyptian arranger Medhat Khamis. Asalah proved once again her mastery of Khaliji music, and how good music succeeds without being propped up by a music video or massive ad campaign.



1. La Tekhaf
2. Tabi Tetrekni
3. Sawaha Galbi
4. Omnia
5. Kelmet Sheker
6. Egreb Gerib
7. Dirat El Gherba
8. Talabtek
9. Shomoukh Ezi

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Asalah - Hayati

After settling an ugly divorce, finally quitting smoking, and remarrying, Asalah released Hayati (My Life) in 2006. Hayati was, and remains, one of Asalah's most diverse albums. At its release, Asalah stated that each song she chose described a stage in her life. The first single, Aktar, was an instant hit, and was constantly played on TV, radio, and she was requested to sing it at every TV appearance or concert. Now one of her defining hits, Aktar was even remade by Turkish singer Jale Parıltı. The song was composed by Tamer Ali and arranged by Tamim, both of whom worked on Elissa's 2006 hit Bastannak. Arod Leih is Asalah's second collaboration with Amr Mostafa, and she made the dramatic ballad her second single. Ana Moush Sa'ba Aleik and Nassini Bik are stylistically similar, upbeat love songs. Asalah shot Bein Eideik on the beach with her husband, and made the song, which was composed by Ramy Sabry, a look at how she enjoyed her new life with her husband. Wehna Sawa, her first Algerian song, is composed by Mounir El Jazairi, the man behind Nawal's hit Tammen Galbak. Wallahi Ma Tahaddi (by Walid Saad & Karim Abdelwahab) was originally intended for Tamer Hosny, whose version was leaked, but ended up becoming Asalah's, and she more than did song justice. The album's sole Lebanese song, Alamtni (by Marwan Khoury & Hadi Sharara), is a slow, malancholic song which met with success for Asalah, who had not sung a Lebanese song since 2001. The title song was Asalah's first attempt at jazz, and combined with the lyrics, which spoke of her newfound liberation, it was well-received as the album's final single. The album won Asalah a Murex D'Or in 2007 for Best Female Arab Singer.



1. Aktar
2. Ana Moush Sa'ba Aleik
3. Arod Leih
4. Alamtni
5. Hayati
6. Wehna Sawa
7. Bein Eideik
8. Nassini Bik
9. Wallahi Ma Tahaddi

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Asalah - Noss Hala

After the massive success of Hayati (2006) and Sawaha Galbi (2007), Asalah returned this year with another highly-anticipated album. Many new fans raved about the change of style, but diehard fans (like this listener) are underwhelmed to say the least. The CD opens with its first single, Wala Dari, an upbeat, already successful pop song that melds oud with Nsync-esque beats. Sadly, the album declines from there. Kan Wahm is a slow ballad, but not the good oriental kind that Asalah always hits a homerun with. Instead, the sleepy chorus brings the Spice Girls' Too Much to mind, which is definitely not a good thing. Ah Men Ainah picks up the pace, letting Asalah stretch her vocal muscles a bit, and passes with uninteresting arrangement. Etfarrag Ala Nafsak is the sort of song Asalah excels in, but forcing bongos and triangles on such an oriental song is ridiculous. Ba'ah Tabi'i Alaya gets more of the mediocre arrangement, and adds awkward percussion too, but the album picks up after this one. Aw'at is composed by Ramy Sabry, who is on Tarek Alarian's label, but it gets much better treatment than its stablemates, with more interesting strings and less awkwardness. Yesmahouli El Kel, penned by Siham Sha'sha' and composed by Jean-Marie Riachi, was talked about months before it's release and has already been queued as the next single. The song, like all of the songs Siham writes, is lyrically-focused, but Riachi manages to hold his own with upbeat violins, kanun, and ney. As she has done for the past decade, Asalah explores a new style here, after succeeding with jazz in 2006. Noss Hala is classically-influenced, and feels like a grand film or Broadway score. With so many regulars absent, it isn't hard to see how Asalah went wrong with this album. Closing with two great songs is hardly a victory, but Asalah never completely disappoints, and there's always next year.



1. Wala Dari
2. Kan Wahm
3. Ah Men Ainah
4. Etfarrag Ala Nafsak
5. Ba'ah Tabi'i Alaya
6. Aw'at
7. Yesmahouli El Kel
8. Noss Hala

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Kadim Al Sahir - Sowar

Kadim Al Sahir, a.k.a. the Caesar of Arabic Song, hasn't put out an album like Sowar in years. Having garnered the majority of his success from grand songs that brought life to the poetry of the great Nizar Qabbani the past few years, many of Kadim's old fans missed the days when he sung songs that were purely Iraqi. Kadim's 2008 album consists of thirteen tracks, primarily in the Iraqi dialect, and mostly upbeat tracks he composed himself. The album opens weakly with Set El Helwat, which is too stylistically similar to Kadim's 2005 hit, El Ebnaya. Ensa El Aalam, the album's first single, picks the album up and sets a much more suitable tone. Akhiran, a slow ballad, takes the speed down a notch, but Alamak picks up where Ensa El Aalam left off and brings back the Iraqi percussion and playful lyrics. Teheb Tetdalla' and Sadaf are typical Kadim songs, with a pace that is not too slow, and expressive lyrics. Makheth El Rouh and Om El Sheila are also enjoyable songs with a traditional style, even incorporating the clapping typical of Iraq and the Gulf region. Tehebbeni and Sowar are the two Khaliji songs on the album, composed by Mohamed Shafiq. Aayel, an old Iraqi folk song, and Hat Hodnak round up the Iraqi songs on the album, and the album ends with a Nizar Qabbani poem, Ma'a Baghdadiya.



