Asalah - Qanoun Keifek

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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Yara - La'ale' Khalijiya

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.

Diana Karazon - El Omr Mashi

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

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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Latifa - Atehadda

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

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

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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Nawal Al Zoghbi - Yama Alou

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

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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Nawal - Nawal 1998

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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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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Najwa Karam - Ma Hada La Hada

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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May Hariri - Habibi Inta

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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Aziz Abdo - Inti Tsharrafi

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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Myriam Faris - Bet'oul Eih

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)

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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Abeer Fadda - Inta Malak

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'

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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Hind - Hind 2008

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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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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