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

           

 

 

  Filmography

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   

HERE

 

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 

 HERE

 

 

 

Hamid Baroudi حميد البارودي

Hamid Baroudi is an Algerian singer born on February 20, 1960 in Tiaret, a city in south-western Algeria located near the Atlas Mountains.

Thanks to his mother, a figure to whom he is very close, he comes into contact with the melodies of the Algerian tradition.

In 1973 he performed for the first time at a high school interpreting some hits of the time including: "Black Magic Woman" by Carlos Santana and "Let It Be" by the Beatles. Compared to many of his contemporary Algerian artists, Hamid differs in the interest he has in Western sounds.

This interest led him to take part in some bands dedicated to rock rather than North African sounds. Among these : "les Emirs", the "Triangle" and the "Tagdemt".


At the end of high school, animated by a strong artistic impulse and supported by his paternal grandmother who blesses him with a Khamsa as a wish for his musical future, Hamid moved first to France and then to Germany.

In Kassel, a city in northern Hesse, Hamid follows a course of study at the city university, focusing on film direction with a particular focus on animation. Music, however, remains his great passion and often skips university courses to devote himself to animating the evenings in the various clubs of the city, evenings that consolidate his reputation as a musical innovator, dynamic actor and social activist.

1981 will be the turning point. Hamid comes into contact with the musical group Dissidenten (rib of the famous German rock group Embryo), who invites him to participate in the nascent project as a singer. He obtained a first great success with the song "Telephone Arab", which he interpreted, taken from the 1986 album entitled "Life At The Pyramids".

Together with the group he records 3 albums over the course of six years and performs on stages all over the world establishing important contacts that will ensure him a future in the field of music.


In 1990, having ended his experience with the German group, Hamid dedicated himself to a solo career and in 1991 made his first hit song. Entitled "Caravan to Baghdad", the piece deals with the theme of the Gulf War and can be considered the artist's political and musical manifesto.

In fact, with this first work Hamid Baroudi proposes what will become his trademark. : a mestizo musical style, which some call ethno pop, which amalgamates typically Algerian sounds (Rai, chaabi, Oranese music) with Afro-Brazilian grooves, rap, funky rhythms, Gnawa music and western-style pop.
A musical mix rich in intercultural nomadic influences that politically takes sides in support of the oppressed and which speaks to "all those who hope to live in a world without racism, fanaticism, violence, war or borders".

After the success of the song, he began working on the realization of his first long-distance work. Released in 1994, the album entitled "" City No Mad "consolidated the reputation and respect for the musician and made him known globally.

In 1997 he released his second album entitled "Five". Title chosen appropriately because the songs that compose it are sung in five different languages: Arabic, English, French, Spanish and Wolof from West Africa. Each of the ten songs on the album was recorded in a different city (Algiers, Seville, Cairo, Paris, London, Berlin, Tokyo, Sidney, Toronto and San Francisco), on five continents.

In 2001 his third album "Sidi" was released, which continues the artist's musical discourse and includes a cover of "El Bareh", a song composed by Mahboub Bati, a great innovator of the Algerian Chaabi.

During his career he performs all over the world thanks to the freshness of his musical proposal. His albums can boast the presence of musicians from all over the globe and his constant commitment to multiculturalism finds an admirer in Peter Gabriel who in 2001 chose him to represent the Maghreb on the occasion of a great concert held in London whose profits will go towards the fight against AIDS.

Hamid Baroudi 's site











Hamid Baroudi è un cantante algerino nato il 20 febbraio 1960 presso Tiaret, città dell'Algeria sud occidentale sita a ridosso dei monti dell’atlante.
 
Grazie alla madre, figuraa alla quale è molto legato, entra in contatto con le melodie della tradizione algerina.
 
Nel 1973 si esibisce per la prima volta presso una scuola superiore interpretando alcuni successi dell’epoca tra i quali : "Black Magic Woman" di Carlos Santana e "Let It Be" dei Beatles. Rispetto a molti artisti algerini suoi contemporanei Hamid si differenzia per l’interesse che nutre verso le sonorità occidentali .


Questo interesse lo porta a militare in alcune band dedite al rock più che alle sonorità nord africane. Tra queste vi sono "les Emirs",i "Triangle" e i "Tagdemt".


