Tabbouche's

Au revoir

2011-12-22T20:00:00.002+11:00

Hi readers!

Thank you so much for all the support you've given this blog. It's amazing the amount of traffic I still get, even when the blog has been inactive for over a year!

Unfortunately, I no longer have the time and energy to maintain this blog. I will keep it open so you can take advantage of any links that are still alive and running, and as an archive.

Thank you again, and enjoy the music.

Ziad Rahbani - Houdou Nisbi

2010-09-10T16:40:00.000+10:00

The many faces of Ziad Rahbani are exhibited in the diversity of his work. But whether a hopeless romantic or a scathing critic, he brings an air of 1980s Beirut with him on Houdou Nisbi. The album is a tribute to Ziad's love for jazz, but like his complex personality, it is full of influences from both east and west. The album opens with Bala Wala Chi, a heartfelt ballad sung by longtime friend Sami Hawat. The title song is a melancholic, jazzy number accented with Ziad's signature bouzouk, and is a great example of "oriental" jazz. Nafs El Shaghli brings us more oriental jazz, but this time accented with the beautiful voices of Monica and Sami Hawat. The oddball Yalla Kichou Barra, unmistakably Ziad Rahbani, invites the electric guitar and oriental percussion in. Ma Tfil is a lighter track, with uplifting strings, and again sung by Sami Hawat, although the chorus creates does a great job setting the ambiance. The album then shifts into a more bossa nova-style mood with an instrumental piece, Bil Nisbi La Boukra Shou?, interestingly joined by a kawala. Bisaraha is the notorious song Ziad wrote about his relationship with now ex-wife Dalal Karam, and he is joined again by Sami Hawat on vocals. Bain El Khamsa Wel Sab'a is another relaxed instrumental piece. Rouh Khabbir is a mellow cover of The Crusaders' Soul Shadows, and fits perfectly in the album. Monica lends her voice to another, more upbeat instrumental in Min Kil Bid, and rounds up the album with a great ballad in Khalas. The rightly named Final, is a a hauntingly beautiful guitar interlude that closes the album.

1. Bala Wala Chi

2. Houdou Nisbi

3. Nafs El Shaghli

4. Yalla Kichou Barra

5. Ma Tfil

6. Bil Nisbi La Boukra Shou?

7. Bisaraha

8. Bain El Khamsa Wel Sab'a

9. Rouh Khabbir

10. Min Kil Bid

11. Khalas

12. Final

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And Eid Mubarak to all visitors, sorry for the hiatus!

Asalah - Qanoun Keifek

2010-08-02T17:16:00.005+10:00

Two years since her last release, and after a relentless spin on the rumor mill, Asalah's Qanoun Keifek has finally arrived. The album is composed by Saudi composer Sahm, with the exception of Ya Rasi El Ta'ab (Fayez El Sa'id) and Sem Ou Asal (Leil), which in itself is a risk. Picking up where Sawaha Galbi left off, Qanoun Keifek opens with a song that needs some getting used to. A dramatic opening, a dance-oriented chorus, and powerful lyrics of a woman's frustration. The instrumentation is strange at first but beautiful, with a tango-esque solo violin and piano alongside a rebab and ney, all to the beat of Iraqi percussion. Ila Mata slows things down, but the shock value does not subside with Asalah braving a western-style ballad, and her voice taking an otherwise simple song to new heights. Shef Ether opens with an almost Enya-style melancholy tinged with oriental strings, and shows Asalah exploring areas she normally would not: being the other woman. After successfully taking the plunge into jazz with Hayati in 2006, Asalah tries her hand at some swing with Bas Degiga. A mix of frustration and mischief, the song is another winner. Shakhs Yehtam, in the vein of La Tekhaf, is the album's feel-good track and makes up in sweet lyrics for the simplicity of the song. Sharha Ou Atab is the sole dance song, and the style could be almost be interchangeable with a Tunisian song, pointing to the versatile Issam Sharayti's roots. The album winds down with three powerful ballads, beginning with the classically-influenced Te'abt Ardhik, which is another testament to Asalah's voice. The previously leaked Ya Rasi El Ta'ab is slightly reworked, but still opens with a piano and harp as a hopelessly emotional ballad and transforms into a faster-paced Emirati song accented with sharp strings. Sem Ou Asal is also polished and a verse shorter. However, the fusion of an excellent Khaliji ballad, complete with flowing strings and heavy percussion, to a jazzy saxophone and electric guitar still manages to leave you in awe.

1. Qanoun Keifek

2. Ila Mata

3. Shef Ether

4. Bas Degiga

5. Shakhs Yehtam

6. Sharha Ou Atab

7. Te'abt Ardhik

8. Ya Rasi El Ta'ab

9. Sem Ou Asal

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George Wassouf - Heya El Ayam

2010-07-10T17:58:00.004+10:00

Vocal deterioration and a penchant for the fast life aside, it is hard to find a man who can still deliver a oriental music like George Wassouf does. Heya El Ayam, the Sultan's 2006 offering is impeccable, and deserved far more attention than Wassouf gave it. A mix of powerful ballads and dance tunes. The album opens with the title song, which features Amjad El Atefi and Tony Saba at their best. Everything from the bouzouk and the strings to the mizmar and the accordion is melded perfectly and sounds beautiful. Bastanna Bel Youm Wel Youmein invites Adel Aayesh's signature Turkish-style G (sol) clarinet into the mix into a more modern ballad, typical of Walid Saad. Haninak Hanini marks one of the few (but great) Lebanese songs that Wassouf has sung, albeit with less powerful lyrics than Helef El Amar. The song is quintessential Tarek Abou Jaoudeh, Tony Saba's arrangement shines here as well, with more bouzouk and flowing strings. Khsert Kol El Nas is one of Walid Saad's best songs, and brings back the G clarinet and low-pitched strings in a great ballad. Ghadr El Nas, a thoroughly Egyptian affair, is less engaging, and perhaps because Wassouf's vocals falter with notes better suited to Nour Mhanna's flawless voice. With Mestanni Menni Eih, Adel Aayesh takes a more Egyptian approach also with a mix of kanun, ney, and strings. Despite some nice solos, the song is not a standout and fades into the background. After a feast of oriental instruments for the ears, Mazen Zawaydi's choice of synths in El Zaman Dawwar is a bit of a letdown, and the song is nothing overly interesting. Leilet Wada'na, the album's sole single, is an excellent note to end on. Tony Saba brings restless strings, the oud, rebab, and ney together to accent a great piece by Amjad El Atefi.

1. Heya El Ayam

2. Bastanna Bel Youm Wel Youmein

3. Haninak Hanini

4. Khsert Kol El Nas

5. Ghadr El Nas

6. Mestanni Menni Eih

7. El Zaman Dawwar

8. Leilet Wada'na (Ya Habibi)

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Yara - La'ale' Khalijiya

2010-05-23T16:08:00.004+10:00

Of the many Khaliji offerings in 2009, La'ale' Khalijiya was easily the most well-received. Rumored to be in the works for two years until it was finally released, the album was Yara's ticket to the last Janadriya Festival in Saudi Arabia. The album has musicians from the kingdom as well as the UAE, Bahrain, Qatar, Kuwait, Egypt, and Lebanon. It opens with Adri, a good song made beautiful by Amr Abdelaziz's beautiful arrangement. Initially Nawal's, Ana Ensana sounds like the best of Nasser El Saleh's compositions for Mohamed Abdu. The song is surprisingly arranged by Osama El Hindi, who gives the song a lighter, more exotic-sounding beat to contrast the deep, melancholic strings. From the female creative duo that brought us the hit Shomoukh Ezi, Tathker Youm is a more light, upbeat love song. The change of pace that the song goes through is interesting at first, but there isn't enough here to warrant the six-minute length. Raghba Menni is a light love song with typical percussion-centred Siruz arrangement. Fayez El Sa'id's Sekkar Zeyada, a hit by most accounts, is one of my least favorite songs here. It is by no means bad however, and will be an instant favorite for fans of the Emirati style. Sallemouli is not very interesting either, and both Abdallah El Gaoud and Tarek Aakef have done better jobs.

The album picks up with Sedfa, the song that made Yara a Khaliji star overnight. After the number of plays the song got on television and radio stations, most would skip it today, but it remains a catchy, upbeat song on all fronts. Bkel Shay Tajtheb* is another playful and catchy song, albeit too repetitive for some. Ma Roum is another song that stands out, it is short and sweet, but it could have done without the cheap synths. The album takes a surprising turn with Ma Aad Fini Rouh, as the traditional album jumps into the small niche of Khaliji-R&B. Ahmed El Hermi changes things up again, just as he did with her hit Inta Menni in 2008, and arguably does even better here with Siruz's help. Men Hey?, composed by Fahad El Nasser, brings Michel Fadel in. The song is instantly given Michel's western ballad touch, combining beautiful piano with airy strings. Amr Abdelaziz rarely goes wrong with Khaliji songs, and Nasik is no exception, but Ghali's composition, while enjoyable, is nothing new. Nedhar Eini, composed by Fayez El Sa'id, changes the mood again, and the dramatic intro is instantly attributed to Walid Fayed. Neloum El Wagt may have fared better had Mohamed Abdu and Asalah's version not overshadowed it, but the arrangement definitely leaves much to be desired. We end with Ya Habibi Alamek, another good Nasser El Saleh-Amr Abdelaziz collaboration, and the song's pace almost suits its purpose as the final song of the album.

1. Adri

2. Ana Ensana

3. Tathker Youm

4. Raghba Menni

5. Sekkar Zeyada

6. Sallemouli

7. Sedfa

8. Bkel Shay Tajtheb

9. Ma Roum

10. Ma Aad Fini Rouh

11. Men Hey?

12. Nasik

13. Nedhar Eini

14. Neloum El Wagt

15. Ya Habibi Alamek

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*Contrary to the tags, track 8 is composed by Mohamed Bou Dalla and track 9 by Homoud Nasser.

Kadim Al Sahir - Ila Tilmitha

2010-04-27T14:28:00.005+10:00

Kadim Al Sahir rarely disappoints, but from time to time come works that are unforgettable. Ila Tilmitha tones down the pop, and while the classical songs are impeccable, the album has a focus on Iraqi songs. The album opens with Ahebbini, a song he has yet to eclipse. The song takes a beautiful Nizar Qabbani poem, couples it with one of Kadim's most powerful compositions yet, and rich, classically-influenced oriental arrangement by Hisham Niyaz. Furshat Raml El Bahr, which Shahd Barmada professed she loved, is an intimate song about lovers on the beach. Ila Tilmitha is a thoroughly oriental affair with one of Nizar Qabbani's most famous poems. The song is arranged beautifully, with moody strings, a calm accordion, and heavy percussion. Sayedat Omri is another heartfelt song, with a slower pace but the same rich feel to the music. Eih Ya'ni changes things up a little, with a more jalsa-style sound, and is another gem. Sayeghin El Thahab, Emshi Bhadawa, and May Ward are lighthearted Iraqi pop songs, while Eshsar Eshda'wa is a full-on Iraqi chobi song. The album closes with Ashkou Ayaman, Kadim's first and less famous duet with Asma Lmnawar. While the song is not the mess Kabberi Aqlaki is, it is more of a recitation when compared to the genre-defining songs that precede it on this album. Ila Tilmitha is a great introduction to the music of the Caesar Al Tarab Kadim Al Sahir.

