Mayada El Hennawi - Habbeina

Baligh Hamdi once said that Mayada El Hennawi's was "...an angelic voice that demands your attention." The great composer only wrote the lyrics to two songs in his musical career, and they both went to Mayada El Hennawi. She became a muse of sorts, and his last work, Andi Kalam, went to her also. After Mohamed Abdel Wahab's jealous wife had her barred from Egypt, Baligh traveled with his orchestra to Greece to record her songs, as did many of the top composers. Two of the greatest works Baligh Hamdi composed for Mayada are Habbeina (also known as Habbeina Wethabbeina), which is written by Abdel Rehim Mansour and Fatet Sana, written by Sayed Morsi. Habbeina (I've Fallen in Love) is a hopelessly romantic and upbeat tribute to newfound love, while Fatet Sana (A Year Has Passed) is a melancholic song about losing touch with a lover who is far away. The music is characteristic of ever-evolving 1970s-1980s Egyptian music, with a traditional oriental orchestra accompanied by a keyboardist, bassist, and guitarist.

1. Habbeina

2. Fatet Sana

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Mayada El Hennawi - Na'met El Nesyan

Alongside songs like El Hob Elli Kan (Kan Ya Ma Kan) and Habbeina, Na'met El Nesyan is one of the great songs that established Mayada El Hennawi in the Egyptian music scene. The center of Arabic music at the time, Cairo was bustling with new Arab talent from all corners of the Middle East. Na'met El Nesyan roughly translates into "The Blessing of Forgetting". It is written by Omar Batiesha and composed by Farouq Salama, the accordionist who was became famous as a part of Oum Kalthoum's orchestra. The song is in the traditional tarab style, with a traditional strings, ney, and kanun orchesta, as well as the keyboard and bassline which added a touch of modernity back in 1982. Na'met El Nesyan is approximately 47 minutes long, typical of 1940s-1980s music.

1. Na'met El Nesyan

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Mayada El Hennawi - Bayent El Hob Alaya

Syrian diva Mayada El Hennawi's 1993 album is a good example of popular music in the 1990s. The album starts off with the playful Bayent El Hob Alaya, the relatively short song (by 90s standards) is an accordion-infused Tarek Aakef composition. Alouli Ansa, which saw a dramatic resurgence in popularity when it was sampled on Aaliyah's More Than A Woman, is also composed and arranged by Tarek Aakef. Mahma Aghanni is a great example of the oriental style of saxophone playing, and Addemt El Rouh is a beautiful classically-influenced ballad. The lengthy Ma'ak Lel Nehaya closes the album on a relatively upbeat note. Once nicknamed Motrebet Al Jil (Singer of the Generation), Mayada's style, which borders on conversation, and her old-world grace, is what she is known for to this day.



1. Bayent El Hob Alaya
2. Alouli Ansa
3. Mahma Aghanni
4. Addemt El Rouh
5. Ma'ak Lel Nehaya

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