Alla fine delle scuole superiori, animato da un fortissimo impulso artistico e sostenuto dalla nonna paterna che lo benedice con una Khamsa come augurio per il suo futuro musicale, Hamid si trasferisce prima in Francia e quindi in Germania.
 
A Kassel,città dell’Assia settentrionale, Hamid segue un corso di studi presso l’università cittadina indirizzandosi verso la regia cinematografica con una particolare attenzione verso l’animazione. La musica rimane comunque la sua grande passione e spesso salta i corsi universitari per dedicarsi ad animare le serate nei vari club della città, serate che consolidano la sua reputazione di innovatore musicale, attore dinamico e attivista sociale.


Il 1981 sarà l’anno della svolta . Hamid entra in contatto con il gruppo musicale Dissidenten ( costola transfuga del famoso gruppo rock tedesco Embryo), che lo invita a partecipare al nascente progetto in qualità di cantante. Ottiene un primo grande successo con il brano “ Telephone Arab”, da lui interpretato , tratto dall’album del 1986 intitolato “ Life At The Pyramids” .
 
Insieme al gruppo registra 3 album nel corso di sei anni e si esibisce sui palchi di tutto il mondo stabilendo contatti importanti che gli assicureranno un futuro nel campo della musica.

Nel 1990, terminata l’esperienza con il gruppo tedesco, Hamid si dedica alla carriera solista e realizza nel 1991 la sua prima canzone di successo . Intitolato "Caravan to Baghdad”, il brano affronta il tema della Guerra del Golfo e può essere considerato il manifesto sia politico che musicale dell’artista.
 
Infatti con questo primo lavoro Hamid Baroudi propone quello che diverrà un suo marchio di fabbrica. : uno stile musicale meticcio , che alcuni definiscono etno pop, che amalgama sonorità tipicamente algerine ( Rai, chaabi, musica oranese) con groove afro-brasiliani , rap, ritmi funky ,musica Gnawa e pop di matrice occidentale .

Una miscela musicale ricca di influenze nomadi interculturali che si schiera politicamente a sostegno degli oppressi e che parla, secondo le intenzioni dell’artista , a “tutti coloro che sperano di vivere in un mondo senza razzismo, fanatismo, violenza, guerra o frontiere”.
 
Dopo il successo del brano inizia a lavorare alla realizzazione del suo primo lavoro sulla lunga distanza.Uscito nel 1994 l’album intitolato “"City No Mad" consolida la fama e il rispetto per il musicista e lo fa conoscere a livello globale .
 
Nel 1997 esce il suo secondo album intitolato “Five”. Titolo scelto in modo appropriato poiché le canzoni che lo compongono sono cantate in cinque lingue diverse : arabo, inglese, francese, spagnolo e Wolof dell'Africa occidentale. Ognuna delle dieci canzoni dell'album è stata registrata in una diversa città (Algeri, Siviglia, Il Cairo, Parigi, Londra, Berlino, Tokyo, Sidney, Toronto e San Francisco), in cinque continenti.


Nel 2001 vede la luce “Sidi”, suo terzo album, che prosegue il discorso musicale dell’artista e include una cover di "El Bareh", canzone composta da Mahboub Bati, grande innovatore del Chaabi algerino.


Nel corso della sua carriera si esibisce in tutto il mondo grazie alla freschezza della sua proposta musicale . I suoi album possono vantare la presenza di musicisti provenienti da ogni parte del globo e il suo costante impegno a favore della multiculturalità trova un estimatore in Peter Gabriel che nel 2001 lo sceglie per rappresentare il Maghreb in occasione di un grande concerto tenutosi a Londra i cui profitti saranno destinati alla lotta contro l'AIDS.