1. Ahebbini Bila Ouqadi

2. Furshat Raml El Bahr

3. Ila Tilmitha

4. Sayeghin El Thahab

5. Emshi Bhadawa

6. Sayedat Omri

7. Kabberi Aqlaki

8. Mawal Ghorfat El Mekyaj

9. May Ward

10. Eih Ya'ni

11. Mawal Dhagat Alaya

12. Eshsar Eshda'wa

13. Ashkou Ayaman (with Asma Lmnawar)

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Pascale Machaalani - Bhebbak Ana Bhebbak

2010-04-10T14:49:00.006+10:00

Bhebbak Ana Bhebbak is Pascale's latest album, although the length would suggest a maxi single. The title song opens the album on a nostalgic note, and with a concert atmosphere. The song is repetitive, but Melhem Bou Shdid's arrangement holds the song together and is worth a listen even as background music. The album's strongest song is Sallemlak Albi, composed by Mohamed Yehia, the video for which was released this week. The song has simplistic arrangement that works coupled with a catchy chorus and Pascale's beautiful voice. Red Alayeh sounds just like most of her 2007 album, and even the beautiful ney solos aren't worth braving the five minute song. With the recent resurgence of dabke in pop music, Mahboubi Jnoubi was to be expected, but the song is easily forgotten. Habibi Gheir is another Bou Shdid composition, but mixes things up with some great bouzouk solos and strings which make the song very enjoyable. The album ends with Nafs El Makan, composed by Nader Nour, which is a standard Egyptian ballad. To say Pascale's 2009 return was underwhelming would be an understatement, but it's worth braving the mediocrity for some of the brighter spots on this album. It's safe to say that the excitement once associated with the release of a Pascale album has dissipated.

1. Bhebbek Ana Bhebbak (Nawi Trouh)

2. Sallemlak Albi

3. Red Alayeh (Wainak Ya Ghali)

4. Mahboubi Jnoubi

5. Habibi Gheir

6. Nafs El Makan

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Karol Sakr - 009

2010-03-23T16:03:00.002+11:00

Perhaps one of 2009's most anticipated albums, Karol Sakr's 009 was finally released in May after months of delays. The change in style is evident with Tarek Abou Jaoudeh gone, and the focus shifts from ballads to pop songs. The album opens with Gheltan Ktir, a reworked version of Ajda Pekkan's Aynen Öyle, albeit credited to Jean Saliba. The song fits Karol's emotive voice perfectly, while Elie Barbar and Cem Erken's arrangement could have used some acoustic instruments. Bi Albi, composed by Hisham Boulos, is infectiously catchy and even the way the auto-tuner drowns Karol's voice works. The only complaints lie with the interlude's resemblance to Guru Josh's Infinity 2008, especially when the beautiful strings that end the song could have easily replaced it. For the first time, Karol has two Egyptian songs here, and Hadi Sharara gets more experimental with their arrangement. Ertah We Rayyahni is catchy pop, while the popular Eih El Gedid is a more R&B-influenced track. The songs most like Karol's previous album arrive in the middle, with Salim Salameh and Wissam El Amir's songs. Jerh Ghiyabak, the first only single from the album, is in classic Hadi Sharara ballad form sans the focus on strings. We Btes'al Shou Beni is a more laidback ballad, but finally ushers in more real instruments with beautiful accordion solos and strings. Ha'ak Alayeh continues the trend and adds a bouzouk to the mix, in a catchy jazz-influenced number. Melhem Barakat returns with a very different song from Da'et Albak. Horr Tsadde'ni has a much more traditional approach, and while the instrumentation is beautiful, you can't help but feel that the song would have been better suited to Najwa Karam or Melhem himself.

1. Gheltan Ktir

2. Bi Albi

3. Ertah We Rayyahni

4. Eih El Gedid

5. Jerh Ghiyabak

6. We Btes'al Shou Beni (Ma'i Ou Mish Ma'i)

7. Ha'ak Alayeh

8. Horr Tsadde'ni

9. Gheltan Ktir (Extended)

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Pascale Machaalani - Akhed Aqli

2010-03-20T17:10:00.004+11:00

Pascale Machaalani's sultry voice can make any song sound good, but unlike her 2006 album Akbar Kidba Bi Hayati, she throws diversity out the window here. Unlike many singers who have relied on a particular musician or team for their hits, Pascale's hits have come from many of the top musicians. However Melhem Bou Shdid, who usually used to oversee the arrangement of her albums, composed most of the songs here. Though not a stranger to composing hits, being the man behind Shou Amaltellak Ana? and Sa'beh Eish Men Dounak, his style gets repetitive fast. The album opens with Am Yemda El Wa't, a rich ballad which despite its length remains a crowd pleaser. The title song, a cover of the hit Turkish song Adresi Biliyorsun by Nalan. The arrangement is given a refreshing update by Aytekin Kurt, but the section before the chorus is removed completely. Ba'adetna El Masafeh is a mellow ballad, with a relatively catchy tune and typical but enjoyable arrangement. Awlak Ya Albi, composed by Yehya El Hassan, is in the same vein with addition of a ney. Wainak Ya Ensan, though a beautiful song, has limited appeal as a song written about the 2006 Lebanese War. Tghayart Alayeh, which was the first single, is another warm ballad, despite the sometimes outdated feel about the music. Ana Lamma Shoftak, composed by Tamer Ashour, is by no means bad but an unexciting ballad. Ardak Hawn changes the pace with a short mawal and an interesting song about the issue of emigration. Ah Ya Layali, a shot at Egyptian sha'bi, is catchier than Khallik Fi Halak, but one can't help but feel that someone with Pascale's history can do so much better.

1. Am Yemda El Wa't

2. Akhed Aqli

3. Ba'adetna El Masafeh

4. Awlak Ya Albi

5. Wainak Ya Ensan

6. Khallik Fi Halak

7. Tghayart Alayeh

8. Ana Lamma Shoftak

9. Ardak Hawn

10. Ah Ya Layali

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Shahd Barmada - Ba'd Elli Sar

2010-03-20T15:20:00.005+11:00

One of the gems found on the countless television talent shows, Shahd Barmada managed to stay on people's minds for years until she finally released her debut album in 2009. With the sweetness of Nancy Ajram, and the grace of Mayada El Hennawi, Shahd Barmada is another very promising new Syrian voice. Musically adopted by Asalah's ex-husband and producer Ayman El Dahabi initially, Shahd later signed on to Music is My Life and Samir Sfair took Ayman's place. Samir composed half of the songs, and his style is diverse as usual.

While Shahd's album is nothing groundbreaking, the choice of songs is perfect with talented musicians coming together for on of 2009's best albums. The catchy title song employs Tarek Madkour's classic strings and kanun combination albeit with an ayoub beat instead of maksoum. La Youshtara successfully brings back Yuri Mrakadi's tried and true formula of beautiful classical lyrics combined with western pop. La Tloum is another infectiously catchy maksoum song, but although Karim Abdelwahab blatantly employs Tarek Madkour's style of arrangement, the synths sound cheap and don't do the song justice. Halati Hala is a simple ballad, with Tarek Madkour's favorite pop beat coupled with clarinet, but as we have come to expect from Karim El Iraqi, the lyrics are heartfelt. Allah Ma'ak is a classic Samir Sfair ballad, and Fahd does a great job combining the elements of the quintessential western ballad with oriental accents. Khaled El Bakri composed two ballads here also. Law Kont Btehlam has a dramatic flare that is in large part thanks to the interesting arrangement of Tarek Aakef. Wayak Habibi is less interesting in terms of composition, but equally beautiful thanks to Medhat Khamis' arrangement. The song that instantly catches your attention however, is Law Had Shafou, composed by Nouhad Najjar. The song is unmistakably oriental, but with a classical accent that Jean-Marie Riachi employs beautifully in the arrangement also. Walid Saad's Reg'et Ayamna is the composer at his best, with a nostalgia and the kind of composition that puts Shahd's beautiful voice to the test. Adel Aayesh's rich, Turkish-influenced arrangement fits perfectly too. The album ends with Teshoufak Eini, a catchy maksoum song that is instantly reminiscent of Nancy Ajram. Funnily enough, the song was apparently meant for Nancy Ajram but Mohamed Rehim preferred to release it sooner.

1. Ba'd Elli Sar

2. Law Kont Btehlam

3. La Youshtara

4. Law Had Shafou

5. La Tloum

6. Wayak Habibi

7. Halati Hala

8. Reg'et Ayamna

9. Allah Ma'ak

10. Teshoufak Eini

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Fairuz - The Very Best of Fairuz

2010-03-13T23:27:00.004+11:00

The prospect of compiling a greatest hits album for Fairuz must have been daunting to say the least. While this album is by no means the definitive collection, nor does it include all of her iconic hits, it is a quick taste of what made this woman into the legend she is today. The album has many styles, ranging from folk music and Arabic pop to classical renditions and European styles. There are samplings of her work from the stage and the screen, such as Ya Moukhtar El Makhatir and Ya Tair, as well as songs that have reach iconic status such as A'tini El Naya, Addaysh Kan Fi Nas, and Habbaitak Bel Saif. The fact that at least half of the songs on this album have been covered or translated into different languages is a testament to the legacy that Fairuz, Ambassador to the Stars, has left.

1. Habbaitak Bel Saif

2. Addaysh Kan Fi Nas

3. Zahrat El Mada'en

4. Ya Moukhtar El Makhatir

5. Shadi

6. Kan El Zaman

7. El Eds El Ati'a

8. Shayef El Bahr Shou Kbir

9. Ya Ana Ya Ana

10. A'tini El Naya

11. Sanarja'ou Yawman

12. El Bint El Shalabiyeh

13. Ya Tair

14. Dabket Lebnan

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Najwa Karam - Rouh Rouhi

2010-02-16T21:32:00.003+11:00

Rouh Rouhi is one of the songs that instantly come to mind when thinking of Najwa Karam's lengthy repertoire. The album opens with Atshaneh, which in the vein of Pascale Machaalani's Albi and Samira Said's Al Bal, has the distinct Indian flavor which was popular at the time. The remainder of the album is made up of more Lebanese-style dabke songs and ballads. Imad Shamseddine dominates most of the album, and composed the hit title song too. Wissam El Amir composed In Raddayt Alayk and Joseph Joha composed El Wafiyeh and Areftou Albi La Min, another heartfelt and unforgettable song. Like most of Najwa's late-1990s albums, Tarek Aakef arranged all of the songs.

