Haifa Wehbe - Baddi Eish

The sheer self-confidence needed to release a song titled Ana Haifa, is the kind of thing that makes Haifa Wehbe's fans love her and her critics' blood pressure rise. To say she got by on her looks alone is unfair however. Haifa has a killer team of musicians, whom she works with day and night to produce some of the catchiest music on the scene. Unlike her debut album, which was dominated by Latin, electronic, and Turkish styles, Baddi Eish is full of unmistakeably Egyptian and Lebanese songs, the simplicity of which outshines the album's ballads. The mischevious Ma Khadtesh Bali, an Abou Jaoudeh-Sharara collaboration, opens like an electric song and then brings in Hadi Sharara's signature dabke beat coupled with strings and ney. Tigi Ezay continues with the same attitude, but Adel Aayesh gives the arrangement a great Egyptian feel, with darbouka, accordion, and kanun. Ya Hayat Albi, a cover of Despina Vandi's O Perittos, continues Jean-Marie Riachi's love affair with Greek laika. The version included in the album seems more like an updated version of Despina's when compared to the one Haifa originally sang, which replaced the bouzouk with accordion. Fakerni is another great Egyptian song, with mizmar, accordion, riq, and (great) strings. The title song (which translates into I Want to Live) is written, composed, and arranged by Elias Rahbani who, in the wake of Rafik Hariri's assassination, wanted his cry for an independent Lebanon to reach youth through Haifa. The album finishes with Ufuk Yilidirim's electronic remix of Howa El Zaman, and Ragab, which despite being written, composed, and arranged by Lebanese musicians, is easily Haifa's most popular Egyptian song ever.



1. Ana Haifa
2. Bahebbak Hob
3. Ma Khadtesh Bali
4. Tigi Ezay
5. Ya Hayat Albi
6. Bahebbak Mout (Kol Marra)
7. Fi Eineik
8. Fakerni
9. Toul Omri
10. Nar El Ashwaq
11. Baddi Eish
12. Howa El Zaman (Remix)
13. Ragab

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