martedì 19 ottobre 2021

Hadda Ouâkki ⵃⴰⴷⴷⴰ ⵓⵄⴽⵉ حادة أوعكي

Hadda Ouakki was born in 1953 in Ait Ishaq, a village of humble shepherds located in the hills of the Middle Atlas in Morocco's Khenifra province. She belonged to a family that included among its members exponents of the local religious community, she found herself having many problems, in the domestic sphere, due to her independent character. Attracted by the rhythms of Amazigh music from a very young age, the young Hadda at the age of 4, sneaked out of her father's house to attend the popular nocturnal festivals during which Berber women brought their poetry to the square using songs and dances.

Growing up in an era in which Moroccan society saw women as the fundamental pillar of tradition and of the family, she was denied the possibility of accessing studies, thus forcing her to illiterate. A child with a lively mind, Hadda carefully observed the surrounding reality, drawing great lessons from it. She later recalled: "I never went to school, I learned everything by listening, imitating and memorizing".

At the age of 8 she will have some traditional symbols of the Amazigh culture tattooed on her face as a sign of belonging. As a member of a Marabutti family, such a gesture (like singing and public performance) was inadmissible, as well as forbidden.

The mother's fury will be immense, she will leave her out of the house for a while before calming down. 

The rebellious spirit of what would become the queen of Amazigh song thus manifested itself precociously. In Morocco in the 1950s, in full urbanization, musicians and singers began to have a bad reputation. Public performance was considered by many to be the same as prostitution and music was often associated with sex, alcohol and licentious behavior in general. If for a man the climate was not entirely rosy, for a member of the female gender it was something really unthinkable.

Faced with Hadda's continuing passion for music, with the intent of averting dishonor and keeping family respectability intact, her parents forced her, at the age of 14, to take an elderly but respectable man of seventy years as a husband. Fortunately, the marriage lasted only fifteen days. Hadda herself went to a judge to present her case and obtained an annulment by virtue of the invalidity of the marriage due to her young age.

This made the girl aware of her fate. If she wanted to make the music her life she would have to emancipate herself and leave her family. Hadda Ouakki, putting in place an unprecedented act of rebellion against the society to which she belongs, will never marry again and will never have children. Music will become her only reason for her life and she will never regret this choice.

The opportunity for a turning point came in 1968. During a village festival, music teacher Bennàsser Oukhouya listened to Hadda sing and was very impressed by her vocal abilities. This fact will start a splendid adventure. The young Berber at 16 will flee to Casablanca with the one who will become her mentor and lyricist for the next 12 years. The partnership of what will be called "the eternal duo", a collaboration that will deeply mark the history of the Amazigh song of the Middle Atlas, will end in 1981 when Hadda will give life to a group of her own

Life in Casablanca will mark one of the most brilliant moments in the career of the Berber singer who, evoking the recording sessions and evening shows in the company of Bennàsser and the accompanying group of singers in hotels and clubs, will say: "Of that period I only good memories ".

Gifted with a powerful and versatile voice, she soon fed the jealousy of her colleagues, intimidated by her talent. Very often, in her early days, she was prevented from singing and she was put aside by her. One particular evening he managed to perform to the best of her potential and she stunned the manager of the club who said ecstatically: "This is the new Umm Kulthum" (Egyptian Umm Kulthum is considered the greatest Arab singer ever).

Since then, her career will be unstoppable and her voice will soon be known throughout Morocco. An important factor for the development and consolidation of the artist's career will be represented by the economic expansion of Casablanca during the 1970s. Large masses of peasants left their lands to move to the city and in Hadda and Bennasser's songs they found something familiar, a reminder of what they had, a way to keep in touch with their roots. The musical repertoire proposed by this magnificent duo descends from an ancient oral tradition that reflects the daily life and aspirations of the Moroccan population belonging to the working classes. The themes addressed by the lyrics of their songs, powerful, provocative, humorous and imbued with an ancient poem, concern social issues, religion, daily chores, personal aspirations and obviously love, both romantic and sensual, well represented by the song “Al 'alam al' alam” which, in the opinion of the Moroccan anthropologist Lahsen Hira, represents a “genuine praise to carnal love thrown in the face of the Puritans”. 

Straightforwardness and expressive power, which have made her a darling of the popular classes, will not fade when in 1981 Hadda Ouakki artistically separated from her historical mentor. From that moment, until the mid-90s, she will be the first and only Moroccan woman to lead a musical group and she will become a true legend of the musical genre called 'aïta Zaâria. Equipped with a powerful and versatile voice capable of passing from a very low register to a very high one within a single verse, Hadda Ouakki excels in the art of Timawayin (plural Tamawayt) a particular form of poetry, typical of the Amazigh culture of the Middle Atlas, based on improvisation. Considered a journey into the soul of the Amazigh culture that expresses a particular vision of existence and life, the Timawayn can be defined as the "sound timbre" of the Middle Atlas, an individual vocal exercise inaccessible to common singers of which Hadda Ouakki proved an excellent interpreter.

A true manifesto of freedom Hadda Ouakki will continue to reap successes consolidating and increasing her fame even outside the borders of Morocco. The partnerships with new musicians and lyricists will also continue;

Wonderful will be her collaboration with Abdellah Zahraoui, with whom she will maintain an artistic partnership that will last for 40 years and will record several albums including the excellent "Ayn Zora", will be equally fruitful the collaborations with the singer and player of Loutar Mghani Muhammed, specialized in the traditional song of the Zayanes people living in the Khenifra region, and with Sheikh Hamid.

In 2015 the French director Jacqueline Caux will make a documentary to pay the right homage to the life of this great artist (and great woman) of the Middle Atlas. The short film, entitled "Hadda Ouakki - Chant d’une Rebelle", in addition to remembering Hadda's life, provides an opportunity to explore Casablanaca's past during the period of its profound urban transformation. Currently Hadda Ouakki continues to live with her music and to carry on her human as well as artistic discourse. Always rebellious and proud, this Berber woman of the Middle Atlas has profoundly marked the history of the Amazigh song and has represented, and continues to represent, a model for all those women who intend to free themselves from the patriarchal logic that govern not only Moroccan reality, but society contemporaries in general.

Hadda Ouakki è nata nel 1953 a Ait Ishaq, un villaggio di umili pastori situato sulle colline del Medio Atlante nella provincia di Khenifra in Marocco. Appartenente ad una famiglia che annoverava tra i suoi membri esponenti della comunità religiosa locale, si trovò ad avere non pochi problemi , in ambito domestico, a causa del suo carattere indipendente.