1. Atshaneh

2. Areftou Albi La Min

3. Rouh Rouhi

4. Kif Bdawik

5. Ma Berda Ghairak

6. El Wafiyeh

7. In Raddayt Alayk

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Mayada El Hennawi - Habbeina

2010-02-04T21:37:00.000+11:00

Baligh Hamdi once said that Mayada El Hennawi's was "...an angelic voice that demands your attention." The great composer only wrote the lyrics to two songs in his musical career, and they both went to Mayada El Hennawi. She became a muse of sorts, and his last work, Andi Kalam, went to her also. After Mohamed Abdel Wahab's jealous wife had her barred from Egypt, Baligh traveled with his orchestra to Greece to record her songs, as did many of the top composers. Two of the greatest works Baligh Hamdi composed for Mayada are Habbeina (also known as Habbeina Wethabbeina), which is written by Abdel Rehim Mansour and Fatet Sana, written by Sayed Morsi. Habbeina (I've Fallen in Love) is a hopelessly romantic and upbeat tribute to newfound love, while Fatet Sana (A Year Has Passed) is a melancholic song about losing touch with a lover who is far away. The music is characteristic of ever-evolving 1970s-1980s Egyptian music, with a traditional oriental orchestra accompanied by a keyboardist, bassist, and guitarist.

1. Habbeina

2. Fatet Sana

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Latifa - Fel Kam Youm Elli Fatou

2010-01-28T20:25:00.003+11:00

After radically changing her style in Ma'loumat Akideh, Latifa returned to Egyptian pop in 2008, and it is arguably her best pop album to date. The album has a good share of western influence and rich, traditional instrumentation. The title song, which was a huge departure for composer Walid Saad, mixed traditional strings and percussion with the latest French electro music fad, Tecktonik. The idea was Latifa's, and Tamim did a great job bringing it to life. Ana Arfa is written as a frank telephone call between a woman and her friend, and about why her lover refuses to reconcile with her. The arrangement is simple but rich, and reminiscent of Tamer Ali and Tamim's work on Elissa's Awakher El Sheta. The popular Ya Aghla Alb combines a quintessential Egyptian song with a dabke beat, electric baglama, and sharp strings. Sebni Shiwaya is another hybrid, with traditional low-pitched strings and understated percussion, while the composition could easily be used for a western-style ballad. Hankhaf Men Min's romantic lyrics are complimented by simple and relaxed arrangement from Touma. Ana Omri Ma Hansak has less engaging composition, but the arrangement is solid on Medhat Khamis' part, sounding like a remastered classic. Law Faker is a catchy power ballad, but the arrangement seems a bit lackluster for Tamim's usual work. Bi Yekdeb is Tamer Ali at his best, and the ballad opens with a beautiful ney solo, and then turns into a more jazzy number while still maintaining an oriental air. Konna Zaman, is probably the weakest song, and while it has interesting lyrics, the composition is noisy to say the least. Faker Eih and the cheesy Marina are both Latin numbers, and are fun but forgettable. The album also has songs that harken back to Latifa's early career. Rouhi Betrod Feya, composed by Amjad El Atefi, is a simple love song. Law Sahran Habibi, by Iraqi oud virtuoso Naseer Shamma, is also a beautiful love song, but the orchestra here is bigger and the music, especially the oud, is much more engaging.

1. Fel Kam Youm Elli Fatou

2. Ana Arfa

3. Ya Aghla Alb

4. Sebni Shiwaya

5. Hankhaf Men Min

6. Ana Omri Ma Hansak

7. Law Faker

8. Bi Yekdeb

9. Konna Zaman

10. Rouhi Betrod Feya

11. Faker Eih

12. Law Sahran Habibi

13. Marina

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Diana Karazon - El Omr Mashi

2010-01-26T14:08:00.002+11:00

Diana Karazon's second album was less rushed than her debut, and there is a marked difference in style. None of the musicians on Diana's first album are here, but the list is impressive nonetheless with Samir Sfair, Riyad El Hamshari, Ahmed El Hermi, Tarek Madkour, and Tarek Aakef in the mix. The title song, with Nizar Francis' romantic lyrics, Samir Sfair's upbeat composition, and Tarek Madkour's favorite beat, was an instant hit. Min Bi Fekrak, which has the same team, is in the same vein, but more interesting with more engaging composition. Inta Mashi Bgad, composed by Wahid Mamdouh and arranged by Amr Abdel Aziz, is a shot at Egyptian tarab, but apart from the nostalgic value, it has little else. Tarek Aakef experimentation makes Samir Sfair's Khallina Netmarmar a fun song, with Latin, Indian, and Egyptian influences mixed into a quintessential Lebanese song. Hebni Doum, composed and arranged by Ahmed El Hermi, may be labeled a Khaliji song but it sounds more like something from a Disney epic, which is not necessarily a bad thing. Lamma Teb'a Habibi, composed by Riyad El Hamshari, is more Egyptian tarab, but with playful lyrics and upbeat arrangement, it is much more enjoyable than Inta Mashi Bgad. A cross between lounge music and ballad, Mahala is Diana Karazon's first Jordanian song. It's one of the best on the album, with flowing strings, an assortment of reed instruments, electric guitar, and Indian tabla. The upbeat Tes'alni is a more traditional Khaliji song from Ahmed El Hermi and Siruz, and it's almost as good as El Shar Barra We Be'id. The album closes with We Bada't A'ish, an irresistibly catchy maksoum song from Riyad El Hamshari, which Diana's voice takes to real heights.

1. El Omr Mashi

2. Min Bi Fekrak

3. Inta Mashi Bgad

4. Khallini Netmarmar

5. Hebni Doum

6. Lamma Teb'a Habibi

7. Mahala

8. Tes'alni

9. We Bada't A'ish

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Note: Tes'alni is missing, and I do not have the CD right now, I will update the topic in the future, sorry!

Abo Bakr Salem - Ahtefel Bel Jarh

2010-01-24T19:39:00.000+11:00

Love or hate him, Abo Bakr Salem has left his mark on the music of the Gulf. It is largely thanks to him that Yemenite music is still alive and well on the scene. Though the material here is all-new, the Egyptian chorus and orchestra, including Amir Abdel Majid and Tarek Aakef, is still here, and harkens back to the days when Arab singers all traveled to Cairo for the state-of-the-art studios. Abo Bakr is still as soulful as ever with his truly unique style, changing his tone and commenting for dramatic effect. The listener loses themselves in the oud, the ney, and the deep strings that accompany each song. The lyrics are as beautiful as ever too, with songs of pure affection like Moghram Sababa, of loss like Ahtefel Bel Jarh, or of peace like Han Wagt El Lega, which urges Arab nations to forget previous wrongs and come together, using estranged lovers as a metaphor. A great composer, lyricist, and singer, Abo Bakr Salem is unmatched, even when scores of singers now adhere to his school of music.

1. Ahtefel Bel Jarh

2. Moghram Sababa

3. Samir El Ein

4. Ghessin El Ban

5. Ya Badr

6. Gesher Men El Mouz

7. Han Wagt El Lega

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Ziad Rahbani - Ana Moush Kafer

2010-01-11T17:23:00.007+11:00

Being born to Fairuz and Assi Rahbani (the more musical half of the Rahbani Brothers), Ziad must have had huge shoes to fill. In the great tradition of his family, Ziad became a musician, and he plays the piano and the bouzouk, not to mention a lyricist and playwright. Much like the Rahbani Brothers revived traditional Arabic music and introduced it to classical European music, Ziad became a revolutionary. He is best known for being a pioneer of the oriental jazz genre, and is behind many of Fairuz's later hits, such as Kifak Inta, Ma Edert Ensit, and Habbaitak Tansit El Nawm. His knowledge of all these musical styles, along with his sharp views, combines to create something rare. Ana Moush Kafer, musically a piece in the vein of traditional mouwashahat is combined with satirical colloquial lyrics about the corrupt who hide behind faith. Shou Hal Ayam, my personal favorite, opens with a piano solo, played in the style of a kanun solo. The song then continues with a haunting mix of classical east and west, and lyrics about corruption. Aal Nizam is a commentary on the state of society, but the music sounds like something out of a Rahbani Brothers' play, and the ending transforms into an African-style chant. Shou Ada Ma Bada is a prime example of Ziad's playful oriental jazz, while Ysa'ed We Y'in returns to more oriental roots with oud and bouzouk. Bhal Yawmain is another creative political commentary where Sami Hawat's voice shines. Bharf El Shin is a cheekily-titled instrumental piece with bouzouk set to a jazz beat, and Ziad's seemingly intoxicated snickering. The album ends with Bhannik, a classically-influenced and highly satirical dedication to the Lebanese presidency, and Al Mokawama Al Watania Al Lobnania, a more sober song for Lebanon, sung by Farouk Kosa.

1. Ana Moush Kafer

2. Shou Hal Ayam

3. Aal Nizam

4. Shou Ada Ma Bada

5. Ysa'ed We Y'in

6. Bhal Yawmain

7. Bharf El Shin

8. Bhannik

9. Al Mokawama Al Watania Al Lobnania

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Elissa - Tesaddaq Bi Min

2010-01-02T00:59:00.002+11:00

Elissa's long-awaited seventh album has finally been released, and at a time where the ailing Rotana needs it most. Ironically, Elissa's lengthiest album so far has the smallest number of composers, and is noticeably even more lyric-focused than its predecessor. After reasonable success with Khod Balak Alaya last year, Walid Saad is back with five songs, including the title song, a catchy ballad reminiscent of both Jannat's Ana Donyetou and the solo violin from Elissa's own Ayami Bik. Ma Aash Wala Kan adds a fun air of nostalgia with the 1980s pop influence coupled with some strings, even though Nader Abdallah too seems to be reworking his lyrics from Ayami Bik here. Men Gheir Monasba delves into a darker theme, that of an abusive partner, but the quintessential ballad music and beats are slower and less interesting. Eisha Wel Salam is a more jazzy Latin number, and Elissa excels with the genre. Tamim's choice of simple trumpets, strings, and solos is perfect too. Masdouma is like much of the "Egyptian chillout" Tamim excels at with Tamer Ali, except it's composed by Walid Saad. The song is sweet and pleasant but nothing groundbreaking.

Marwan Khoury makes his biggest contribution to Elissa yet here, with three songs. Amri La Rabbi, arranged by Michel Fadel, is an adequate song with hopeful lyrics. Sallemli Alaih, arranged by Nasser El As'ad, brings in the kind of rich, oriental music that Kermalak and Betmoun had. Fi Shi Enkasar is a ballad characteristic of Claude Chalhoub's classically-influenced work and truly makes Elissa's vocals shine amongst the mellow harp and the moody strings. Mohamed Rehim, the man behind the 2002 hit Agmal Ehsas, returns with the beautifully heartfelt We Byestehi as well as the album's weakest song, Eftakart. A Bali Habibi is already wowing audiences with its hopelessly romantic lyrics, but the music itself is surprisingly dull for Salim Salameh and Chalhoub. Strangely, Tamer Ali, arguably Elissa's hitmaker over the past four years, has only one song, Ma Ta'rafsh Leih. The song is another relaxed piece, but his collaboration with Claude Chalhoub is interesting. Another surprise comes with the inclusion of Law Fiyeh, a 1970s Aida Chalhoub song, composed by Elias Rahbani and renewed by Jad Rahbani. Elissa had begun singing the song at events, but the version on the album is another testament to her vocals. While the album is hardly groundbreaking, why change a good thing?