Sito Ufficiale









Hamid Baroudi حميد البارودي - Caravan II Baghdad

01 Tagdemt
02 Errihla
03 Fatima
04 Caravan II Bagdad
05 Ayli Ayli
06 Caravan II Bagdad 


HERE




Hamid Baroudi حميد البارودي ‎– City No Mad

01 Desert Roots
02 Salama
03 Caravan II Baghdad
04 Song For Boudiaf
05 Moulana
06 Fatima
07 Streets Of Algiers
08 African Soul
09 Alash


HERE



Hamid Baroudi حميد البارودي ‎– Five

01 Trance Dance
02 Alone
03 Tell Me
04 Lila
05 Casablanca Exile
06 Columbus
07 Anarchie
08 Tea In Marrakesh
09 Macumba
10 Mama Tamba



HERE




Hamid Baroudi حميد البارودي ‎– Sidi

01 Sidi
02 Gourara
03 Afrobahia
04 Ghaddar
05 El Bareh
06 Walah Walah
07 Ça Bouge
08 Water
09 Hambra
10 Baraka
11 Helena


HERE

Beiroutiat Vol. 1-3 بيروتيات جزء ٣ - ١

Beautiful collection in three Lp, which photographs the pop music scene of Beirut in the period between the late 70s and early 80s. There is also a version in CD that consists of 5 Volume .... but we like vinyl . Good listening.



Beiroutiat Vol. 1   بيروتيات جزء  ١

A1 Mona Marachli منى مرعشلي - Ya Chamsee Oumri Ghibi يا شمس عمري غيبي
A2 Joseph Nemnom جوزيف نمنم - Ala Tourkat El Madini على طرقات المدينة
A3 Dora Bandali دورا بندلي - La Tjafi Kalbi لا تجافي قلبي وتروح
A4 Giselle Nassr جيزيل نصر - Mahassibak محاسيبك
B1 Elie Choueri ايلي شويري - Ya Jaretna يا جارتنا
B2 Saad Halawi سعد حلاوي - Leila Leila ليلى ليلى
B3 Joseph Abou Malchab جوزيف أبو ملهب - Chaara Eli Sareh شعرها اللي سارح
B4 Adnan Fakhr El Dine عدنان فخر الدين - Warde Wa Gheniye ورده وغنية
B5 Ihssan Al Mounzer إحسان المنذر - Rakset Al Farah رقصة الفرح


Beiroutiat Vol. 2 بيروتيات جزء ٢

A1 Nadia Bendali ناديا بندلي - Seni Betsabeq Seni سني بتسابق سني
A2 Edgar Samaan ادغار سمعان - La Tkoulili Benssa لا تقوليلي بنسى
A3 Edgar Samaan ادغار سمعان - Safarna سافرنا
A4 Adnan Fakhr El Dine عدنان فخر الدين - Mini Inti Mini مني انت مني
B1 Giselle Nassr جيزيل نصر - Ghayarou Al Assami غيروا الاسامي
B2 Elie Choueiri ايلي شويري - Hazak Kalil حظك قليل
B3 Joseph Nemnom جوزيف نمنم - Lawayn لوين...
B4 Joseph Abu Malhab جوزيف أبو ملهب- Sylvana سيلفانا
B5 Joseph Abu Malhab جوزيف أبو ملهب - Mariella مرييللا


Beiroutiat Vol. 3 بيروتيات جزء ٣

A1 Ragheb Alame راغب علامة - Mabrouk مبروك
A2 Ragheb Alame راغب علامة - Abalek Nagham عبالك نغم
A3 Adonis Akl أدونيس عقل - Men Jemha من جمعه
A4 Sobhi Mourad صبحي مراد - Em Almarioul El Nely ام المريول النيلي
B1 Farid Iskandar فريد اسكندر - Dalli Zkirine ضلّي اذكريني
B2 Ragheb Alame راغب علامة - Boukra Byoubroum Doulabek بكرا بيبرم دولابك
B3 Khodr Nasser Al Dine خضر ناصر الدين - Hazoura حزورة
B4 Khodr Nasser Al Dine خضر ناصر الدين - Baddi Amelek Joki بدي اعملك جوكي
B5 Sobhi Mourad صبحي مراد - Bayi Am Yesmah Akhbar بيّي عم يسمع اخبار

HERE

Arab tunes mixtape # 38 - Contemporary Arab Tunes

A Mixtape that takes a look at the contemporary Arab music scene. The sonic incursions of Hello Psycaleppo, the vocal harmonies of Emel Mathlouti, the post punk of Kaleb and Smokable, the futuristic Electro Chabi of Islam Chipsy.
A heterogeneous Mixtape, which photographs (partially) one of the most electrifying scenes on the planet.


