George Wassouf - Heya El Ayam

Vocal deterioration and a penchant for the fast life aside, it is hard to find a man who can still deliver a oriental music like George Wassouf does. Heya El Ayam, the Sultan's 2006 offering is impeccable, and deserved far more attention than Wassouf gave it. A mix of powerful ballads and dance tunes. The album opens with the title song, which features Amjad El Atefi and Tony Saba at their best. Everything from the bouzouk and the strings to the mizmar and the accordion is melded perfectly and sounds beautiful. Bastanna Bel Youm Wel Youmein invites Adel Aayesh's signature Turkish-style G (sol) clarinet into the mix into a more modern ballad, typical of Walid Saad. Haninak Hanini marks one of the few (but great) Lebanese songs that Wassouf has sung, albeit with less powerful lyrics than Helef El Amar. The song is quintessential Tarek Abou Jaoudeh, Tony Saba's arrangement shines here as well, with more bouzouk and flowing strings. Khsert Kol El Nas is one of Walid Saad's best songs, and brings back the G clarinet and low-pitched strings in a great ballad. Ghadr El Nas, a thoroughly Egyptian affair, is less engaging, and perhaps because Wassouf's vocals falter with notes better suited to Nour Mhanna's flawless voice. With Mestanni Menni Eih, Adel Aayesh takes a more Egyptian approach also with a mix of kanun, ney, and strings. Despite some nice solos, the song is not a standout and fades into the background. After a feast of oriental instruments for the ears, Mazen Zawaydi's choice of synths in El Zaman Dawwar is a bit of a letdown, and the song is nothing overly interesting. Leilet Wada'na, the album's sole single, is an excellent note to end on. Tony Saba brings restless strings, the oud, rebab, and ney together to accent a great piece by Amjad El Atefi.

1. Heya El Ayam

2. Bastanna Bel Youm Wel Youmein

3. Haninak Hanini

4. Khsert Kol El Nas

5. Ghadr El Nas

6. Mestanni Menni Eih

7. El Zaman Dawwar

8. Leilet Wada'na (Ya Habibi)

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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.

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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Pascale Machaalani - Bhebbak Ana Bhebbak

Bhebbak Ana Bhebbak is Pascale's latest album, although the length would suggest a maxi single. The title song opens the album on a nostalgic note, and with a concert atmosphere. The song is repetitive, but Melhem Bou Shdid's arrangement holds the song together and is worth a listen even as background music. The album's strongest song is Sallemlak Albi, composed by Mohamed Yehia, the video for which was released this week. The song has simplistic arrangement that works coupled with a catchy chorus and Pascale's beautiful voice. Red Alayeh sounds just like most of her 2007 album, and even the beautiful ney solos aren't worth braving the five minute song. With the recent resurgence of dabke in pop music, Mahboubi Jnoubi was to be expected, but the song is easily forgotten. Habibi Gheir is another Bou Shdid composition, but mixes things up with some great bouzouk solos and strings which make the song very enjoyable. The album ends with Nafs El Makan, composed by Nader Nour, which is a standard Egyptian ballad. To say Pascale's 2009 return was underwhelming would be an understatement, but it's worth braving the mediocrity for some of the brighter spots on this album. It's safe to say that the excitement once associated with the release of a Pascale album has dissipated.

1. Bhebbek Ana Bhebbak (Nawi Trouh)

2. Sallemlak Albi

3. Red Alayeh (Wainak Ya Ghali)

4. Mahboubi Jnoubi

5. Habibi Gheir

6. Nafs El Makan

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Karol Sakr - 009

Perhaps one of 2009's most anticipated albums, Karol Sakr's 009 was finally released in May after months of delays. The change in style is evident with Tarek Abou Jaoudeh gone, and the focus shifts from ballads to pop songs. The album opens with Gheltan Ktir, a reworked version of Ajda Pekkan's Aynen Öyle, albeit credited to Jean Saliba. The song fits Karol's emotive voice perfectly, while Elie Barbar and Cem Erken's arrangement could have used some acoustic instruments. Bi Albi, composed by Hisham Boulos, is infectiously catchy and even the way the auto-tuner drowns Karol's voice works. The only complaints lie with the interlude's resemblance to Guru Josh's Infinity 2008, especially when the beautiful strings that end the song could have easily replaced it. For the first time, Karol has two Egyptian songs here, and Hadi Sharara gets more experimental with their arrangement. Ertah We Rayyahni is catchy pop, while the popular Eih El Gedid is a more R&B-influenced track. The songs most like Karol's previous album arrive in the middle, with Salim Salameh and Wissam El Amir's songs. Jerh Ghiyabak, the first only single from the album, is in classic Hadi Sharara ballad form sans the focus on strings. We Btes'al Shou Beni is a more laidback ballad, but finally ushers in more real instruments with beautiful accordion solos and strings. Ha'ak Alayeh continues the trend and adds a bouzouk to the mix, in a catchy jazz-influenced number. Melhem Barakat returns with a very different song from Da'et Albak. Horr Tsadde'ni has a much more traditional approach, and while the instrumentation is beautiful, you can't help but feel that the song would have been better suited to Najwa Karam or Melhem himself.