1. Tesaddaq Bi Min

2. A Bali Habibi

3. Men Gheir Monasba

4. Amri La Rabbi

5. Fi Shi Enkasar

6. Ma Aash Wala Kan

7. Sallemli Alaih

8. Law Fiyeh

9. Eftakart

10. We Byestehi

11. Ma Ta'rafsh Leih

12. Eisha Wel Salam

13. Masdouma

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Latifa - Atehadda

2009-12-13T15:16:00.006+11:00

When news of Latifa's Khaliji album came to light, the air of skepticism was undeniable. Latifa has proven us wrong once again, however. After wowing audiences with Ziad Rahbani in 2006, and again with Egyptian pop in Fel Kam Youm Ell Fatou in 2008, Latifa has done it again. While Fella's Khaliji album had a Saudi focus, and Yara's an Emirati one, Latifa's has a Qatari one. As with her previous albums, Latifa tends to excel with slower-tempo songs and she has quite a few excellent ones here, as well as a number of genres. The album has Khaliji pop, like Mamlouh, Atehadda, Wesh Aad Endak, and Ma Yestahel. Then there are songs that mix genres. Einek Le Bara, the story of a lover with wandering eyes, has an interesting gypsy flavor. Ya Anani, arranged by Egyptian-born Ali Abaza, is closer to the Egyptian pop Latifa usually sings. Ana Men Nah Winta Men Nah, composed by George Marderosian, is a fun reminder of the composer's work in the 1990s. Kel Wahed, Ma Jeitni, and Habbeina Gheirah are heartfelt modern ballads, while Weinek Ta'al, Ya Sahrin El Leil and Sabberna Yalli Msabberna are rich, more traditional pieces. Latifa may not have mastered the accent as well as other singers this year, but the album is solid, albeit it could have done without some of the faster tracks.

1. Mamlouh

2. Einek Le Bara

3. Atehadda

4. Ma Jeitni

5. Ya Anani

6. Kel Wahed

7. Ana Men Nah Winta Men Nah

8. Wesh Aad Endak

9. Weinek Ta'al

10. Hallaftkom

11. Ya Sahrin El Leil

12. Habbeina Gheirah

13. Sabberni Yalli Msabberna

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Password: eftekasat.net

Fella - Ya Mesafer Lel Jefa

2009-12-03T21:17:00.004+11:00

ith the influx of Khaliji songs from singers during the past year, Fella's solid effort went almost unnoticed. Having lived in Kuwait, Fella's command of the everyday Khaliji accent is even better than Asalah Nasri. The Algerian singer's album has work from all over the Gulf, with composers from Bahrain, Dubai, Kuwait, Qatar, and Saudi Arabia. The album opens with some pop songs; Kel Hal Hob is a mediocre song with some good arrangement, and Mashi is quite forgettable. Shel Jedid is a more melancholy ballad and picks the album up. Ya Mawlana, a folk song, is an upbeat song reminiscent of Abo Bakr Salem's Yemen-influenced work. Ya Mesafer Lel Jefa, composed by Mohamed Abdu, carries the album title but despite some nice lyrics and music, the song feels too long. A musician in her own right, Fella couldn't resist including a song of her own creation; Inta Habibi is an Algerian song arranged by Issam El Sharayti. The album goes into traditional jalsa mode from tracks 7 to 9, with some of Saudi Arabia's most reputable poets and musicians, and traditional instruments. Sameh Allah Habibi opens with an oud solo and the song is a slow, melancholic song with beautiful ney, oud, and traditional strings. Ana Men Sedg Ahebbah brings in the Indian influence and is a heartwarming song about true love. Ya Tibi brings back the stories of the scorned lover, and is another gem in this diverse album. Ya Mesafer Lel Jefa ends with a Fayez El Said song, Yezid El Shoug, and upbeat Emirati song and the album's first single.

1. Kel Hal Hob

2. Mashi

3. Ya Mawlana

4. Shel Jedid

5. Ya Mesafer Lel Jefa

6. Inta Habibi

7. Sameh Allah Habibi

8. Ana Men Sedg Ahebbah

9. Ya Tibi

10. Yezid El Shoug

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Rouwaida Attieh - Esma'ni

2009-11-28T15:54:00.003+11:00

The three-year wait is finally over, and Rouwaida Attieh has released her new album, Esma'ni. Under a completely new management, headed by Anoud Al Ma'aliqi, change is instantly what you expect when glancing at the glamorous cover. But Lebanese composer Imad Shamseddine is no longer on the composing team, and there are no Egyptian composers to be seen either. The album opens with Shou Sahl El Haki, a ballad with soulful lyrics, but Nasser El As'ad's lifting of Gokhan Ozen's Inkar Etme for the arrangement doesn't fit very well. His work on Bala Hob is more enjoyable with soothing piano and strings, even though the song itself is a very standard ballad. Arguably the best work on the album comes from Wissam El Amir and George Marderosian, the composers behind Rouwaida hits like Jerouhi and Ala El Mani. Wissam El Amir's compositions, Law Inta El Shams and Ana Andi Lezeh, are both great dabke songs with playful and creative lyrics. The arrangement is textbook Roger Khoury however, with too much synth and not enough real instruments. George Marderosian's compositions are diverse, as he usually is: Hayati Melki is a dabke song that shows how far Rouwaida's voice can soar, even if what Roger Khoury does with the arrangement confounds the listener. Za'al Majnoun has a simple and catchy tune, but Bassem Rezq's arrangement, with a generous serving of flowing strings, takes the song to the next level.

The album's main problem is uninspired composers, like Salim Assaf and Mazen El Ayoubi, who don't have the faintest idea how to harness the power of Rouwaida's voice. Even the choice of title song was unfortunate. While the album has about or five or so good songs, three of them were released ages before the album came out. For such a talented young woman, Rouwaida Attieh just can't get a break, let's hope this album was just growing pains.

1. Shou Sahl El Haki

2. Esma'ni

3. Wana Kol Ma A'oul

4. Law Inta El Shams

5. La Tefakker

6. Bala Hob

7. Baini Ou Baino

8. Za'al Majnoun

9. Ana Andi Lezeh

10. Hayati Melki

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The R.E.G. Project - Harem

2009-11-21T20:09:00.006+11:00

Ralph Khoury, Elie Barbar, and Guy Manoukian are The R.E.G. Project. All established musicians in their own right, the trio fuses Arabic and world music with electronic and dance beats. Their music ranges from lounge to club music, and the album contains both remixed classics from Warda and Abdel Halim Hafez.

1. Harem

2. Zay Al Hawa

3. Peace

4. Casa Del Sol

5. Batwannis Beek

6. Lost Love

7. Sayat Nova

8. Passion

9. Harem (Club Mix)

10. Harem (House Mix)

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Nancy Zaabalawi - Moustahil

2009-10-02T19:28:00.001+10:00

Syrian singer Nancy Zaabalawi is the daughter of a musician, and so music has been a part of her life since she was born. From humble beginnings singing at hotel restaurants, Nancy made it onto Superstar and was a favourite to win. In 2006, Nancy returned to the music scene with her debut album, Moustahil. The album is on the short side with only seven tracks, but there are many gems here that never received the attention they deserved. The album's title song, and only single, is a slow romantic number written/composed by Marwan Khoury and arranged by Bilal El Zein. The song is beautifully arranged and Nancy's voice is full of optimism. Shou Lzakarak is a typical Marwan Khoury-Bilal El Zein collaboration, a ballad with heavy beats and melancholic lyrics, but that's not a bad thing at all. Saheit Men Ez Noumi is a beautiful classically-influenced ballad, composed by Anas Sha'ban and arranged by Hassan Hossami. Aridak is another great song, composed and arranged by Mazen Zawaydi. The lyrics are full of hope and the music is a perfect mix of piano, kanun, and strings. The album's remaining songs: Law Laffeit, Khod Rahtak, and Inta We Bas, are not as innovative but far from bad.

1. Moustahil

2. Law Laffeit

3. Shou Lzakarak

4. Saheit Men Ez Noumi

5. Inta We Bas

6. Aridak

7. Khod Rahtak

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Nawal Al Zoghbi - Yama Alou

2009-09-13T17:22:00.002+10:00

Nawal Al Zoghbi's return was ill-timed with the breakout of the 2006 Lebanon War, but Egyptian record company Alam El Phan insisted on releasing the album that was to headline their summer catalogue. Though she had only been gone for two years, during which she released the hit singles Rouhi Ya Rouhi and Shou Akhbarak, Nawal's presence was sorely missed. Following up an album like Eineik Kaddabin is hard enough, but Yama Alou was released in the same year Elissa and Nancy's hit albums Bastannak and Ya Tabtab Wa Dalla' were, and faced stiff competition. It did not meet with the commercial success they did, but Nawal's album is pure quality.

The majority of the album is arranged by Amir Mahrous, with strings by Yehia El Mougi, unless otherwise stated. The oddball title song, composed by Mohamed Rahim, is instantly a case of love-it-or-hate-it. Amir Mahrous' mix of pop, sha'bi, and tarab in the arrangement characteristic of his style, and the song has guitar, rebab, and ney, with an infectiously catchy tune. Habbaitak is a rather tame love song, composed by Tarek Abou Jaoudeh. El Assi is a more downbeat ballad composed by Mohamed Refai, and the heartfelt lyrics are his signature. The hit Aghla El Habayeb is another catchy song, composed by Haitham Zayyad and arranged in a beautiful classical Arabic style by Tony Saba. Aadi is the album's sole Khaliji song. Composed by Abdallah El Gaoud and arranged by Tarek Aakef, it is nothing groundbreaking, but her best effort at the genre so far. Bta'refni Ana, composed Tarek Abou Jaoudeh and arranged by Michel Fadel, is a harmonious love ballad and everything from Nawal's voice to the piano and the accordion seem to be perfect. Betes'al is more of a chillout oriental song, with romantic lyrics from Hani Abdel Karim and and beautiful music from Walid Saad and Amir Mahrous. Ghib Anni Ghib is a cover of Turkish singer Hande Yener's Sen Yoluna Sen Yoluma, composed by Altan Çetin and arranged by Jean-Marie Riachi. Though it simply feels like a refined version of Hande's original, the feelings communicated in the other songs seem to be absent here. Akher Marra is modern tarab song, with a melancholic oud, sublime strings, deep lyrics, and beautiful composition on Walid Saad's part. Shou Akhbarak, Nawal's first Lebanese hit in a very long time, is another beautiful ballad. Composed by Nicolas Saade Nakhle and arranged by Michel Fadel, the song also has an air of the classics while still sounding clear and modern. Ayzak, composed by Walid Saad, begins as a classic ballad and transforms into a catchy sha'bi-style song. The album ends with Nawal's chilling tribute to Abdel Halim Hafez's Habibati Man Takoun, written by Prince Khaled bin Saoud and composed by the great Baligh Hamdi.