Attratta dalle ritmiche della musica Amazigh sin da piccolissima , la giovane Hadda all'età di 4 anni, scivolava furtiva fuori dalla casa paterna per assistere alle feste popolari notturne nel corso delle quali le donne berbere portavano la loro poesia in piazza utilizzando canti e danze.

Cresciuta in un epoca in cui la società marocchina vedeva la donna come il pilastro fondamentale della tradizione e della famiglia, le fu negata la possibilità di accedere agli studi, costringendola cosi all'analfabetismo. Bambina dalla mente vivace, Hadda osservò attentamente la realta circostante traendone grande insegnamento.

Ricorderà in seguito : " Non sono mai andata a scuola, ho appreso ogni cosa ascoltando, imitando e imparando a memoria". 

All'età di 8 anni si farà tatuare sul viso alcuni simboli tradizionali della cultura amazigh come segno di appartenenza. In quanto menbro di una famiglia di Marabutti, un gesto simile ( al pari del canto e dell'esibizione pubblica ) era inammissibile, nonchè proibito .La furia della madre sarà immensa, la lascerà fuori casa per un certo periodo prima di rabbonirsi.

Lo spirito ribelle di quella che sarebbe divenuta la regina del canto Amazigh si manifestò quindi precocemente.

Nel Marocco degli anni 50, in piena urbanizzazione, i musicisti ed i cantanti cominciarono ad avere un cattiva reputazione. L'esibizione in pubblico era da molti considerata alla stregua del meretricio e la musica veniva spesso associata a sesso, alcool e a comportamenti licenziosi in generale. Se già per un uomo il clima non era del tutto roseo, per un appartenente al genere femminile si trattava di qualcosa di veramente improponibile.

A fronte della continua passione di Hadda per la musica, con l'intento di scongiurare il disonore e mantenere intatta la rispettabilità familiare, i genitori la costrinsero, all'età di 14 anni, a prendere per marito un anziano,ma rispettabile, signore di settanta anni.

Il matrimonio durò fortunatamente soltanto quindici giorni. Hadda stessa si recò da un giudice per esporre il proprio caso ed ottenne l’annullamento in virtù della non validità dello sposalizio a causa della sua giovane età.

Il fatto rese la ragazza consapevole del proprio destino. Se avesse voluto fare della musica la sua vita avrebbe dovuto emanciparsi e abbandonare la famiglia.

Hadda Ouakki , mettendo in atto un inaudito atto di ribellione verso la società di appartenenza non si sposerà mai più e non avrà mai figli. La musica diverrà la sua unica ragione di vita e mai si pentirà di questa scelta.

L'occasione per una svolta avvenne nel 1968. Nel corso di una festa di paese, il maestro di musica Bennàsser Oukhouya ascoltò Hadda cantare e rimase molto colpito dalle sue capacità vocali. Questo fatto darà inizio ad un splendida avventura. La giovane berbera a 16 anni fuggirà a Casablanca con colui che diverrà il suo mentore e paroliere per i 12 anni che seguiranno. Il sodalizio di quello che sarà chiamato “l'eternel duo “,una collaborazione che segnerà profondamente la storia della canzone Amazigh del Medio Atlante, finirà nel 1981 quando Hadda darà vita ad un gruppo tutto suo.

La vita a Casablanca segnerà uno dei momenti più brillanti della carriera della cantante berbera la quale, evocando le sessioni di registrazione e gli spettacoli serali in compagnia di Bennàsser e del gruppo di cantanti di accompagnamento in alberghi e locali, dirà : "Di quel periodo ho solo bei ricordi".

Dotata di una voce potente e versatile alimentò presto la gelosia delle colleghe, intimorite dal suo talento. Molto spesso, nei primi tempi, le veniva impedito di cantare e veniva messa da parte. Una particolare sera riusci ad esibirsi al meglio delle sue potenzialità e lascio di stucco il direttore del locale che affermò estasiato : "Questa è la nuova Umm Kulthum " (L'egiziana Umm Kulthum è considerata la più grande cantante araba di sempre).

Da allora la sua carriera sarà inarrestabile e la sua voce sarà conosciuta in breve tempo in tutto il Marocco.

Un fattore importante per lo sviluppo ed il consolidamento della carriera dell'artista sarà rappresentato dall'espansione economica di Casablanca avvenuta nel corso degli anni '70.

Grandi masse di contadini abbandonarono le loro terre per trasferirsi in città e nelle canzoni di Hadda e Bennasser trovarono un qualcosa di familiare, un ricordo di ciò che avevano, un modo per restare in contatto con le proprie radici .

Il repertorio musicale proposto da questo magnifico duo discende da un antica tradizione orale che riflette la vita quotidiana e le aspirazioni della popolazione marocchina appartenere alle classi lavoratrici. I temi affrontati da i testi dei loro brani , potenti, provocatori , umoristici e intrisi di un antica poesia, interessano le questioni sociali, la religione, le incombenze quotidiane , le aspirazioni personali ed ovviamente l'amore, sia romantico che sensuale, ben rappresentato dal brano “Al 'alam al 'alam” il quale , secondo l'opinione dell'antropologo marocchino Lahsen Hira , rappresenta una “genuina lode all'amore carnale gettata in faccia dei puritani”.
Schiettezza e potenza espressiva,che hanno fatto di lei una beniamina delle classi popolari, non scemeranno quando nel 1981 Hadda Ouakki si separerà artisticamente dal suo storico mentore.
Da quel momento, sino alla metà degli anni '90, sarà la prima ed unica donna marocchina alla guida di un gruppo musicale e diverrà una vera e propria leggenda del genere musicale chiamato ‘aïta Zaâria .

Dotata di una voce possente e versatile capace di passare da un registro bassissimo ad uno molto elevato all'interno di un unica strofa , Hadda Ouakki eccelle nell'arte del Timawayin (al plurale Tamawayt ) una particolare forma di poesia, propria della cultura amazigh del Medio Atlante, basato sull'improvvisazione.

Considerato un viaggio nell'anima della cultura Amazigh che esprime una particolare visione dell'esistenza e della vita, il Timawayn può essere definito il "timbro sonoro" del Medio Atlante, un esercizio vocale individuale inaccessibile ai cantanti comuni del quale Hadda Ouakki si è dimostrata un interprete eccellente.

Vero e proprio manifesto di libertà Hadda Ouakki continuerà a mietere successi consolidando e accrecendo la sua fama anche al di fuori dei confini del Marocco. Continueranno anche I sodalizi con nuovi musicisti e parolieri ; Storica sarà la collaborazione con Abdellah Zahraoui, con il quale manterrà un sodalizio artistico che si protrarrà per 40 anni e registrerà svariati album tra I quali l’ottimo “ Ayn Zora”, mentre altrettanto fruttuose saranno le collaborazioni con il cantante e suonatore di Loutar Mghani Muhammed, specializzato nella canzone tradizionale del popolo Zayanes abitante la regione di Khenifra, e con Sheikh Hamid.