1. Gheltan Ktir

2. Bi Albi

3. Ertah We Rayyahni

4. Eih El Gedid

5. Jerh Ghiyabak

6. We Btes'al Shou Beni (Ma'i Ou Mish Ma'i)

7. Ha'ak Alayeh

8. Horr Tsadde'ni

9. Gheltan Ktir (Extended)

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Pascale Machaalani - Akhed Aqli

Pascale Machaalani's sultry voice can make any song sound good, but unlike her 2006 album Akbar Kidba Bi Hayati, she throws diversity out the window here. Unlike many singers who have relied on a particular musician or team for their hits, Pascale's hits have come from many of the top musicians. However Melhem Bou Shdid, who usually used to oversee the arrangement of her albums, composed most of the songs here. Though not a stranger to composing hits, being the man behind Shou Amaltellak Ana? and Sa'beh Eish Men Dounak, his style gets repetitive fast. The album opens with Am Yemda El Wa't, a rich ballad which despite its length remains a crowd pleaser. The title song, a cover of the hit Turkish song Adresi Biliyorsun by Nalan. The arrangement is given a refreshing update by Aytekin Kurt, but the section before the chorus is removed completely. Ba'adetna El Masafeh is a mellow ballad, with a relatively catchy tune and typical but enjoyable arrangement. Awlak Ya Albi, composed by Yehya El Hassan, is in the same vein with addition of a ney. Wainak Ya Ensan, though a beautiful song, has limited appeal as a song written about the 2006 Lebanese War. Tghayart Alayeh, which was the first single, is another warm ballad, despite the sometimes outdated feel about the music. Ana Lamma Shoftak, composed by Tamer Ashour, is by no means bad but an unexciting ballad. Ardak Hawn changes the pace with a short mawal and an interesting song about the issue of emigration. Ah Ya Layali, a shot at Egyptian sha'bi, is catchier than Khallik Fi Halak, but one can't help but feel that someone with Pascale's history can do so much better.

1. Am Yemda El Wa't

2. Akhed Aqli

3. Ba'adetna El Masafeh

4. Awlak Ya Albi

5. Wainak Ya Ensan

6. Khallik Fi Halak

7. Tghayart Alayeh

8. Ana Lamma Shoftak

9. Ardak Hawn

10. Ah Ya Layali

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Shahd Barmada - Ba'd Elli Sar

One of the gems found on the countless television talent shows, Shahd Barmada managed to stay on people's minds for years until she finally released her debut album in 2009. With the sweetness of Nancy Ajram, and the grace of Mayada El Hennawi, Shahd Barmada is another very promising new Syrian voice. Musically adopted by Asalah's ex-husband and producer Ayman El Dahabi initially, Shahd later signed on to Music is My Life and Samir Sfair took Ayman's place. Samir composed half of the songs, and his style is diverse as usual.

While Shahd's album is nothing groundbreaking, the choice of songs is perfect with talented musicians coming together for on of 2009's best albums. The catchy title song employs Tarek Madkour's classic strings and kanun combination albeit with an ayoub beat instead of maksoum. La Youshtara successfully brings back Yuri Mrakadi's tried and true formula of beautiful classical lyrics combined with western pop. La Tloum is another infectiously catchy maksoum song, but although Karim Abdelwahab blatantly employs Tarek Madkour's style of arrangement, the synths sound cheap and don't do the song justice. Halati Hala is a simple ballad, with Tarek Madkour's favorite pop beat coupled with clarinet, but as we have come to expect from Karim El Iraqi, the lyrics are heartfelt. Allah Ma'ak is a classic Samir Sfair ballad, and Fahd does a great job combining the elements of the quintessential western ballad with oriental accents. Khaled El Bakri composed two ballads here also. Law Kont Btehlam has a dramatic flare that is in large part thanks to the interesting arrangement of Tarek Aakef. Wayak Habibi is less interesting in terms of composition, but equally beautiful thanks to Medhat Khamis' arrangement. The song that instantly catches your attention however, is Law Had Shafou, composed by Nouhad Najjar. The song is unmistakably oriental, but with a classical accent that Jean-Marie Riachi employs beautifully in the arrangement also. Walid Saad's Reg'et Ayamna is the composer at his best, with a nostalgia and the kind of composition that puts Shahd's beautiful voice to the test. Adel Aayesh's rich, Turkish-influenced arrangement fits perfectly too. The album ends with Teshoufak Eini, a catchy maksoum song that is instantly reminiscent of Nancy Ajram. Funnily enough, the song was apparently meant for Nancy Ajram but Mohamed Rehim preferred to release it sooner.

1. Ba'd Elli Sar

2. Law Kont Btehlam

3. La Youshtara

4. Law Had Shafou

5. La Tloum

6. Wayak Habibi

7. Halati Hala

8. Reg'et Ayamna

9. Allah Ma'ak

10. Teshoufak Eini

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