Arab tunes mixtape # 38 - Contemporary Arab Tunes

01 Sofiane Saidi - Gasbah Ya Moul Taxi
02 47 Soul - Sabah
03 Bu Kolthoum - Zamilou
04 Mashaa Ramle - Ya Bu Rdayyen Ft Enas el Said
05 Kelab - Al yawm al'alamy lilrajul
06 Emel Mathlouthi - Thamlaton
07 Al Akhareen - Ana Al Aaris
08 Islam Chipsy - EL Kahraman
09 Love & Revenge - Batwaness Bik in
10 Maryam Saleh, Maurice Louca, Tamer Abu Ghazaleh - El Shahwa Wel Soaar
11 Yasmine Hamdan - Al Jamilat
12 Hello Psychaleppo - Anqa
13 El Rass - You still cant belly dance b
14 Nadah El Shazly - Afqid Adh-Dhakira
15 Smokable - Jacket Jeld
16 Aqsa Alwasat - Eshrabini

HERE

Arab tunes mixtape # 38 - Contemporary Arab Tunes from lazyproduction on 8tracks Radio.

OUM أم - Zarabi

01 Nia
02 Lila
03 HNA
04 Jini
05 Ah Wah
06 Wali
07 Mansit
08 N' Nay
09 Saadi
10 Veinte años

HERE



 

Dalida داليدا ‎– Arabian Songs الأغاني العربية

 

Dalida (pseudonym of Iolanda Cristina Gigliotti, Cairo, January 17, 1933 - Paris, May 3, 1987) was a Franco-Italian singer and actress who has had her greatest success from the late fifties to early eighties.

Dalida was born in Choubrah (the gates of Cairo) in a large Italian community, originating Calabrian parents of Serrastretta, in the province of Catanzaro, median between two brothers, Orlando and Bruno. His father, Peter, was concertmaster of the Cairo Opera.
At seventeen she won the beauty contest Miss Ondine and, then, Miss Egypt which will open to her the doors of the cinema. In the movie “Land of the Pharaohs” , shot in 1954, she was double for Joan Collins; in 1954 she joined the cast of The Masque de Toutankhamon (The mask of Tutankhamen) and Sigarah wa kas (A glass, a cigarette).
In 1956, she inspired by the 1949 film Samson and Delilah, adopting the Art name of Dalila , which changes later in Dalida (shortly after his arrival in Paris, on the advice of the writer Albert Machard ) and recorded her first record on vinyl with “Madona” , the French version of “Barco negro” by Amalia Rodrigues, will be followed by “Bambino” (translation of Neapolitan song Guaglione), which had great success coming first in France for 39 weeks in 1957, so much so that Dalida was nicknamed Mademoiselle Child. With “Bambino” Dalida wins his first gold record.

For all the years ‘60,’70 and ‘80 will continue her career as an actress and singer with considerable acclaim, performing throughout Europe and in Egypt, performing works of different authors and different backgrounds.
Her private life is dotted with several mishaps that greatly contribute to sap her will to live. She dies in fact committed suicide on the night of 2 and 3 May 1987.

The year before herdeath, the artist embarks on a trip to Cairo, in the places of her childhood, for the interpretation of the Saddika character in the film “Le sixième jour” (The Sixth Day) by Egyptian director Youssef Chahine.
For the presentationl of the movie  has  been choose a Cinema in  Choubra, the neighborhood where the singer lived when she was a  child.

In conjunction with this event is published in Egypt a tape containing several songs she interpreted in Arabic. The cassette will be reissued on CD in 2003 in a more appealing look titled "Dalida Sings Arabic".

In 2009 appeared a new extended version titled "Dalida Arabian Songs" with new songs and remixes of some old songs, packaged in an even more appealing .

 


Dalida (pseudonimo di Iolanda Cristina Gigliotti; Il Cairo, 17 gennaio 1933 – Parigi, 3 maggio 1987) è stata una cantante e attrice franco-italiana che ha avuto il suo maggior successo dalla fine degli anni cinquanta fino ai primi anni ottanta.