Nel 2015 la regista francese Jacqueline Caux realizzerà un documentario per tributare il giusto omaggio alla vita di questa grande artista ( e grande donna ) del Medio Atlante. Il cortometraggio, intitolato “ Hadda Ouakki - Chant d’une Rebelle”, oltre a ricordare la vita di Hadda fornisce l’occasione per esplorare il passato di Casablanaca durante il periodo della sua profonda trasformazione urbana.

Attualmente Hadda Ouakki continua a vivere di musica e a portare avanti il suo discorso umano oltre che artistico. Sempre ribelle e fiera questa donna berbera del Medio Atlante ha segnato profondamente la storia della canzone Amazigh e ha rappresentato , e continua a rappresentare, un modello per tutte quelle donne che intendono affrancarsi dalle logiche patriarcali che governano non solo la realtà marocchina, ma le società contemporanee in generale.

Bennacer Ou Khouya بناصر أوخويا - Folklore du Moyen Atlas


A1 Rah Additou راة الديتو
A2 Douar Ezzine دوار الزين
A3 Laasrya العصرية
B1 Laghrib الغريب
B2 Howa Malou هو مالو
B3 Ahya Mali اهيا مالي



Benacer Oukhouya & Hadda Ouakki بناصر أوخويا و حادة أوعكي Collection Vol.1


01 Salba salba سالبة سالبة
02 Mani Ghaynekh Ida Yourelli أما غر غا كنخ إيضا كوريلي
03  Enkhach Ouri Ghouri Ma Chibdan  أوا نيخاش أورا غوري
04Awra ayawra   اورا ايا ورا
05 Ana mourak ana koudamak انا مراك انا قدامك  
06 Khalitiha fi qalbi    خلتيها في قليبي
07 Al 'alam ya al 'alam  العالم يا العالم   
08 Al layal ya al layla الليل يا الليل
09 wash ja idir وَاشْ جَا إيْدِيْر  
10 Ayura Ayura     ايورا ايورا
11 Ana Kindir اناكندير
12 wa'tiqni al fkih  واعتقني ألفقيه  
13 Awaji nqul lik al gharaib mada   أواجي نقول ليك الغرايب مادا   
14   Walinnar sha'ala  والنار شاعلة
15 Ahia al mima  اهيا الميمة  



Benasser Oukhouya & Hadda Ouakki بناصر أوخويا و حادة أوعكي Collection Vol. 2



01 Hadha wa kana هذا وكان  
02 Al Barakiyya البركية  
03 Al Misriyya المصرية  
04 Al Gharib  الغريب
05  Al Walf الولف  
06 Qalbi ma hunani قلبي ما هناني  
07  Hawal ta'dy  حاول تعدي  
08 Amran fawsa  امرا فوس
09 Iouarou إيواروا  
10 Literhalt لترحلت
11 Koun Ma Lahssad   كن ما لحسد
12 Rabia  ربيعة
13 Ma laha kanat jaya  ما لها كانت جايا
14 Al ghiram ma 'inda du  الغرام ما عنده دوا  
15 Mawlan 'ain al tawt مولا عين التوت  
16 Al kanawy  الكناوي
17 Namshi 'amaa bidad  part 1 نمشي عما بضاض  
18 Namshi 'amaa bidad  part 2 نمشي عما بضاض  
19 Sarak Adak  سرك هاداك  
20  Firak Habibi فراق حبيبي  


Benacer Oukhouya & Hadda Ouakki بناصر أوخويا و حادة أوعكي - Marhba a baba


01 Marhaba a baba
02 A tassa
03 Lemhabba
04 Amanou
05 Moulay Driss
06  Ana salite Felmhane
07 Sir ou hanini
08 Lhob iaàrri


Benasser Oukhouya , Hadda Ouakki & Khaduja al Zamurriya بناصر أوخويا و حادة أوعكي و خدوج الزمورية

A1 Waras Idad aw haraz وراس اضاض اوحراز
A2 Idda aw Habibi ادا اوحبيب
B1 Aw ryad al shahqilukh walo اورياد الشحقيلخ والو
B2 Aw ritghint ista اورتغينت استا




Hadda Ouakki - 'ayn Zora عين زورة


01  'ayn Zora  عين زورة
02 Al Munafiqinالمنافقين
03 As-sa'ydy   السعيدي
04 Ahbib al awah al awah  احبيب الاواه الاواه  
05 Amamati Ahna  اميمتي أحنة
06 Amtawan امطاون



Hadda Ouakki & Abdellah Al Zahraoui حادة اوعكي و عبد الله الزهراوي


01 Aghrib  اغريب
02 Makhif ماخف
03 Aghyfshluh  اغيفشلوح
04 Al haq  atafurukh الحق اتفروخ 



 Hadda Ouakki حادة أوعكي


A1  Wardh Sakh Ishan Al-Na’ana’ Ouahiu  ورذ ساخ شان النعناغ او اهيو.
A2  Aimari, Aimari, Aimari Awaa  ايماري ايماري ايماري اوا  
B1 Adhourkat Al zien اذوركات الزين
B2 Aw Imedaghin Assisoud Ou Inhouba  او اميداغين اسيسبوض او اينحوبا  



Hadda Ouakki حادة أوعكي - Fin huwa fin huwa فين هو فين هو



01 Fin huwa fin huwa  فين هو فين هو.
02  Mashi akhsara fik ماشي اخسارة فيك  
03 qalbi makad yasbar  قلبي ماكاد يصبر  
04 Ya al Gharib aw ya al barany   يا الغريب اويا البراني 


Hadda Ouakki & Mghani Muhammad حادة أوعكي و مغني محمد

01 'amani imtawn awra singh ibrdan  Azin  عماني امطاون اورسينخ ابردان ازين  
02  Don awa sal دون أوا  سال    
03 Ra'y'a Ish'ali wafa kulynu   رائعة إشعلي وفا كولينو  
04  Nikhach Awra Ghouri    نيخاش اورا غوري