1. Yama Alou

2. Habbaitak

3. El Assi

4. Aghla El Habayeb

5. Aadi

6. Bta'refni Ana

7. Betes'al

8. Ghib Anni Ghib

9. Akher Marra

10. Rouhi Ya Rouhi

11. Shou Akhbarak

12. Ayzak

13. Habibati Man Takoun

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Assi Al Hillani - Kid Othalak

2009-08-26T20:33:00.001+10:00

Assi Al Hillani's 2000 album is just what you expect from the Lebanese singer/songwriter; a mix of tradition and innovation. The majority of the album is composed by Samir Sfair, and there are two songs by Marwan Khoury. "Maestro" Tarek Aakef arranged most of the songs, and variety is everywhere in his work. In Sahra Ou Lail, Hatha Tab'i, and Majnoun, Aakef's signature sweeping strings dominate, while on Teslamli Eyounek, a haunting piano and mellow ney take over. However, in Kid Othalak, Aakef tries his hand at fusing Khaliji and pop beats. Boudi Naoum arranged the hit Bhebbek We Bghar, a mix of pop beats and sharp strings. He goes for Latin pop with Lali, and Hatha Mou Adel features a melancholic solo violin. Zeina is arranged by Roger Khoury with an upbeat Turkish-style baglama and clarinet. Assi himself composed Ah Mennak, which is arranged by Mohamed Mostafa.

1. Sahra Ou Lail

2. Bhebbek We Bghar

3. Hatha Tab'i

4. Teslamli Eyounek

5. Ah Mennak

6. Zeina

7. Majnoun

8. El Muhra

9. Lali

10. Hatha Mou Adel

11. Kid Othalak

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Houwaida - Gani Tani

2009-07-26T17:11:00.002+10:00

The powerful voice of Syrian vocalist Houwaida always steals the spotlight. Though many remember her from the dispute she had with Nawal Al Zoghbi over the hit Mandam Aleik, Houwaida has proven her talent over and over again over the past decade. Unlike the direction Nawal took, Houwaida's preference for more oriental songs is evident in all of her choices. Gani Tani has collaborations with Samir Sfair, Walid Saad, Ramy Gamal, and the late Riyad El Hamshari. It can be argued however, that the album's weakness is the prevalence of ballads. While Houwaida can tackle them quite easily, they do not suit her voice as more upbeat songs, like Dallelni and Shway Shway, do. Still, there are ballads like Ya Habibi and Moush Haram Aleik, which Ahmed Adel and Medhat Khamis excel in respectively, and songs reminiscent of her earlier work, like Eini All Hab. The arrangers on this album include Mohamed Mostafa, Medhat Khamis, Ahmed Adel, and Tarek Aakef. There is more, and even better, Houwaida to come on the blog!

1. Gani Tani

2. Eini Alli Hab

3. Ya Habibi

4. Moush Haram Aleik

5. Bta'ref

6. Bakoun Ma'ak

7. Kelma Wahda

8. Dmou' El Sheteh

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Nawal - Nawal 1998

2009-07-13T20:37:00.004+10:00

Nawal's 1998 album is another solid effort from Kuwait's top female vocalist. As always, the album has top names in the list of composers. Saudi singer-songwriter Rabeh Sagr composed three songs, La Shak Terdhini, Hobbek Aadi, and Nesani. Top composers like Kuwaiti Abdallah El Gaoud and Saudi Nasser El Saleh are here too with Tedhak Wana Abki (El Gaoud), as well as Ana El Mas'oul and Ya Sidehom (El Saleh). Mish'al El Orouj, who composed most of Nawal's hits in the past decade, has one song, Tekfoun Khallouh. The entire album is arranged by Egyptian musician Tarek Aakef and produced by Rabeh Sagr and Mish'al El Orouj.

1. La Shak Terdhini

2. Hobbek Aadi

3. Tedhak Wana Abki

4. Ya Msabber El Maw'oud

5. El Hob El Khaled

6. Nesani

7. Ana El Mas'oul

8. Ya Sidehom

9. Tekfoun Khallouh

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Shahinaz - Aheb A'ishlak

2009-06-08T02:34:00.000+10:00

Shahinaz launched her career with Egypt's shortlived talent search program Starmaker. Her first song was a hit cover of Anna Vissi's To Poly Poly, titled Oulli Oulli. Her debut album, Ala Eih, met with some success also, but it was Aheb A'ishlak that truly made audiences pay attention to this rare talent. Shahinaz's sophomore album is full of defining hits hits: the dramatic Aheb A'ishlak, the heartbreaking Malnash Makan, and Kaman Kaman, which was recently covered by Turkish singer Günce Koral. Look before the surface however, and there are even more gems to be found, like Habibi Bashtaq Elik, Lazem Tigi, and Men Gheir Ma Tehlef. Musicians on the album include Mohamed Rifai, Adam Hussein, Tamer Ali, Karim Abdel Wahab, Osama El Hindi, Tarek Tawakol, and Tamer Ashour.

1. Kaman Kaman

2. Habibi Bashtaq Elik

3. Bi Ban Fe Eineik

4. Ez El Fouraq

5. Malnash Makan

6. Lazem Tigi

7. Aheb A'ishlak

8. Men Gheir Ma Tehlef

9. Kaman Kaman [Remix]

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Najwa Karam - Ya Habayeb

2009-05-27T16:25:00.003+10:00

Ya Habayeb is Najwa's debut studio album. It was released in 1989, but this rip is from the second edition from 1995. This album is a great example of Najwa Karam's beginnings with composers she has not worked with in a long time now, such as Samir Sfair and Suhail Fares. Samir's style has changed considerably, and Najwa works primarily with Imad Chamseddine and Wissam El Amir nowadays. The album is very "Arabic", with tarab-style songs as well as dabke and mawals. It is definitely worth a listen.

1. Ya Habayeb
2. We Ygoulou Rjou'ou Garib
3. Khalli Ketfak A Ketfi
4. Ma Baddi Eyounak
5. De'i Ya Tboul
6. El Haq Alayeh
7. Baladiyat

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Julia Boutros - Bi Saraha

2009-05-17T16:21:00.001+10:00

Julia Boutros' releases may be far apart, but the effort put into the beautiful music is always evident. Her 2001 album is, as most of her later albums are, composed by her brother Ziad and written by Nabil Abou Abdo. While the album is not as memorable as her runaway hit La B'ahlamak, there are beautiful ballads to be heard here like Kelmeh Aal Waraq, Ma Maraq, and Bi Saraha. There are more playful songs too, like Elna Mazha and Wa'd Alayeh, though the former is a little more interesting. Nashid El Horriyeh, Nehna El Sawra Wel Ghadab, and Ma Am Befham Arabi are songs with political messages, which Julia has never shied from. Never one to skimp on musical quality, the list of musicians is full of famous musicians like Claude Chalhoub, Tony Anka, and Hani Siblini. For those who liked the Bahr Al Nojoum soundtrack, here's some trivia: Jessy Jleilaty is part of Julia's chorus on this album.

1. Bi Saraha
2. Wa'd Alayeh
3. Kelmeh Aal Waraq
4. Elna Mazha
5. Ma Maraq
6. Nashid El Horriyeh
7. Nehna El Sawra Wel Ghadab
8. Ma Am Befham Arabi

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Hind - El Ghoroub

2009-05-08T20:42:00.003+10:00

Hind's 2004 album was not met with the media fanfare its successor did, but it is a solid album. Unlike Hind 2008, El Ghoroub features a lot more fellow Bahraini talent like veteran Khaled El Sheikh, man of the moment Ahmed El Hermi, and arranger Siruz. Like most of her albums, this record is made up of mostly traditional Khaliji ballads, with a few more upbeat songs like Inta Wana Wel Shoug, Khalas, and Ma Gedart Asber. The album has mostly traditional instrumentation, though Siruz makes interesting use of "oriental" saxophone on Majnoun. There is also an interesting R&B track, Sahi Ou Lahi, also composed by Siruz.

1. Inta Wana Wel Shoug
2. Khalas
3. Ya Hasafa
4. Tajruba Murra
5. Jerouh Dafina
6. Sahi Ou Lahi
7. Majnoun
8. Tejahelni
9. Ta'al
10. Ma Gedart Asber
11. El Ghoroub

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Grace Deeb - Aktar Min Gharam

2009-04-09T15:42:00.001+10:00

The biggest crime an artist could do to an excellent album is to sell it short. Unfortunately, that is what Grace Deeb did after releasing the video for the title song, and she disappeared. Though the album is her best so far, she only released two singles, Aktar Min Gharam, and many months after, Ghinniyat. The album is a huge change from her first, which relied heavily on very western-style songs. George Marderosian, who composed her hit Ghannali, returns with two amazingly good songs. Lail Ou Bel Lail is a breathtaking ballad which Adel Aayesh compliments with great arrangement, and Endak Khabar is in the traditional fashion that Marderosian always innovates with. Tony Abi Karam wrote and composed Law Kan, a beautiful ballad that only pales in comparison to Lail Ou Bel Lail. A surprising name on the list is Salah El Sharnoubi, who composed Alfein Mersal, a great, upbeat song with fun beats and baglama, and one of the best Salah has composed in a while. Rawad Raad's compositions, the nouveau-dabke Ghinniyat and Latin-influenced Aw'at are also interesting, upbeat songs, both arranged by Dani Helou. The album ends with Wissam El Amir's Endi Ehsas, which had it not been preceeded by two great ballads would have been much more appreciated! It is not clear why Grace was away for so long, but the fact her management changed after this album may be a clue. Nevertheless, this is a top-notch album, that finds the balance between Grace's western voice and great Arabic music.

1. Aktar Min Gharam
2. Law Kan
3. Alfein Mersal
4. Aw'at
5. Ghinniyat
6. Lail Ou Bel Lail
7. Endak Khabar
8. Endi Ehsas

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Bassima - Aini Ya Mo

2009-03-29T21:56:00.006+11:00

Bassima has never been one to follow the pack, and Aini Ya Mo is no exception. After the huge success of Andi Sou'al, Bassima returned in 2003 with a completely different song. The title song is written and composed by Marwan Khoury and unlike anything released before, thanks to Roger Khoury's arrangement. He combines fun pop with more serious tarab-style strings and beats. Boudi Naoum brings his always unique brand of East meets West with two power ballads, Bekhtesar and La Tfel. Iwan (credited here as Mohamed Ba'assiri) takes a much more different tone with three quintessential, upbeat Arabic pop songs: Wel Khad Metki, Wala Hammi, and the extremely catchy Doum. Wissam El Amir contributes with Lamouni, which is a good tarab-style song, but has nothing very interesting. Roger Khoury arranged most of the album, with the exception of Bekhtesar and La Tfel, which Boudi Naoum arranged himself. Like most of Bassima's albums, there is not a bad song here, and it's no wonder the album was so successful.

1. Aini Ya Mo

2. Wel Khad Metki

3. Bekhtesar

4. Wala Hammi

5. La Tfel

6. Lamouni

7. Doum

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Najwa Karam - Ma Hada La Hada

2009-03-20T21:42:00.007+11:00

After the upbeat Hazzi Helou (I'm Lucky), Ma Hada La Hada (No One Belongs to Anyone) was a marked change of tone for Najwa Karam. The first single, El Tahaddi (The Dare) and the title song are defiant songs, rejecting love. The album was the beginning of a long creative relationship with Egyptian musician Tarek Aakef, who arranged the entire album. As always, he is diverse, using dabke, Khaliji, classic tarab, and modern beats and effects. The talented Wissam El Amir composed tracks 2, 4, and 6, while tracks 1, 3, and 7 are by Salim Salameh. Imad Shamseddine wrote and composed Baddi Mnajem (I Need an Astrologer). Despite being a sales failure, Ma Hada La Hada is without a doubt one of Najwa's most solid (and significant) albums.