Dalida nasce a Choubrah (alle porte del Cairo) in una grande comunità italiana, da genitori calabresi originari di Serrastretta, in provincia di Catanzaro, mediana fra due fratelli, Orlando e Bruno. Il padre, Pietro, era primo violino all'Opera del Cairo.
A diciassette anni vince il concorso di bellezza Miss Ondine e, poi, Miss Egitto che le apre le porte del mondo del cinema. In " La regina delle piramidi" , girato nel 1954, fu controfigura di Joan Collins ; nel 1954 entra a far parte del cast di "Le Masque de Toutankhamon" (La maschera di Tutankhamon) e di "Sigarah wa kas" (Un bicchiere, una sigaretta).
Nel 1956, ispirandosi al film del 1949 Sansone e Dalila, adotta il nome d'arte Dalila, che cambia in seguito in Dalida (poco dopo il suo arrivo a Parigi, su consiglio dello scrittore Albert Machard ) e registrail suo primo disco su vinile con " Madona", versione francese di "Barco negro" di Amalia Rodrigues, al quale seguirà "Bambino" (traduzione della canzone napoletana Guaglione), che ebbe grande successo arrivando prima in Francia per 39 settimane nel 1957, tant'è che Dalida fu soprannominata mademoiselle Bambino. Con "Bambino" Dalida vince il suo primo disco d'oro.

Per tutti gli anni 60,70 e 80 proseguirà la sua carriera di attrice e cantante con notevoli consensi esibendosi in tutta Europa e in Egitto, eseguendo brani di diversi autori e di diversa estrazione.
La sua vita privata è costellata da diverse disavventure che contribuiranno notevolmente a fiaccare la sua voglia di vivere. Muore infatti suicida la notte fra il 2 e il 3 maggio 1987.

L’anno precedente alla sua morte l’artista intraprende un viaggio al Cairo, nei luoghi della sua infanzia, per l'interpretazione del personaggio di Saddika nel film "Le sixième jour " (Il sesto giorno) del regista egiziano Youssef Chahine.
Per la prima internazionale del film si sceglie un cinema a Choubra, il quartiere dove la
cantante ha vissuto da bambina.
In concomitanza con questo evento viene pubblicata in Egitto una cassetta che contiene vari brani da lei interpretati in lingua araba . La cassetta sarà ristampata nel 2003 su Cd in una veste più accattivante intitolata "Dalida Sings Arabic".

Nel 2009 è apparsa una nuova versione intitolata " Dalida Arabian Songs" ampliata con pezzi nuovi e remix di alcuni vecchi brani, confezionata in una veste ancora più accattivante 


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Dalida  داليدا  ‎–   Arabian Songs  الأغاني العربية  
 

 

01 Helwa Ya Balady حلوة يا بلدي
02 Ahssan Nass أحسن ناس
03 Salma Ya Salama سالمة يا سلامة
04 Lebnan لبنان
05 Aghany Aghany أغاني أغاني
06 Gamil El Soura جميل الصورة
07 Ahssan Nass (Istrumental) موسيقى أحسن ناس
07 Flamenco "Oriental" (Italian version)
08 Salma Ya Salama سالمة يا سلامة (Version 2)
09 Aghany Aghany أغاني أغاني (Remix Version)
10 Helwa Ya Balady حلوة يا بلدي (Remix Version)
11 Ahssan Nass أحسن ناس ( Egyptian Remix)
12 Ioi T'Amerò (Spanish Version)
13 Dalida Dalida داليدا داليدا


HERE

Arab tunes mixtape # 33 - Pop music will elevate your soul

Cover by Mohammed Mousa

After a mixtape consisting of pop songs that kill your soul, it seemed appropriate to me to balance everything. Here then this new collection. Tracks found here ranging enough and affecting pop music in the broadest sense of the term. They do not represent the best of what the Arab scene has produced in recent years, but are just a selection of things that, when I want a bit 'of lightness, I like to listen.

Pop with a soul
 
Dedicated to open minds.






Dopo un mixtape costituito da canzoni pop che ti uccidono  l'anima ,  mi sembrava corretto  equilibrare il tutto . Ecco allora questa nuova raccolta. I brani qui  contenuti  spaziano abbastanza e interessano la musica pop nel senso più ampio del termine. Non rappresentano il meglio di quanto la scena araba ha prodotto nel corso degli ultimi anni, ma sono semplicemente una selezione delle cose che, quando voglio un po' di leggerezza, mi piace ascoltare. 