Hadda Ouakki حادة أوعكي Collection Vol.1


01 Char'a  allah  شرع الله  
02 'ayn Zora  عين زورة  
03 Aalach Khelitini علاش خليتيني  Feat. Sheikh Hamid
04 Imtawne  امطاون   
05 Al Haq intafrukh  الحق اتفروخ  Feat. Abdellah Zahrawy
06 Makhif   ماخف  Feat. Abdellah Zahrawy
07 Nikhach Awra Ghouri    نيخاش اورا غوري  Feat. Mgani Muhammed     
08 As-sa'ydy  السعيدي  
09 Anakin anakin انكين انكين
10 Fin huwa fin huwa  فين هو فين هو  
11 Ra'y'a Ish'ali wafa kulynu  رائعة إشعلي وفا كولينو  Feat. Mghani Muhammed         
12 Al Mochkila Saghira  المشكلة الصغيرة  Feat. Sheikh Hamid
13 Qalbi makad yasbar   قلبي ماكاد يصبر
14 Ghrarin aicha غرارين عيشة  Feat Sheikh Hamid




Hadda Ouakki حادة أوعكي Collection Vol.2


01 Mcha Ma Galha Liya مشا وما ڭالها ليا  Feat Sheikh Hamid
02 Wataymano yamazy dabrumbi   وتايمونو يمازي دبرومبية  
03 Aalwa wmaliha العلوة وماليها  Feat Abdellah zahraoui
04 Makh makh imano  ماخ ماخ امانو
05 Anmoune ababa anmoune imanou  انمون ابابا انمون ايمانو
06 Ahidouss   احيدوس  
07 Saâdi radni labladi السعدي ردني لبلادي Feat Abdellah zahraoui
08 Kolchi Aalflous كلشي عالفلوس  Feat Sheikh Hamid
09 Laam  لام
10 Aha ya mali ala liyam اهايا مالي على الايام  Feat Abdellah zahraoui
11 Maylist  awa  مايليست اوا
12  Aymanao awayshaylikh اماناو اوايشايليخ  
13 Tahidouste تاهيدوست ( Adrough Adrough)
14 Wnayla disiwla haylizidawal ونايلا ديسيولا هايليريداول   
15  Wanaymito ya al'ar وناميتو يا العار
16 Isoule  al zaman ighrin اسول الزمان اغرين
17 Aayta zaariya عيطة الزعرية  Feat Abdellah zahraoui
18 Tahadi tanmo awa wah تاهادي تانمو اوا واه   
19 Allah ya mami habibi lghali الله يا مامي حبيبي الغالي Feat Abdellah zahraoui








sabato 9 ottobre 2021

El Kahlaoui El Tounsi الكحلاوي التونسي


Elie Touitou, better known by the stage name of Kahlaoui Tounsi, is a Tunisian singer and percussionist born on January 24, 1932. He spent his entire childhood in the popular districts of Sidi Maghdoum and Bab Souika, the latter district renowned for its artistic activities, especially during the month of Ramadan. From an early age Elie Touitou was attracted to the art of music and singing showing a keen interest in everything that belongs to the world of rhythm. At the time of his adolescence he was very impressed by the song "Fadhlek ya sayeg El matar" played by the Egyptian singer Mohamed El Kahlawy in the film "Rehba".

The young Elie learned it and sang it several times on several occasions with some success. Encouraged by his friends, he proposed to perform the piece on the program "Le coin des amateurs" produced by the deceased Mustapha Bouchoucha, director of the Music Service at the town radio located in Place Garibaldi. Elie interpreted the song perfectly and was warmly encouraged by Abdelaziz Laroui, host of the program, who proposed that he carry the stage name of "El Kahlaoui Tounsi" from that day on.

Supported and applauded will begin to make a name for himself and will broaden his musical horizon by inserting songs from the Middle Eastern tradition in the repertoire to be added to the reserve of songs belonging to the Tunisian musical culture.

In 1948 he will go to Paris to try a first musical adventure outside the national borders and will work as a percussionist for the Peter's Sisters troupe stationed at the Folies Bergère club. In 1949 he will return to Tunisia where he will complete an apprenticeship in oriental music combined with the sounds of the new emerging genre: jazz. To perfect and deepen the art of rhythm he will travel throughout North Africa, acquiring the musical secrets of Algeria, Morocco and Libya.

At the end of 1951 he will go back to Paris and will be hired as a percussionist for a period of two years at the well-known cabaret "El Djazair" located in the Latin Quarter. He will also record recitals and musical varieties on French radio with several Algerian, Kabyle, Moroccan, Tunisian and French companies.

Returning to his homeland in 1953 he will be hired as a drummer and percussionist of the philamornic orchestra of Radio Diffusion Tunisia, continuing to perfect his musical knowledge by exploring the Bedouin musical universe and its instruments. He will then accompany folkloristic companies specialized in desert music and will deepen the study of instruments such as Zoukra, Mizwad (both instruments similar to bagpipes, the first of the Libyan folk tradition, the second of the Tunisian one), Bendir, Darbouka and Chkacheks (very small cymbals used by the Berber musical tradition). At the end of 1953 he will move to the United States and will give concerts in the most famous clubs. In high demand, he will perform with several famous artists including Harry Belafonte with whom he will attend a concert at Carnegie Hall in New York.

In 1954 he will return to Tunisia to recover his family and move permanently to Paris. Here he will release several records for different labels, including Pathé Marconi, Philips, Teppaz, Phonogram, Barclay and, of course, Dounia, a record company that he will buy in 1960. Known and affirmed, he will travel the world spreading the song and the musical art of his country. In particular, he will devote himself to the performance of the genre called "Aroubi", a sort of premusical spell that has its roots in the Andalusian tradition handed down over the centuries by Sephardic storytellers. During his career El Kahlaoui el Tounsi has composed for various Tunisian artists (Asmham El Tounsia, Oulaya, Hédi Mokrani, Najet Samir, Mohsen Raies), Moroccans (Bahija Idriss, Maati Ben Kacem) and Lebanese (Najah Salam, Mohammed Salmane) and he actively worked to bring out a young Algerian singer who will become a star of the Arab musical firmament with the name of Warda.

Ridha El Kouiny, a famous Tunisian music chronicler and lyricist, wrote of him: "He is one of the symbols and one of the pillars of the Tunisian Jewish percussionists and singers who are attached to authentic Tunisian music, refined or popular in its various forms". Founder of a large orchestra, he regularly welcomes most of the stars of the Arab world who wish to perform in France such as: the Lebanese Wadih El Safi, the Egyptian Ahmed Adawiya, the Syrian Sabah.