1. El Tahaddi
2. Habib El Zein
3. El Helou
4. Ma Hada La Hada
5. Baddi Mnajem
6. Btousaq Fiyeh
7. Bjarreb Ensa

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Mayada El Hennawi - Na'met El Nesyan

2009-03-14T13:50:00.007+11:00

Alongside songs like El Hob Elli Kan (Kan Ya Ma Kan) and Habbeina, Na'met El Nesyan is one of the great songs that established Mayada El Hennawi in the Egyptian music scene. The center of Arabic music at the time, Cairo was bustling with new Arab talent from all corners of the Middle East. Na'met El Nesyan roughly translates into "The Blessing of Forgetting". It is written by Omar Batiesha and composed by Farouq Salama, the accordionist who was became famous as a part of Oum Kalthoum's orchestra. The song is in the traditional tarab style, with a traditional strings, ney, and kanun orchesta, as well as the keyboard and bassline which added a touch of modernity back in 1982. Na'met El Nesyan is approximately 47 minutes long, typical of 1940s-1980s music.

1. Na'met El Nesyan

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Rouwaida Attieh - Men Nazra

2009-03-08T12:23:00.010+11:00

Rouwaida Attieh emerged as the first runner-up on the first season of Superstar, but the popularity that she, and second runner-up Melhem Zein garnered quite easily rivaled winner Diana Karazon's. While Melhem and Diana worked with a wide range of lyrcists and musicians, Rouwaida was musically adopted by Imad Shamseddine, a man who had been on Najwa Karam's musical team for over a decade. Arrangers include Adel Aayesh, Ali Safa (who arranged the hit title song), Medhat Khamis, and Ahmed Adel, who gives the hit Ta'ebt Ma'ak the Egyptian flavor the song calls for. The album is made up of Lebanese and Egyptian songs, although the fact there is only one true dabke song, Men Nazra, seems a crime when Rouwaida is one of the few women who have conquered the genre. While there are some must-listen good songs like Ta'ebt Ma'ak, Men Nazra, and A Min El Loum, the album as a whole felt old and it is simply Rouwaida's voice that carries it. It's just as well Khissamak Mur did Rouwaida's talent justice finally in 2006, with a much bigger team of musicians that still included Imad Shamseddine.

1. Rahet Sana
2. Ta'ebt Ma'ak
3. Leih
4. Men Nazra
5. Maktoubli
6. A Min El Loum
7. Hasamt El Amr

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May Hariri - Habibi Inta

2009-03-03T20:00:00.001+11:00

It's hard to argue the fact that May Hariri got a head start on her musical career thanks to ex-husband Melhem Barakat. Whether her second album, Habibi Inta, was her best may be an arguable point, but it's definitely this listener's favorite. It's no secret that May's voice is limited, but she chose songs that sounded good and she didn't overstretch her voice. The album is dominated by Lebanese duo Haitham Zayyad and Tony Saba who composed/arranged Hasan, Fallaha, Ya Bta' El Gharam, and Dena. Habibi Inta and Hamama Beida are updated versions of Melhem Barakat's classics, and Tony Saba, responsible for updating Sabah's Yana Yana also, makes the arrangement more dynamic. Hasan is a fun, upbeat song with the simple things that make traditional Arabic pop good: a good beat, organic strings, and smart use of synths. Fallaha, the album's first single, has more great arrangment from Tony Saba. The song is very traditional, with a strong beat and a great string and mizmar intro. Ya Bta' El Gharam, which preceded the release of the album, takes a similar tone as Hasan in terms of Hasan, but with mizmar a some dance synths thrown around. La Tnamou is a cover of Ziynet Sali's Cikolata (which was a remake itself!). Einak Menni and Ma' Min are credited to Jean Saliba. The latter was first released on her debut album, but this is the video version (which added Urdu lyrics). The album ends with Dena, another cheesy Khaliji by Lebanese musicians, that the album could have done without! Overall, the formula followed here was a successful one, and May should have stuck to it, instead of the unfortunate trainwreck that was her 2008 album.

1. Hasan
2. Fallaha
3. Ya Bta' El Gharam
4. Habibi Inta
5. La Tnamou
6. Hama Beida
7. Einak Menni
8. Ma' Min
9. Dena

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Layal - Fi Shouq

2009-02-24T16:45:00.005+11:00

Lebanese singer Layal's debut album makes the most of her relatively limited vocal range. The young singer sang at various Beirut cafes and restaurants before finally meeting with musicians like Richard Najm, Tony Abi Karam, and Salim Salameh The album has a variety of styles, covering Egyptian and Lebanese ballads as well as a shot at Iraqi chobi. Her first single, Hawasi Kella, is included as well as an unexpected collaboration with Ihsan El Mounzer, who arranged Mashghoul Bali Alaik. Easily Jad Sawaya's most (professionally) serious artist so far, Layal's debut album is a good start, with lots of room to improve.

1. Fi Shouq
2. Hawasi Kella
3. Abouya Alli
4. Mashghoul Bali Alaik
5. Am Behlamak
6. Wen Ya Wen
7. Chobi
8. Albi Yomma

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Magida el Roumi - Ibhath Anni

2009-02-15T03:50:00.000+11:00

Like Kadim Al Sahir, Magida el Roumi is one of the few that truly succeeded in fusing Arabic and classical music together in the 1990s. Beautiful poetry, like Dr. Souad Al Sabah's Kon Sadiqi (Be My Friend), were turned into songs that spoke to Arab audiences from Oman to Morocco. After the huge success Magida experienced with Kalimat, she sang her second Nizar Qabbani poem, Ma'a Jarida, in 1994. While Dr. Jamal Salama's music is more engaging and interesting, Ihsan El Mounzer benefited from a much more romantic poem with 1991's Kalimat. Lan A'oud and Ghannou Ma'i are also composed by Dr. Jamal Salama, though the you can feel the classical influence in the former while the latter is an upbeat oriental song. Elie Choueiri's compositions, Saqata Al Qina' (The Mask Has Fallen) and Oum Etthadda (Dare), are both patriotic marches that call for resistance in the face of both internal and external threats. Magida's father, Halim, composed Mararti Fi Khayali and the album's sole Egyptian song, Ya Mkahal Remshak. The album's title song is a beautiful ballad in classical Arabic, and lyrics aside, Abdo Monzer does a an amazing job on the composition. Tracks 1-3 are arranged by Dr. Jamal Salama, while 4-9 are arranged by Abdo Monzer.

1. Ma'a Jarida
2. Lan A'oud
3. Saqata Al Qina'
5. Mararti Fi Khayali
6. Ya Mkahal Remshak
7. Ibhath Anni
8. Kon Sadiqi
9. Oum Etthadda

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Aziz Abdo - Inti Tsharrafi

2009-02-09T02:42:00.005+11:00

After an artful entry into the music business in 2004, singer/model Aziz Abdo's sophomore album is finally in stores now. Aziz returns maturer with Inti Tsharrafi, a great mix of Lebanese, Egyptian, and Khaliji pop. The majority of the album is composed by Haitham Zayyad and arranged by Tony Saba, whose songs usually have an oriental feel. The title song, which is composed by Hisham Boulos, is an electronic pop song typical of Hadi Sharara. Hayda Yawmi is also composed by Hisham, but arranged by Dani Helou, while Howa Inti Leih is composed by Zaher El Baba and arranged by Ghassan Shu'aib. Light and fun, Inti Tsharrafi is what you'd expect from Aziz.

1. Inti Tsharrafi
2. Esta'gelti
3. Byekfi Skout
4. Ana Moghram
5. Hayda Yawmi
6. Ayami
7. Teb'od Anni
8. Howa Inti Leih
9. Teghzel Oyouni

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Fella - Tashakkourat

2009-02-07T09:52:00.002+11:00

Like Asalah, Fella Ababsa comes from a musical family and is the daughter of renowned Algerian musician Abdelhamid Ababsa. Fella's aunt Laila, sister Naima, and brother Najib, are popular singers in their home country as well. Baligh Hamdi, who musically adopted Mayada El Hennawi and Samira Said before her, and Sabah supported Fella's entry into the Egyptian music scene. Fella was soon jailed and banned from Egypt, but the reasons for career-crippling ban remain unclear. Fella returned to Algeria, and she became one of the country's most famous modern singers. Years later, Fella finally used her connections in Lebanon to sign a contract with Rotana and work on a new album.

Tashakkourat was composed by some of Lebanon's top composers; Elias Rahbani, Tarek Abou Jaoudeh, Azar Habib, and George Marderosian. Much like her life, Fella's music has a bit of everything, and she even sings in Turkish on Tashakkourat and French on Kan. Shaka Baka and the title song are the sort of upbeat song Fella excels in, while Dakhlak Ya Lail is in Elias Rahbani's signature style. Kan feels like a French ballad, while Abkaitani feels more oriental. In 2001, Tashakkourat introduced her to the Arab world finally, and the playful Fella has slowly become one of the staples of the Arabic music scene.

1. Mahlan Alay
2. Tashakkourat
3. Shared
4. Helmak
5. Kan
6. Man An
7. Shaka Baka
8. Dakhlak Ya Lail
9. Abkaitani
10. Kan [French Version]

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Najwa Karam - Kibir El Hob

2009-02-02T04:37:00.002+11:00

With the Cedar Revolution, 2005 had been a trying a year for Lebanon, and with the exception of a few, most of Lebanon's A-list singers did not release albums. Najwa Karam pushed the release of her album from June, to July, and then even further. In November, as the famous "puzzle" billboard finally was finally completed and revealed Najwa's face, Kibir El Hob was released. While Najwa had not been gone from the music scene for long, the uplifting Bhebbak Wala', her first collaboration with Hadi Sharara, had already garnered a lot of anticipation for her new album. It's safe to say that that the album did not disappoint!

From the first listen, the difference in production is apparent. While Shou Mghayara..! is a great album, Kibir El Hob ups the ante in terms of arrangement, and the sound is much more organic, with more instruments and less digital substitutes. After venturing into pop with varying results, in Tahamouni, Najwa's second shot at it is much more sweet. The dabke beats are not absent from Kibir El Hob, Bhebbak Wala', Hamseh Hamseh, or the smash hit Shou Hal Hala, but Hadi Sharara injects just right amount of pop to innovate but still keep Najwa's faithful fans listening. Imad Shamseddine, who was at work with Rouwaida Attieh in 2004, returned with a much bigger contribution to Najwa's team in 2006. All three of the album's hit singles, Bkhaf Men El May, Bhebbak Wala', and Shou Hal Hala, were written and composed by Imad. While Hadi innovates, Tony Anka's traditionalist approach on Bkhaf Men El May, Ma Byensheba', Baddak Terja', and Talet Marra is all but dated. With big beats, ney, bouzouk, mizmar, sharp strings, and the nostalgic synth here and there, it's hard to keep still when listening to his work!