1. Set El Helwat
2. Ensa El Aalam
3. Akhiran
4. Alamak
5. Teheb Tetdalla'
6. Om El Sheila
7. Makheth El Rouh
8. Sowar
9. Sadaf
10. Tehebbeni
11. Hat Hodnak
12. Aayel
13. Ma'a Baghdadiya

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Carole Samaha - Oughniat El Toufoula

Carole Samaha began as an actress on the Rahbani stage, and acted in plays such as Akher Ayam Sokrat (The Last Days of Socrates), Abu Tayeb Al Mutanabi and Al Nizam Al Jadid (The New Order). Before she transitioned into mainstream pop, Carole sang Aasheqat Allah, an album of religious songs, and two singles, Be Sabah El Alf El Talet (by Mansour Rahbani) and Oughniat El Toufoula (by Mansour & Oussama Rahbani). This album serves as a good compilation of Carole's work with the Rahbani family. Coming predominantly from plays, many of the songs on this album tend to be lyric-focused. Oughniat El Toufoula and Be Sabah El Al El Talet are humanitarian songs, the former for children and the latter about peace (or the lack thereof). Oussama Rahbani's Ana Law Be'der Rouh La Indak is a purely oriental song reminiscent of Fairuz's early career. Two songs from Sokrat make it on to the CD; Wehyatak Dallak Elli, which incorporates an Eastern European feel, and La Ta'rif Issmi, which is mellower and more traditional. Ataf An'oud El Enab (from Al Nizam Al Jadid) and Eftahli El Bab are more typical of western theatre, thought the former is the more dramatic of the two.



1. Oughniat El Toufoula
2. Be Sabah El Alf El Talet
3. Ana Law Be'der Rouh La Indak
4. Wehyatak Dallak Elli
5. Eftahli El Bab
6. Ataf An'oud El Enab
7. La Ta'rif Issmi

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Assi Al Hillani - Al Qarar

Assi Al Hillani's 2002 album followed his hit 2001 album Etr El Mahabba. Assi works with Tarek Abou Jaoudeh and Boudi Naoum again, but works with Walid Saad for the first time, on Tahanina. The song En Kan Alaya (composed by Salim Salameh) also introduced the Grace Deeb to the Arab World, and she went on to release three successful solo albums. Enjoy the album in 256 Kbps or the requested 320 Kbps.



1. En Kan Alaya
2. Habibi
3. Hobbak Nadani
4. Baitek Aal Darb
5. Aasheq Hal Jamal
6. Tahanina
7. Al Qarar
8. Nari Ou Thekrayati
9. Sayedati
10. Youm Youmein

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Yara - Twassa Fiyeh

Yara, like Madeleine Matar, Amal Hijazi, Maya Nasri, and Nelly Makdessy, was a contestant on LBC's Ka's Al Nojoum. Years after her fellow contestants had begun their careers, Lebanese composer Tarek Abou Jaoudeh discovered her and took her on as his first "star". Yara debuted with a single, Hob Kbir, and followed it up with her first album, the hit Twassa Fiyeh. The album, which was still churning out hit singles for her a year after its release, carries the names of many talented musicians, including Abou Jaoudeh himself, Hadi Sharara, Khaled Ez, Bassem Yehia, and Ziad Boutros (Julia's brother). Yara has covered everything from ballads, Twassa Fiyeh and Hob Kbir, to upbeat maksoum, Law Basseli and Bala Eshq, and more vocally-demanding Arabic songs like Lamma Tettalla' and Alf Zayak. Great songs like Wana Ganbak, that did not get the spotlight when they were released, were later discovered thanks to the hit duet that Abou Jaoudeh got her with Fadl Shaker, which sparked a renewed and wider interest in the talented new singer.



1. Bala Eshq
2. Law Basseli
3. Wana Ganbak
4. Hob Kbir
5. Lamma Tettalla'
6. Twassa Fiyeh
7. Nesitni Zaman
8. Alf Zayak
9. Ayam

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Sara Al Hani - Akher Arar

Happy Eid Al Fitr to all Tabbouche's patrons! Enjoy Sara Al Hani's debut album, Akher Arar, as our present this year. This much-requested album includes Sara's hit Karrahni Fik (composed by Walid Saad, arranged by Karim Abdelwahab) and a remake of Shadia's hit Khalas Misafer (composed by Baligh Hamdi, arranged by Yehia El Mogy). Enjoy, and make sure to go easy on the celebratory qahwa!



1. Karrahni Fik
2. Sodfa
3. Ana El Ghaltana
4. Ad'i Aleik
5. Khalas Misafer
6. Akher Arar
7. Allemteni
8. Khayalak

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