Ziad Rahbani - Houdou Nisbi

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!

Ziad Rahbani - Ana Moush Kafer

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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