1. Bkhaf Men El May
2. Ma Byensheba'
3. Kibir El Hob
4. Baddak Terja'
5. Hamseh Hamseh
6. Shou Hal Hala
7. Talet Marra
8. Bhebbak Wala'

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Myriam Faris - Bet'oul Eih

2009-01-31T07:41:00.002+11:00

Despite finding a great niche for herself in the oriental-dance fusion genre, Myriam did not rest on her laurels in 2008. Myriam evolved as an artist even more with Bet'oul Eih. There are a few misses, like Samir Sfair's awkward Moush Ananiya and Marwan Khoury's sleepy Betrouh, but overall Myriam's third album is solid. Like the 2005 hit Ha'leq Rahtak, the title song is written by Myriam's sister, Roula Faris, and co-composed with Marc Abdelnour, who gives the song an authentic Egyptian feel. Mohamed Rahim returns with two songs; the upbeat Eih Elli Byehsal is arranged by Jean-Marie Riachi and follows in the style of Nadini while Iyam El Sheteh is a mellow ballad with simple, but beautiful arrangement by Hadi Sharara. Ana Albi Lik will surprise those who are used to Walid Saad's oriental ballads, and Jean-Marie Riachi gives it a fresh Latin-style arrangement. Ala Khwana, also composed by Samir Sfair but arranged by Tarek Madkour, is a refreshingly enjoyable maksoum song that beats Moush Ananiya in this listener's opinion. Law Konte Radi is Myriam's first collaboration with Tamer Ali, and despite a bit of repetitiveness, it's quite good. The album finishes off with it's first single, Moukana Wein, which is Myriam's first full-on Khaliji song. Tarek Aakef proves his innovativeness once again by incorporating the sound of the seashell belt that was worn by Bahraini pearl divers in their traditional dance. The belt was also used in the controversial video Myriam shot for the song, and she learned the choreography for the dance. Interestingly enough, Ahlam recently claimed that Kuwaiti composer Abdallah El Gaoud originally offered her Moukana Wein, but she declined it because her husband think it fit her.

1. Moush Ananiya
2. Eih Elli Byehsal
3. Inta Bet'oul Eih
4. Betrouh
5. Iyam El Sheteh
6. Ana Albi Lik
7. Ala Khwana
8. Law Konte Radi
9. Moukana Wein

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Diana Haddad - Ahla Aghani (Best of)

2009-01-27T23:53:00.007+11:00

This album is a compilation of the best of Diana's early work, from 1996 to 1999. Diana is one of the few singers to have tasted success from her first song, and then been able to sustain it for over a decade. From the very beginning, Diana, who was born in Lebanon, raised in Kuwait, and lives in Dubai, sang in her native dialect as well as Egyptian and Khaliji. Her hit debut single, Saken is included, as well as her first Egyptian songs; Yamma Ya and Emshi Wara Kedbohom. The Lebanese songs that defined her early career, such as Ahl El Esheg, Anideh, and Legaitak, are also featured alongside her pan-Arab 1998 hit Ammaneih. Ammaneih was remade by Turkish singer Burcu Güneş in the same year and met with similar success. Composers featured here include George Marderosian, Imad Shamseddine, Riyad El Hamshari, and Ihsan El Mounzer.

1. Emshi Wara Kedbohom
2. Ammaneih
3. Ahl El Esheg
4. Legaitek
5. Men Ghebt
6. Yamma Ya
7. Anideh
8. Bari'ah
9. Ghalteti
10. Saken

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Haifa Wehbe - Baddi Eish

2009-01-20T01:56:00.001+11:00

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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Abeer Fadda - Inta Malak

2009-01-17T07:37:00.001+11:00

Abeer Fadda is yet another underrated Syrian singer whose fame does not measure up to her talent and potential. Abeer's throaty jabali voice can easily tackle any genre, and she does in her 2005 album, Inta Malak. Abeer composed two songs, Waggef and Ser Behayatak herself, while the rest of the album is composed by Yaser Jalal, Khaled Adel, Mohamed Fawzi, and Medhat Fawzi. The album is arranged by Egyptian arrangers Medhat Khamis, Ahmed Adel, Adel Aayesh, Yehia El Mougi, and Karim Abdelwahab. The album has four great ballads, the melancholic Wallah Ma Faragni, Latin-influenced Leil Ya Gharam, Khaliji Waggef, and heartfelt Ser Behayatak. The faster-paced songs are less interesting, though Estanna Alaya and the catchy Shou Befrah stand out when compared to the maksoum songs, Inta Malak and Leila Be Alf Leila. Some will be surprised when they hear Wallah Ma Faragni, which Mayssam Nahas remade into a hit single in her latest album (albeit renamed Habib El Rouh).

1. Estanna Alaya
2. Wallah Ma Faragni
3. Leil Ya Gharam
4. Shou Befrah
5. Leila Be Alf Leila
6. Waggef
7. Inta Malak
8. Ser Behayatak

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Nancy Ajram - Ya Tabtab... Wa Dalla'

2009-01-14T18:12:00.004+11:00

After two hit albums in a row, Nancy's fifth album was one of the most highly-anticipated releases of 2006. With more upbeat maksoum songs, and just a few, albeit excellent, ballads, Ya Tabtab has a bit of everything. The title song, which has been remade into Greek by Kelly Kelekidou, kicks off the album in the same playful spirit as Ah We Noss. As the album progresses, the diverse list of composers is evident. Most of the maksoum songs, Ya Tabtab (Tarek Madkour), Ana Yalli Bhebbak (Samir Sfair), Mo'gaba (Walid Saad), Ashteki Menno (Hamdi El Sediq), and Ya Si El Sayed (Walid Saad), are arranged by Tarek Madkour. Though Madkour is frequently criticized for "recycling" ideas, his work here is good and each song has its own flavor, incorporating synths into some, accordion in others, or sticking simply to violins. The ballads, Ehsas Jdid (Salim Salameh), Meshtaga Leik (Yacoub Al Khubaizi), Elli Kan (Walid Saad) and Oul Hansaki (Hassan Abou El Saoud) are even more diverse, with a different arranger in charge of each. On Ehsas Jdid, Hadi Sharara combines the best of both East and West as usually, mixing piano with bouzouk, darbouka, and strings. Elli Kan is some of Karim Abdelwahab's best, and most oriental, work so far. Amr Abdelaziz gives Meshtaga Leik light percussion (for a Khaliji song) and the pop treatment, which Nancy tends to in most of her albums. Oul Hansaki is a classic ballad, with heartfelt lyrics, and typical arrangement from Mohamed Mostafa. Even the songs that did not get the limelight, like Sabrak Alaya (Walid Saad) and Law Dallalouni (Suhail Fares) are well-composed and enjoyable. Ya Tabtab was one of Nancy's most successful and most commercialized albums too, with five of the songs used for jewelry, Coca-Cola, and perfume ads.

1. Ya Tabtab Wa Dalla'
2. Ehsas Jdid
3. Mo'gaba
4. Meshtaga Leik
5. Ana Yalli Bhebbak
6. Ashteki Menno
7. Oul Hansaki
8. Elli Kan
9. Ya Si El Sayed
10. Sabrak Alaya
11. Law Dallalouni

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Fares Karam - Janen

2009-01-10T00:54:00.002+11:00

Though it feels like most of the Arab world believes Fares Karam's career began with his 2006 hit El Tannoura, this Studio Al Fan graduate has been crooning for over a decade. With George Marderosian, Marwan Khoury, and Imad Shamseddine, Janen has some of the best Lebanese composers. Though Fares has become centered around comedic and daring lyrics in his latest work, Janen has some great love songs like Majnoun Bani Amer, Janen, and Khayyabt Zanni as well. Rightfully the king of playful dabke today, no one does it like Fares Karam.

1. Janen
2. Selini
3. Mili Mail
4. El Etfa'iyeh
5. Mahdoumeh
6. Majnoun Bani Amer
7. Khayyabt Zanni
8. Am Tetthalla

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Hind - Hind 2008

2009-01-07T13:42:00.009+11:00

When asked about her talent, the great Mayada El Hennawi called Hind "one of today's greatest, most beautiful voices," and for good reason. The young Bahraini singer's soulful approach to everything from traditional Saudi and Emirati songs to pop and ballads, is a refreshing change in a genre where young singers tend to stick to simple, non-challenging songs. The album has an impressive list of musicians, with Dr. Abdelrab Idriss, Nicolas Saade Nakhle, Michel Fadel, Tarek Aakef, Nizar Abdallah, İsmail Tunçbilek (on bouzouk), and Ali Bin Mohamed (who duets with her on the "Khaliji blues"-style Yeji Mennak). The album is very diverse, for example Thebahni El Shoug employs an Iraqi beat, while Teshteki has delightfully classic approach, and the Lebanese hit Maw'ed Omur brings in electric guitars and bongos. So even if you don't like one song, you will definitely find one you love. This is a high-quality production from beginning to end; synths are kept at a minimum and the instruments range from traditional ney, oud, kanun, and rebab to guitars and saxophones. Understandably, Hind recorded in Cairo, Bahrain, Dubai, Beirut, and Kuwait, with musicians from the Gulf, Egypt, Lebanon, and Turkey playing the various instruments. Easily her most hyped album to date, Hind's 2008 album is definitely worth a thorough listen.

1. Meridh El Mahabba
2. Yeji Mennak
3. Thebahni El Shoug
4. Eb Kel Basata
5. Abih Yeshouf
6. Aaf El Farah
7. Hameti
8. Tawwek Ala Bali
9. Jaitek
10. Teshteki
11. Men Int
12. Maw'ed Omur

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Aline Khalaf - Sodfa

2008-12-30T06:30:00.002+11:00

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

2008-12-28T02:34:00.005+11:00

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

2008-12-22T06:05:00.008+11:00

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)

2008-12-19T03:51:00.004+11:00

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

2008-12-17T02:35:00.002+11:00

Bassima - Shou A Bali

2008-12-16T03:30:00.003+11:00

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

2008-12-14T06:34:00.003+11:00

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?

2008-12-08T20:29:00.004+11:00

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

2008-12-07T09:44:00.007+11:00

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

2008-12-06T08:06:00.002+11:00

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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Elissa - Ayami Bik

2008-12-04T23:49:00.004+11:00

Much like Bastannak vastly contrasted Ahla Dounya, Ayami Bik was quite different from the album that it succeeded. Elissa's sixth studio album depends less on pushing the envelope in musical innovation, and more the heartfelt lyrics. It's Elissa's most personal album to date, with ballads from start to finish. Michel Fadel, Yaser Nour, and George Karam are all absent from this album, but Elissa works with Walid Saad, Sherif Tag, Yehia El Hassan, Ayman Mohseb, and Tarek Madkour for the first time. Nasser El As'ad, who was missing from Elissa's past two albums, returns to her team, as do the musicians who dominated Bastannak: Marwan Khoury, Dani Helou, Tamer Ali, Tamim, and Claude Chalhoub. The title song marks Elissa's first foray into dance music, albeit with Ayshalak-esque strings maintaining the oriental feel. For the most part, it is the oriental-sounding songs, like Betmoun, Saher Aini, and Ala Hobbak, that have the most beautiful music. After the huge success Kermalak and Zanbi Ana were, Elissa's third Marwan Khoury collaboration had big shoes to fill, but like Kermalak, it practically upstaged the title song. Ya Aalem, despite the weak intro, and Ana Bastaghrab Aleih are easily the most powerful of the western-style ballads, but it's Saher Aini that takes the cup for the combination of beautiful lyrics and rich oriental music.

