Kadim Al Sahir - Ila Tilmitha

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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Hind - El Ghoroub

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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Rouwaida Attieh - Men Nazra

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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Assi Al Hillani - Zghireh El Denyeh

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



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

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

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



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

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Elissa - Ahla Dounya

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



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

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

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



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

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Asalah - Awgat

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



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

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Nawal Al Zoghbi - Eineik Kaddabin

Nawal Al Zoghbi's 2004 album was arguably her peak, not that she hasn't produced a number of good songs the past four years, but as an overall album it reached a wide audience. After Elli Tmanneito, Nawal immediately went back to work on a new album that would return her to her former stature in the music business. The album was set to be released under the name of Be Einak, with that song being the expected hit. After Nawal heard Eineik Kaddabin from Mohamed Refai, however, she decided to push the album's release so she could record and include the song on it. The album proved to be her biggest album to date. Nawal managed to include something for each taste. Eineik Kaddabin, Law Wakhed Balak, Bihebbeni, Khallik Liya, and Khod Albi are thoroughly enjoyable, upbeat Arabic songs. Oyouni Oyouni is a Khaliji Arabic song, and Samah is for fans of Turkish Arabesk. Khalletni Ahebbak, Ana Baddi Eish, Be Einak mix more pop in. Tegma'na Sa'at has a Latin style to it, while Malleit has an R&B feel. Another notable difference Eineik Kaddabin has from its predecessor is the fact Nawal did not depend too much on the same musicians. For example, Tarek Madkour and Amr Mostafa only produced one song each for this album.



1. Eineik Kaddabin
2. Khalletni Ahebbak
3. Ana Baddi Eish
4. Be Einak
5. Tegma'na El Sa'at
6. Law Wakhed Balak
7. Oyoun Oyouni
8. Bihebbeni
9. Malleit
10. Khallik Liya
11. Samah
12. Khod Albi

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Nelly Makdessy - Ana Eih?

Nelly Makdessy's third album Ana Eih? was a much greater success for her than Ahli Arab, for more reasons than one. It had a good team of musicians like its predecessors, but it was also partly because the the scandal around the fabricated pornographic photos, that almost destroyed her career in 2003, had subsided. As is usually the case with Nelly, there are very few slow songs on this song, and upbeat songs with big percussion dominate. The album's title song is a great fusion of both electronic and Arabic music, typical of the work Tarek Abou Jaoudeh and Hadi Sharara did together. The second single, Eshtaq, is an upbeat maksoum song composed by Tamer Ali. The two slower songs, Keif Ansak and Ana Wel Leil, are by Turkish composers Ozcan Deniz and Zulfu Bayhan.



1. Ana Eih
2. Law Betthebbeni
3. Keif Ansak
4. Eyounak
5. Ana Wel Leil
6. Eshtaq
7. Ghali
8. Hobbak Na'em
9. Met'eb El Galb
10. Ya Bourdain

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Najwa Karam - Shou Mghayara..!

In 2004, Najwa was still riding on the immense success of Saherni, her 2003 album, which had pulled her up from her slightly lackluster 2002 album, Tahamouni. Like its predecessor, Shou Mghayara..! also saw a much less significant presence of Imad Shamseddine, who at the time was producing Rouwaida Attieh's debut album, Men Nazra. Although Wissam El Amir dominated this album as well, Najwa worked with Marwan Khoury and Mahmoud Khayami, adding to the album's diversity. She sang in the Khaliji dialect extensively here too, albeit not in the Khaliji style. Laish Mgharrab is also one of the rare instances in which Najwa sings about a political subject. The video clip, which visualizes a apocalyptic Beirut in 2020, also had scenes which portrayed citizens protesting against the government. The video was initially banned, but was later released after the protest scenes were almost completely edited out. The song, written by Roger Feghali, describes the feelings of a Lebanese emigrant. You can view the edited version here with English subtitles.



1. Bi Hawak
2. Shou Kent T'elli
3. Ya Dounya
4. Areft Akhtar
5. Shou Mghayara
6. Akher Dawa
7. Lailek Ma Kan Mashi
8. Laish Mgharrab

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Katia Harb - Katia

Katia Harb's fourth and most successful album was one of 2004's best. Titled simply Katia, the album itself cannot be described so simply. Katia worked with a wide range of the top names in the industry: Marwan Khoury, Tarek Abou Jaoudeh, Khaled Ez, Hadi Charara, Guy Manoukian, Imad Chamseddine, Amr Mustafa, and Walid Saad, among many others. The album is primarily in the Lebanese and Egyptian dialects, and with one song in the Gulf/Khaliji dialect. The music styles vary from tarab and dabke to electronic pop and ballads. Enjoy this relatively rare CD from Katia, whom is nowhere to be seen nowadays.

1. Ad El Hob
2. Abadan
3. El Talla
4. Sa'ban Alaya
5. Dellouni
6. Ta'ebt
7. Ya Trekni Fel
8. Sehr Eyouni
9. Men Eini
10. Ma Fina (Guy Manoukian Remix)
11. Ajmal Ghenniyeh (Hadi Charara Remix)
12. Abadan (Beirut Biloma Dance Remix)

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You can download the original single version of Ma Fina below. It's a video rip, but I still prefer it to the remix:

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Julia Boutros - La B'ahlamak (testing)

Julia Boutros's three-year absence from the music scene after the release of her 2001 album, Bi Saraha, turned out to be the best thing she could have done. Julia returned in 2004 with this eight-track masterpiece, La B'ahlamak. The album remains her most successful, with defining hits such as La B'ahlamak (Not In Your Dreams) and Ala Shou? (What For?). In typical Julia fashion, there is also a song about patriotism and freedom, Betnaffas Horriyeh (I Breathe Freedom).



1. La B'ahlamak
2. Ma Tettalla' Heik
3. Ala Shou?
4. Shou Sayer Bi Halak
5. Emghalat Bel Enwan
6. Allah Ma'ak
7. Betnaffas Horriyeh
8. Byenkesser Hal Lail

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