Elie Touitou, meglio conosciuto con il nome d’arte di Kahlaoui Tounsi, è un cantante e percussionista tunisino nato il 24 gennaio 1932 . Trascorre tutta la sua infanzia tra i quartieri popolari di Sidi Maghdoum e Bab Souika, quest’ultimo quartiere rinomato per le sue attività artistiche, soprattutto durante il mese del Ramadan. Fin dalla tenera età Elie Touitou è stato attratto dall'arte della musica e del canto dimostrando uno spiccato interesse per tutto ciò che appartiene al mondo del ritmo. Al tempo della sua adolescenza rimase molto colpito dal brano "Fadhlek ya sayeg El matar" interpretato dal cantante egiziano Mohamed El Kahlawy nel film “Rehba”.
Il giovane Elie lo imparò e lo cantò più volte in diverse occasioni riscuotendo un discreto successo. Incoraggiato dagli amici si propose per un esecuzione del brano al programma"Le coin des amateurs" prodotto dal defunto Mustapha Bouchoucha, direttore del Servizio Musicale presso la radio cittadina situata in Place Garibaldi. Elie interpretò perfettamente il brano e fu caldamente incoraggiato da Abdelaziz Laroui, conduttore del programma, che gli propose di portare da quel giorno il nome d’arte di "El Kahlaoui Tounsi". 

Da quel momento El Kahlaoui Tounsisi si dedicherà assiduamente al canto ed entrerà a far parte di varie orchestre conosciute, tra queste l’orchestra di Kakino De Paz e l’orchetra di Sheikh El Asram.

Sostenuto ed applaudito da suo pubblico comincerà a farsi un nome ed allargherà il suo orizzonte musicale inserendo in repertorio brani della tradizione medio orientale da affiancare alla riserva di canzoni appartenenti all cultura musicale tunisina.

Nel 1948 si recherà a Parigi per tentare una prima avventura musicale al di fuori dei confini nazionali e lavorerà come percussionista per la troupe Peter's Sisters di stanza al locale Folies Bergère.

Nel 1949 tornerà in Tunisia dove completerà un apprendistato di musica orientale combinata alle sonorità del nuovo genere emergente : Il jazz . Per perfezionare ed approfondire l’arte del ritmo viaggerà in tutto il Nord Africa acquisendo i segreti musicali dell’Algeria , del Marocco e della Libia.

Alla fine del 1951 si recherà nuovamente a Parigi e verrà assunto come percussionista per un periodo di due anni presso il noto cabaret "El Djazair" situato nel Quartiere Latino. Registrerà anche recital e varietà musicali presso radio francese con diverse compagnie algerine, cabiliche, marocchine, tunisine e francesi. 

Tornato in patria nel 1953 verrà assunto come batterista e percussionista dell’orchestra filamornica di Radio Diffusion Tunisia continuando a perfezionare la sua conoscenza musicale esplorando l’universo musicale beduino e suoi strumenti. Accompagnerà quindi compagnie folkloristiche specializzate nella musica del deserto e approfondirà lo studio di strumenti quali Zoukra, Mizwad (entrambi strumenti assimilabili alla cornamusa,il primo proprio della tradizione folklorica libica , il secondo di quella tunisina), Bendir, Darbouka e Chkacheks ( piccoli cimbali molto utilizzati dalla tradizione musicale berbera).
Alla fine del 1953 si trasferirà negli Stati Uniti e terrà concerti nei locali più rinomati. Molto richiesto, si esibirà con diversi artisti famosi tra cui Harry Belafonte con il quale parteciperà ad un concerto presso la Carnegie Hall di New York.

Nel 1954 tornerà in Tunisia per recuperare la famiglia e trasferirsi definitivamente a Parigi. Qui pubblicherà svariati dischi per diverse etichette , tra queste Pathé Marconi, Philips, Teppaz, Phonogram, Barclay e, naturalmente, Dounia , casa discografica che acquisterà nel 1960.

Conosciuto ed affermato girerà il mondo diffondendo la canzone e l’arte musicale del suo paese. In particolar modo si dedicherà all’esecuzione del genere chiamato “Aroubi” , una sorta di incantesimo premusicale che affonda le sue radici nella tradizione andalusa tramandata nei secoli dai narratori sefarditi.

Nel corso della sua carriera El Kahlaoui el Tounsi ha composto per svariati artisti tunisini ( Asmham El Tounsia, Oulaya, Hédi Mokrani, Najet Samir, Mohsen Raies), marocchini ( Bahija Idriss, Maati Ben Kacem) e libanesi (Najah Salam, Mohammed Salmane) e si è adoperato attivamente per far emergere una giovane cantante algerina che diverrà una stella del firmamento musicale arabo con il nome di Warda

Ridha El Kouiny, famoso cronista musicale e paroliere tunisino, ha scritto di lui: "È uno dei simboli e uno dei pilastri dei percussionisti e cantanti ebrei tunisini che sono attaccati all'autentica musica tunisina, raffinata o popolare nelle sue diverse forme" . Fondatore di una grande orchestra, accoglie regolarmente la maggior parte delle star del mondo arabo che desiderano esibirsi in Francia quali: il libanese Wadih El Safi, l'egiziano Ahmed Adawiya , la siriana Sabah .

El Kahlaoui El Tounsi الكحلاوي التونسي Vol. 1

01 Tensani تنساني
02 Suq al bil سوق البل
03 Al bab Darak عالباب دارك(Kassed Rabi)
04 Yalli Mchiti Ou Ghebti ياللي مشيتي وغبتي
05 Ya Fatna Bezzine يا فاتنة بالزين
06 Kullu min 'ayny كله من عيني
07 Wayn nabatou وين نباتو
08 Habbitik ya zin al zin حبيتك يا زين الزين
09 Sammura سمورة
10 Hayyarni Zinek حيرني زينك
11 Sidi Mansour سيدي منصور
12 Khoulkhal Fatima خلخال فطيمة
13 Al Tufla al halwa al shilula الطفلة الحلوة الشهلولة
14 Jari Ya Hammouda جاري يا حمودة
15 Takwit تكويت
16 Halwa al halwyn حلوة الحلوين
17 Zinek Mahla 'arabiyya زينك ماحلاه يا عربية
18 'Ali al wasada علي الوسادة
19 Duqqu El Kaff دقـّوا الكف
20 Min yawm allly ra'atuk 'ayniمن يوم اللي رأتك عيني


El Kahlaoui El Tounsi الكحلاوي التونسي Vol. 2

01 El Aar Ya El Aar
02 Kabla ya makboula
03 Mabrouk El Arsalik
04 'ala Lousada
05 El mourjana
06 Hai jate el aroussa
07 Ya zahouet bali pt 1
08 Ya zahouet bali pt 2
09 Taalil bar mitzva
10 Zinek Mahla 'arabiyya
11 Taalil L'aaroussa
12 Yalla bina
13 Tah Etkhabel
14 Taalilat El Mtahar
15 Aallomo
16 Solo Darbouka Et Flute


mercoledì 6 ottobre 2021

Al Thulathi al Marih الثلاثي المرح




Entering the Egyptian music scene in the late 1950s, the fun Trio (this is the meaning of the group's name) immediately became a big hit by catching audiences of all ages thanks to its vocal harmonies, friendly and confidential attitude and the ability to convey a very contagious joyful lightness.

