Elissa - Tesaddaq Bi Min

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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Various Artists - Dance H1ts

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



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

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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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