Haifa Wehbe - Baddi Eish

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



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

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Haifa Wehbe - Habibi Ana

Few artists have had a career as eventful, or achieved so much in such a short period of time, as Haifa Wehbe. In her six-year career, she has released three albums, a mega-hit single (the ubiquitous Boos El Wawa), and gotten her own reality show, as well as keep several tabloids open with rumors and stories of her private life. Three years in the making, Habibi Ana sees a Haifa with a better voice, and a very different style. Haifa's previous albums were made primarily by Lebanese musicians, with even the Egyptian songs usually by Lebanese composers or arrangers. However, with only one Lebanese song on this album (Ayami) and a handful Lebanese musicians (Wissam El Ghazzawi, Yehia El Hassan, Elie Barbar, and Jean-Marie Riachi), Haifa has worked with some of Egypt's best-known modern musicians, including Mohamed Yehia, Amr Mostafa, Tarek Madkour, Mohamed Refai, Tamer Ali, Tamim, Khaled Ezz, and Sherif Tag. The majority of the songs combine more pop and R&B than her previous album, but Haifa still maintains a great Arabic feel to the majority of the songs, whether via percussion, kanun, or strings. With the exception of Tarek Madkour's work (Ya Habibi Ana, Ma Tkallemnish) and Tesmahli, this is the first Haifa album I listened to without skipping every other song. For those who, like me, miss Haifa's more Arabic and upbeat work, like Ragab, Tigi Ezay, and Ma Khadtesh Bali, Haifa doesn't disappoint with Ma T'oulsh Le Had.



1. Ya Habibi Ana
2. Yabn El Halal
3. Ba'd Elli Hasalli
4. Albi Habb
5. Olt Eih
6. Ma T'oulsh Le Had
7. Metakhda
8. Ayami
9. Hat Alaya
10. Tesmahli
11. Khayna
12. Hassa Ma Beinna
13. Ma Tkallemnish
14. Ihsasi Bik
15. Moush Adra Astanna

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