The project was born within the Egyptian national radio which at that time began to include new amateur programs in its schedules, both to present new voices and to give the opportunity to new composers to present their work to the general public.

Safa 'Youssef Lotfi and Sana' al-Barouni meet in this context, two girls graduated from the Arab music institute, who begin to perform in the institute's gardens and accompany the group of Salah Aram for some concerts that could boast among the its members artists such as Baligh Hamdi, Muharram Fouad and Maher Al Attar. The two girls will soon be joined by Wafa 'Mohamed Mostafa who also graduated from the same school.

The trio thus formed at an amateur level is noticed by the composer Ali Ismail who decides to actively devote himself to the musical growth of the group that is called by Ismail himself “Al Thulathi al Marih”.

The best Egyptian lyricists and composers are actively involved in the project. In addition to Ali Ismail himself have composed for the trio such authors as: Baligh Hamdi, Mahmoud Sharif, Ahmed Sedky, Muhammad Sultan, Sayed Makkawi, Mounir Murad and Muhammad Al Mouji.

The three girls will then begin to perform, obtaining great acclaim. In their repertoire one could find songs suitable for any social context. The songs they performed on the occasion of Ramadan and Labor Day have become very famous and their performances held at weddings and birthday parties have been very popular. Their repertoire will be enriched over the years with songs dedicated to the most varied anniversaries and commemorations. From songs for religious holidays to those for Mother's Day, from songs for children to songs dedicated to the historical link between Egypt and Sudan, without forgetting the songs dedicated to pure entertainment.
In a short time, the entire Egyptian society was infected by the cheerfulness and optimism of this unusual vocal group,

In a short time, the entire Egyptian society was infected by the cheerfulness and optimism of this unusual vocal group with a truly heterogeneous musical proposal. Their participation in the "'adwa' al madina" festival held in Cairo was much appreciated. Once the group's performance was announced, the audience exploded into a roar of applause. President Gamāl ʿAbd al-Nāṣer himself, present at the evening, has always been a great admirer of the vocal trio.

The group's fame soon spread beyond national borders and the trio performed many songs using the linguistic variants of the countries in which they performed. Great successes have been achieved especially in Iraq, Kuwait and Libya. The revival of some songs belonging to the Libyan musical tradition has allowed the group to have a big applause in the North African country.

While enjoying great success, the group discontinued its activity towards the end of the 1960s. The fact did not happen for personal disagreements or artistic differences but for the different aspirations of the three girls. Wafa 'Mohamed Mostafa, who has always been interested in an academic career, will get a position as an assistant at the prestigious Cairo university of al Azhar and will later travel to Kuwait to teach music theory. Sana 'al Barouni will marry the famous director Hassan Al Imam with whom she will also collaborate professionally by lending her voice to the soundtracks of his films, while Safa' Youssef Lotfi will marry director Sami Abu Al-Nour preferring family stability to lights of the scene.

In recent decades, the rediscovery of the Arab musical heritage has interested various authors and musicians but has left behind realities such as Al Thulathi al Marih. The only record company Radio Martiko has included one of their songs in an album entitled “Zamaan ya Sukkar” dedicated to Arabic pop music of the past. However, lightness and fun are not the only two elements that support the project of the fun trio. Faced with a jaunty and friendly image, the artistic proposal of Thulathi al Marih rests on a very thick artistic basis. If the issues addressed in the texts are familiar to the listener, affecting the everyday social life of a country of Arab / Islamic culture, as regards the music, the composition draws heavily on the entire Arab musical heritage, yes, but in the same way. broadens the horizon to the panorama of western music in its various forms.

Surely the musical proposal seems very simple, but what may appear to be a good product of popular culture actually represents, on a musical level, an important step in the development of pop music of oriental origin too hastily labeled as superficial.






Affacciatosi sulla scena musicale egiziana sul finire degli anni’50, il Trio divertente (questo è il significato del nome del gruppo ) ha immediatamente riscosso un grosso successo facendo presa sul pubblico di ogni età grazie alle sue armonie vocali , all’atteggiamento amichevole e confidenziale e alla capacità di trasmettere una leggerezza gioiosa molto contagiosa.

Il progetto nasce in seno alla radio nazionale egiziana che in quel periodo cominciava a inserire nei propri palinsesti nuovi programmi amatoriali, sia per presentare nuove voci sia per dare l'opportunità ai nuovi compositori di presentare il loro lavoro al grande pubblico.

Si incontrano n questo contesto Safa' Youssef Lotfi e Sana' al-Barouni ,due ragazze diplomate all’istituto di musica araba, che cominciano ad esibirsi nei giardini dell’istituto e accompagnano per alcuni concerti il gruppo di Salah Aram che poteva vantare tra i suoi membri artisti quali Baligh Hamdi, Muharram Fouad e Maher Al Attar . Alle due ragazze si unirà a breve Wafa' Mohamed Mostafa diplomata anch’essa presso la stessa scuola.

Il trio cosi formato a livello amatoriale viene notato dal compositore Ali Ismail che decide di dedicarsi attivamente alla crescita musicale del gruppo che viene chiamato dallo stesso Ismail “ Al Thulathi al Marih”.

Al progetto si dedicano attivamente i migliori parolieri e compositori egiziani . Oltre allo stesso Ali Ismail hanno composto per il trio autori quali : Baligh Hamdi, Mahmoud Sharif, Ahmed Sedky, Muhammad Sultan, Sayed Makkawi, Mounir Murad e Muhammad Al Mouji.

Le tre Ragazze cominceranno quindi ad esibirsi ottenendo un grande plauso. Nel loro repertorio si potevano trovare canzoni adatte ad ogni contesto sociale. Molto famosi sono divenuti i brani da loro eseguiti in occasione della festa del Ramadan e della giornata del lavoro e molto apprezzate sono state le loro esibizioni tenute in occasione di matrimoni e feste di compleanno. Il loro repertorio si arricchirà negli anni di canzoni dedicate alle più svariate ricorrenze e commemorazioni. Dalle canzoni per le festività religiose a quelle per la festa della mamma, dai canti per bambini ai canti dedicati al legame storico esistente tra Egitto e Sudan, senza dimenticare i brani dedicati al puro intrattenimento.