1. Ayami Bik (Wana A'dar)
2. Khod Balak Alaya
3. Betmoun
4. Ya Aalem
5. Law Ma Teji
6. Moush Ketir Aleik
7. Adik Ereft
8. Ala Hobbak
9. Ana Bastaghrab Aleih
10. Saher Aini
11. Awakher El Sheta

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Various Artists - Dance H1ts

2008-12-02T04:03:00.010+11:00

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

2008-11-28T05:53:00.009+11:00

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

2008-11-28T00:28:00.004+11:00

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

2008-11-26T00:47:00.005+11:00

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

2008-11-25T00:46:00.005+11:00

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...

2008-11-24T03:40:00.002+11:00

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

2008-11-24T00:54:00.010+11:00

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

2008-11-23T07:13:00.003+11:00

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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Elissa - Ayshalak

2008-11-21T06:12:00.006+11:00

Elissa's first encounter with true stardom was in 2002, when she released her third album, Ayshalak. The hit title song, a Mohamed Refai-Hossam Habib-Jean-Marie Riachi collaboration, was later remade into Turkish by Gökhan Özen (Kader Utansin) and Serbian by Funky G (Fatalna). Apart from the unique Ayshalak, most of the album has the Latin-Arabic mix that was prevalent in her debut release, Baddi Doub. The mellow Agmal Ehsas with its swooping strings, and catchy chorus, was also a huge hit and you can still catch the video on TV from time to time. The dramatic Ah Men Hawak and Ba'da are the album's ballads, and both have the Latin pop feel to them to, though the latter employs a faster, more Arabic beat. Marsellais gypsy artist Gérard Ferrer, who was featured on every track of her debut album, returns here with Sheltak Men Albi, which he both composed and duets on. Shou El Hal is a remake of Tarkan's hit Kuzu Kuzu, though Jean-Marie Riachi definitely does a lot more with the arrangement than the original. Like it's predecessor (and successor), the majority of the album is arranged by Jean-Marie Riachi, with the exception of La Trouh and Sheltak Men Albi.

1. Ayshalak
2. Ah Men Hawak
3. Agmal Ehsas
4. Shaghelni
5. Sheltak Men Albi
6. Million Ahebbak
7. Ba'da
8. Kelmet Hob
9. La Trouh
10. Shou El Hal

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Reeda - Shaklak Ma Ytammensh

2008-11-18T22:18:00.006+11:00

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

2008-11-16T22:13:00.003+11:00

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

2008-11-16T07:20:00.006+11:00

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

2008-11-10T20:25:00.007+11:00

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

2008-11-10T06:27:00.007+11:00

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

2008-11-10T05:13:00.005+11:00

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

2008-11-09T23:03:00.009+11:00

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

2008-11-08T23:08:00.004+11:00

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

2008-11-02T22:24:00.004+11:00

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

2008-10-30T02:44:00.002+11:00

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

2008-10-28T22:29:00.007+11:00

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

2008-10-26T00:23:00.006+11:00

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)

2008-10-21T23:20:00.008+11:00

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

2008-10-20T02:55:00.008+11:00

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

2008-10-20T02:20:00.007+11:00

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

2008-10-20T01:06:00.005+11:00

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)

2008-10-18T03:20:00.008+11:00

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

2008-10-17T02:43:00.006+11:00

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

2008-10-13T22:45:00.011+11:00

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

2008-10-11T22:35:00.007+11:00

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

2008-10-11T08:56:00.010+11:00

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

2008-10-11T04:55:00.013+11:00

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

2008-10-10T01:14:00.005+11:00

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

2008-10-09T00:21:00.012+11:00

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

2008-10-05T22:31:00.010+11:00

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

2008-10-04T03:50:00.006+10:00

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

2008-10-01T01:03:00.006+10:00

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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Marwan Khoury - Asr El Shawq

2008-09-29T21:10:00.006+10:00

Asr El Shawq is Marwan Khoury's third album, and it succeeded his first successful CD, 2004's Kel El Asayed. Like Kel El Asayed was, Asr El Shawq's songs are all written and composed by Marwan Khoury. However, unlike it's predecessor, which was arranged by Bilal El Zein, Asr El Shawq is arranged by Claude Chalhoub, Jean-Marie Riachi, Hadi Sharara, Adel Ayesh, Hani Siblini, and Mohamed Kebbe. Claude Chalhoub gives Asr El Shawq and Helweh El Hayat a classical air, while Hadi Sharara gives an upbeat electronic-influenced feel to La Tfakker. Mohamed Kebbe brings a mix of both classical and R&B on Ma Endon Khabar. Jean-Marie Riachi mainly arranges the more mellow or traditional-style songs on this album, like Khayef La Trouhi and We B'ellak Shou. The final track is an instrumental version of the hit Asr El Shawq by Claude Chalhoub on solo violin. Though Marwan Khoury is seemingly cursed by the inability to produce for himself the hits he has produced for so many Arab singers, this album is his most polished and enjoyable.

1. Asr El Shawq
2. Andi Sho'our
3. La Tfakker
4. Ma Endon Khabar
5. Khayef La Trouhi
6. Ya Men Bi Dam'i
7. Khallina N'ish
8. We B'ellak Shou
9. Helweh El Hayat
10. Asr El Shawq (Instrumental)

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Assi Al Hillani - Forset Omur

2008-09-27T20:11:00.008+10:00

One of Assi's most successful albums, Forset Omur is a diverse and full of the many styles that he likes to explore and try. This album also marks his most extensive collaboration with Tarek Abou Jaoudeh, who composed six of the songs; Ghali, B'oul Ma B'oul, Shou Habbaina, Forset Omur, Bhebbek Inti, and Rif El Ain. The hit Ghali is Assi's first song with electronic dance accents, albeit with Hadi Sharara's signature breaks of Arabic percussion and strings throughout. Recorded in Beirut, Cairo, and Istanbul, with Arab and Turkish musicians, Assi is serious and passionate about his music and oversees every aspect of it. Some songs, like Ghali, benefit from the Turkish Gundem string orchestra, while others, like Rif El Ain and Forset Omur, incorporate Turkish-style baglama or clarinet. B'oul Ma B'oul and Shou Habbaina combine more east and west, with powerful strings and both western and strong Arabic beats. As for Assi's own compositions, Ma Marrani Tab'ek, Set El Settat, and Marreit Janb Kheyamahom have creative lyrics and more traditional Arabic arrangement, with ney, mizmar, and oriental percussion.

1. Ghali
2. B'oul Ma B'oul
3. Shou Habbaina
4. Set El Settat
5. Ma Marrani Tab'ek
6. Forset Omur
7. Eddami Eyoun
8. Marreit Janb Kheyamahom
9. Bhebbek Inti
10. Rif El Ain
11. Ya'ni Eih

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Zekra - Youm Aleik

2008-09-24T23:37:00.004+10:00

In 2003, Tunisian singer Zekra had become a household name, having sung in Tunisian, Libyan, Gulf/Khaliji, and Egyptian Arabic dialects, with great composers and singers like Talal Maddah and Abdullah El Ruwaished adding to her reportoire everyday. Having released two Khaliji albums that year already, Youm Aleik was released amidst the fanfare around her new Rotana contract. However on November 28th, three days after the album's release, Zekra was shot to death in her Cairo home by her husband, for reasons that remain unclear to this day. Zekra's most hyped album to date became cruelly ironic. The already hit title song spoke of how not every day can be "your day", and how luck can turn. As a tribute to one of the greatest voices of modern Arabic music, Rotana went ahead and released a music video for Bahlam Bi Lou'ak (I Dream of Being with You), using footage from the video she had begun to shoot before her death, and digitally placing her in the new video. Bahlam Bi Lou'ak has become Zekra's anthem, and is still frequently played by radio and television stations when someone is remembered. The album is mainly traditional and melancholic, keeping with Zekra's style, but Elli Khadouni is an upbeat change-of-pace pop song with a great, catchy chorus.

1. Youm Aleik
2. Bahlam Bi Lou'ak
3. Ya Layali
4. Shawa'ouni Lik
5. Elli Khadouni
6. Law Ya Habibi
7. Aziz Ghali
8. Ana Shaifa

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Nancy Ajram - Betfakkar Fi Eih?!

2008-09-22T06:51:00.006+10:00

Nancy Ajram's heavily anticipated sixth album has been two years in the making. The result, like any artist of her popularity, has been received with mixed reviews. Although Nancy ventures farther into western pop than ever before in her career, her new album caters to a vast audience, with something for everyone. Betfakkar Fi Eih?!, composed by Mohamed El Nadi (who recently composed Leih Moushta'alak for Nawal Al Zoghbi), mixes up Nancy's usual maksoum style with electric guitar. The first Hadi Sharara-Walid Saad collaboration is an interesting affair for fans both the Lebanese arranger and the Egyptian composer, who have both worked with Nancy previously, but on separate songs. Min Dah Elli Nsik is what you would expect from this trio, dramatic composition with diverse, though erratic at times, arrangement. Min Ghairi Ana, the new Coca-Cola anthem for the Middle East, has already proven popular, though it does not appeal much to this listener. Safer (Ana Rouhi Ma'ak) is new territory for Nancy, whose ballads usually take on a western flavor. Saharni Sahar and Mashi Haddi are great upbeat maksoum songs, and are Nancy's first collaboration with Hamid El Sha'eri, who arranges both. The aforementioned, and Baladiyat (Ana Menno), which adds mizmar to the mix, are all great oriental dance songs. Lamset Eid reunites the team from Ehsas Jdid (Fares Iskandar, Salim Salameh, and Hadi Sharara) in a more dramatic but equally enjoyable song. Liya Haq is Nancy's first venture into R&B, and Wana Bein Eideik (Akbar Men Keda) is quintessential pop. Zaman Kan Andi Alb, another song which did not appeal to this listener, is rumored to be Nancy's next single. Nancy reunites with Tarek Aakef, who was absent from her previous album, who arranges the two songs most different from the the rest of the album. Khafef Alaya, composed by Dr. Abdelrab Idriss, is a quirky Gulf/Khaliji song with a different feel from 2006's Meshtaga Leik. The album ends with Betigi Sirtak, Nancy's most nostalgic song to date, which is likely a response to the great reaction her rendition of Aziza Jalal's Mestanniyak received last year.

1. Betfakkar Fi Eih?!
2. Min Dah Elli Nsik
3. Min Ghairi Ana
4. Safer (Ana Rouhi Ma'ak)
5. Saharni Sahar
6. Baladiyat (Ana Menno)
7. Zaman Kan Andi Alb
8. Lamset Eid
9. Liya Haq
10. Ebn El Giran
11. Wana Bein Eideik (Akbar Men Keda)
12. Khafef Alaya
13. Mashi Haddi
14. Betigi Sirtak

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