In breve tempo l’intera società egiziana è stata contagiata dall’allegria e dall’ottimismo di questo insolito gruppo vocale portatore di una proposta musicale davvero eterogenea. Molto apprezzata è stata la loro partecipazione al festival “ 'adwa' al madina “ tenutasi al Cairo. Una volta annunciata l’esibizione del gruppo il pubblico è esploso in un boato di applausi. Lo stesso presidente Gamāl ʿAbd al-Nāṣer, presente alla serata, è sempre stato un grande estimatore del trio vocale.

La fama del gruppo si è diffusa presto al di fuori dei confini nazionali e molte sono le canzoni che il trio ha eseguito utilizzando le varianti linguistiche proprie dei paesi nei quali si esibiva. Grandi successi sono stati ottenuti in particolar modo in Iraq, Kuwait e Libia. La riproposizione di alcuni brani appartenenti alla tradizione musicale Libica ha permesso al gruppo di avere un grosso plauso nel paese nord africano .

Pur riscuotendo un grande successo il gruppo interruppe l’attività verso la fine degli anni ‘60 . Il fatto non accadde per dissapori personali o divergenze artistiche bensì per le diverse aspirazioni delle tre ragazze. Wafa' Mohamed Mostafa ,da sempre interessata alla carriera accademica, otterrà un posto come assistente presso la prestigiosa università cairota di al Azhar e successivamente si recherà in Kuwait per insegnare teoria musicale.
Sana' al Barouni sposerà il famoso regista Hassan Al Imam con il quale collaborerà anche professionalmente prestando la sua voce alle colonne sonore dei suoi film, mentre Safa' Youssef Lotfi sposerà il regista Sami Abu Al-Nour preferendo la stabilità famigliare alle luci della ribalta.

In questi ultimi decenni la riscoperta del patrimonio musicale arabo ha interessato vari autori e musicisti ma ha lasciato indietro realtà quali Al Thulathi al Marih. La sola casa discografica Radio Martiko ha inserito un loro brano in un album Intitolato “ Zamaan ya Sukkar” dedicato alla musica leggera araba dei tempi andati.

Leggerezza e divertimento non sono però i soli due elementi che sostengono il progetto del trio divertente. A fronte di un immagine sbarazzina ed amichevole, la proposta artistica del Thulathi al Marih poggia su di una base artistica molto di spessore. Se le tematiche affrontate nei testi risultano familiari all’ascoltatore, interessando la quotidianità della vita sociale di un paese di cultura arabo/islamica, per quanto riguarda le musiche la composizione pesca a piene mani nell’intero patrimonio musicale arabo si, ma allo stesso modo allarga l’orizzonte al panorama della musica occidentale nelle sue varie forme.

Sicuramente la proposta musicale pare molto semplice, ma quello che all’apparenza può sembrare un buon prodotto della cultura popolare rappresenta in realtà ,a livello musicale, un importante passo per lo sviluppo della musica pop di matrice orientale troppo sbrigativamente etichettata come superficiale.





فرقة الثلاثي المرح فرقة غنائية مصرية شهيرة، ظهرت في خمسينيات القرن العشرين، و تميزت بأعمالها الاجتماعية الخفيفة التي تناسب جميع المستويات على اختلافهم

قدمت فرقة الثلاثي المرح لون جديدا من الغناء الذي حاز اعجابا و قبولا كبيرين و كانت و مازالت أغانيهم جميلة و مرحة و ذات مذاق خاص بأداء ممتع . تميزت الكثير من أعمالهم الغنائية بـتناسبهم لمعظم المناسبات المصرية حتى على المستوى الشخصي كالأفراح المصرية و أعياد الميلاد و المناسبات الهامة كشهر رمضان .هذا و قد تعززت شهرة الثلاثي المرح أكثرمن خلال المشاركة في عدة استعراضات ولوحات غنائية مع (فرقة رضا) الاستعراضية

شجى الثلاثي المرح لكثير من شاعري ذلك العصر الجميل أمثال صلاح جاهين، ومرسي جميل عزيز، وصالح جودت، وعبد الفتاح مصطفى. كما لحن لهم كثيرٌ من مبدعي ذلك العصر أمثال علي إسماعيل الذي تبانهم و كذلك سيد مكاوي، ومحمد الموجي، وحلمي بكر، وعبد العظيم محمد، وحلمي أمين، ومنير مراد، وأحمد صدقي، وعبد العظيم عبد الحق، ومن ألحان الموسيقار محمد عبد الوهاب شارك الثلاثي بالغناء في المقطوعة الموسيقية «المماليك»

بدأوا في الظهور من خلال برامج الهواة التي كانت تقدمها الإذاعة المصرية آنذاك لتقديم الأصوات الجديدة و اعطاء الفرصة للظهور و تعريف الجمهور و كبار الملحنيين والكتاب بهم . في بادئ الأمر بدأ كلا من سناء و صفاء ثنائيا جميلا و عملوا فترة قصيرة معا في حديقة معهد الموسيقى الذي درسن به بعدها ألتقوا بـوفاء التي انضمت لهن ليكون أحلي ثلاثي في الطرب من هذا النوع من الغناء الذي تميزوا به . من هنا كانت الفكرة لتشكيل فرقة مشتركة تجمعهن حيث سمعهن الملحن علي إسماعيل و أعجب بهن و تبناهن و أطلق عليهن اسم (الثلاثي المرح) و يعتبر أكثر من لحن لهن هذا الأسلوب الجديد في دنيا الغناء
فرقة الثلاثي المرح كانت تقدم الفقرة الأولى من حفلات عديدة، كونها تبعث دوما جواً من البهجة والتفاؤل في الحفلات التي تشارك بها، خاصة الحفلات الغنائية وليالي رمضان التي تحييها الإذاعة، واستمع اليهن الرئيس الراحل جمال عبد الناصر أكثر من مرة خلال هذه الأمسيات

الثلاثي تكون من وفاء محمد مصطفى و صفاء يوسف لطفي و سناء الباروني (شقيقة سهير الباروني) خريجوا معهد الموسيقي العربية

كان الحلم الأكبر لأي مطرب ان يصل صوته للمستمعين من خلال الإذاعة، فتقدمت وفاء وصفاء وسناء إلى لجنة الاستماع بالإذاعة للحصول على اجازة بالغناء، تحت مسمى (الثلاثي المرح) ،وهي المرة الأولى التي يظهر بها هذا اللون من الغناء

أستعانت بهن كثيرا من الفرق الموسيقية والتي كانت تغني بمصاحبتهم في حفلات عدة في الجامعات و في الأفراح

اشتركن في تقديم العديد من الحفلات الغنائية في كثير من الدول العربية كالعراق، حيث غنين عدة الحان وباللهجة العراقية ومن أشهرها أغنية «أسعد يوم» للملحن العراقي الراحل رضا علي . كذلك، من التراث الليبي غنت الفرقة «يا العنب» .و(ياصغير في صغارنا ) و (تعال يابونا ) سجلة في لبنان من التراث الليبي و في بداية السبعينيات زار الثلاثي المرح الأردن وقدمن حفلة خاصة، تم تسجيلها في استوديوهات التلفزيون الأردني وتخللها معظم أغانيهم الجميلة

اشتركن مع العندليب الأسمر عبد الحليم حافظ في فيلم (يوم من عمري) في أغنية (ضحك و لعب و جد و حب ) مع الفنان عبد السلام النابلسي والفنانة زبيدة ثروت و رغم انه لم يتم الإشارة إلى اسمائهن ضمن مقدمة الفيلم إلا أنهن أضفين على الأغنية جواً من الحيوية والمرح و أعجب بهن المشاهدين جدا

قدمن أغنية (التلفزيون) في مقدمة فيلم (صغيرة على الحب) لسعاد حسني في أواسط الستينات
اشتركن في حفلات (أضواء المدينة) حيث كان يضج المسرح بالتصفيق عندما يعلن المذيع وعلى الهواء مباشرة عن بدء فقرة (الثلاثي المرح) . تميز الثلاثي المرح بصوت جميل لكل من أعضاؤه، فكل واحدة منهن امتازت بصوت جميل وكان يؤكد هذا كل من استمع اليهن في جلسات خاصة وعائلية، عندما كانت وفاء تدندن بصوتها أغاني فيروز وصفاء وهي تستعيد أغاني اسمهان وتترنم سناء باغنيات سعاد محمد
معظم الفرق الثلاثية الغنائية التي ظهرت في مصر لم يحالفها النجاح واعتزلت باكرا لأنها تقليد واستنساخ لفرقة الثلاثي المرح، وبقي الثلاثي المرح متصدراً ومحققاً نجاحات متتالية . حُلّت الفرقة بعد سنوات النجاح هذه و لكن سيظل الثلاثي المرح يذكر كصاحب السبق الأول في تقديم هذا اللون الرائع من الغناء الممتع بالصوت و الأداء المتميز المرح الذي لا يمكن أن ينسى حتى يومنا هذا
قرر أعضاء الثلاثي المرح الاعتزال و هن في قمة تألقهن وشهرتهن، ليس لخلاف بينهن انما بـسبب الزواج . فقد اتجهت وفاء للعمل بـالتدريس ثم انتقلت إلى دولة عربية للعمل . أما سناء فتزوجت من المخرج الكبير الراحل حسن الامام وفضلت الاستقرار الأسري . وصفاء تزوجت أيضاً من المخرج سامي أبو النور . و رغم انقطاعهن عن مواصلة العمل الفني، الا ان صداقة متينة بقيت تجمعهن
استطاع الثلاثي المرح أن يقدم ألوانا عديدة من الغناء كالاوبريتيات الغنائية و أغاني الأعياد كعيد الفطر و عيد الأضحى و عيد الأم (كذلك شدوا للأب) و عيد الإذاعة المصرية و الأغاني الشعبية و الريفية و العاطفية و أغاني الصباح و أغاني الأطفال و أغاني الأفراح و الأغاني الوطنية و الأغاني الدينية و أغاني خاصة بـالترابط التاريخي بين مصر والسودان و أغاني المناسبات المختلفة كمناسبة توقيع الوحدة بين مصر و سوريا و ذكرى ثورة يوليو 1952 و مناسبة بناء السد العالي . التالي 88 أغنية من أجمل ماقدم من الأغنية القصيرة في الغناء العربي





1959 Afreet Samara عفريت سمارة 

1961 Al kharsa' الخرساء 

1961 Yawm min 'omry يوم من عمري 

1962 Shafiqa El Qebteya شفيقة القبطية 

1965 Al Rahiba الراهبة 

1966 Soghayara 'ala al Hob صغيرة على الحب 

1966 Ijaza sayf إجازة صيف  

1967 Gharam fy Al Karnak غرام في الكرنك 

1969 Al helwa Aziza الحلوة عزيزة 




Al Thulathi al Marih الثلاثي المرح Vol.1


01 Al 'utaba jazaz  العتبة جزاز  
02 Hanny 'ayunik هني عيونك     
03 Afrah al'aid  أفراح العيد  
04 Jana al farah  جانا الفرح
05 Mintash khayala ya wala   منتاش خيالى يا ولا
06 Sabah al khayr صباح الخير   
07 Ya 'azizi 'ayny   ياعزيز عيني
08 Ya Asmar يا اسمر
09 Shatti al Ahlam شط الأحلام   
10 Ya Asmar Ya Sukkar يا أسمر يا سكر
11 Al  'ataba Gazaz العتبة جزاز
12 Ya sabah yusa'idu sabahka يا صبح يسعد صباحك
13 Ahu Jihi ya walad  أهو جيه يا ولاد
14 Wahawi ya wahwi وحوي يا وحوي
15 'aisht ya misr  عشت يا مصر  
16  Adif ya Murakibi  أدف يا مراكبي
17 Al warda لوردة   Feat  Sameh El Saghir
18 Ifrah ya banat  افرحوا يا بنات
19 Qalak ayih qalak ah  قالك ايه قالك اه
20 Hamada Hamada Ya sukkar   حمادة حمادة يا سكر   



Al Thulathi al Marih الثلاثي المرح Vol.2


01 Kalimatik ya hubb كلمتك ياحب
02 Al Hawa mayal  الهوى ميال  
03 Anshawda al saqiyya  انشودة الساقية  
04 'awdat ramadan عودة رمضان  
05 Ida 'ala ida  إيد على إيد  
06 Kaduhu ianta kaduhu  كده انت كده
07 Qalu wa qulna  قالوا وقلنا
08 Ya bakhtuhu  يابخته
09 Abdel nasser mahbubuna عبد الناصر محبوبنا
10 Mahr al sabaya مهر الصبايا  
11 Al saqqr wa raki ya hadayya  الصقر وراكِ ياحداية
12 Dayf 'aziz  ضيف عزيز   
13 Hal hilal al sawm wa hal هل هلال الصوم وهل  
14 Milu al badriyya  ملو البدرية   
15 Ituwa al Ayam إطوى الأيام  
16 Famadha  af'al  فماذا أفعل ؟   
17 Qala laka ih   قال لك إيه ؟
18 Salat al naba Ahsan  صلاة النبى أحسن  
19 Ya sarukh 'ala يا صاروخ إعلى   
20 Ya tali'a al shajara  يا طالع الشجرة 





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