Pop con un anima 

Dedicato alle menti aperte.



Arab tunes mixtape # 33 - Pop music will elevate your soul

01 El Ayadi El Khafeyya - Makanet el Ahlam
02 Youssef Abado - Khalas Ma'lesh
03 Osama Elhady Feat . Zahra - Baa'd El Salam
04  Djazia Satour -  Dhikrayat
05 Jam Tkseer -  qaseeda shrera
06  Random House   - suhour  feat Krist Alzou'bi
07 Michelle & Noel - 3al Jamal bi wasat Beirut
08 Luka Blue - Hashrab Hashish
09 Ala Wardi - Fi Hagat (Nancy Ajram Cover)
10 Joujma - Mel Fadda
11 Ruba Shamshoum - Fuqaati
12 Abu - Ahwak
13  Mike Massy - Ya zaman
14 Zeid & the Wings - Chouei 
15 Fish Samak - Fy hadni al Ihtilal
16 Haya Zaatry -  Manakir
17 Bil3aX -  3alam
18 It will be wonderful - Mamnoua
19 Ana Rayha  -  Aal Sham

HERE

Arab tunes mixtape # 33 - Pop music will elevate your soul from lazyproduction on 8tracks Radio.

Arab tunes mixtape # 32 - Pop music will kill your soul

Image taken from the porn film "Women of the Middle East"

 It might seem that this mixtape is born of a sudden moment of madness, but there is an explanation.

A couple of friends (let's call Alessandro & Alessandra), regulars of holiday resorts around the world, challenge my musical publications claiming that i never place the one that is the real Arab music.
 they refer of course to the music played in the tourist centers frequented by them which consists mainly in stereotypical pop songs performed by female singers that my grandmother would have called ,speaking out, little sluts .
Now, it would be unfair to use this term in reference to the world of pop singers from the Arab world, pop is not always synonymous of  low cultural level and debauchery, but there is no doubt that there is a music genre that exploits the sexual factor for commercial purposes.

 Mainly responsible for the spread of the majority of the plasticized pop music in the Arab world is the Rotana Group, plain known as Rotana.
It is the largest entertainment company in the Arab world  that includes:
  a film production company (Rotana Studios), a magazine (Rotana Magazine), a television (TV Rotana), seven music channels (Rotana Radio), a record label (Rotana Records).

 Owner of 'imposing group is Saudi Prince Al Waleed bin Talal.

 It seems paradoxical that a member of one of the most obscurantist countries propose on his network starlets provocative running absolutely secular songs, allusive and saturated with sexual references, but the reality is exactly this.

 A significant example of this trade policy is offered us by the Lebanese / Egyptian  singer   Haifa Wehbe (present in this mixtape with the song Ebn El Halal). Each video in the network of this golden voice is little short of disgraceful, a real carnal performance.

 A strong disturbance welcomed her  movie  "Halawet Rooh" Egyptian remake of the Italian movie  "Malena" made years ago by Giuseppe Tornatore. Haifa Wehbe plays the role that was of  Monica Bellucci sending into raptures the large group of excited males who allowed the film to cash   988,000 Egyptian pounds in the first week of programming.

So, while with one hand  the  Saudi monarchies  financed Islamic groups with the intent to impose Islamic law in the world (but this is the version that provide us newspapers, TV and politicians, the truth in fact turns out to be dark) with the other, the great principles, devastate culturally  the entire Arab world saturating it with  asses and tits (not discovered to be honest) with the sole purpose of numbing the thought of the masses.


 It happens then that the couple of friends mentioned at the beginning (like most  of the Western population that believes being informed by the pay television and social networks) believe that the real Arab music is the one sent by Rotana and ignore the most interesting and culturally advanced musical reality that the Arab world is giving birth in recent years.

 The cover of the mixtape is meant to represent just that: a female disturbing that holding at the leash a dazed male from its forms. The female is Rotana and its trade policies, while the male is all those who sell their ideas in exchange for a fleeting satisfaction of the senses.

 I hope that Alessandro & Alessandra are pleased with this compilation.


Dedicated to all the dumb users who follow the stupid programs broadcast by the new digital channels.



P.S. : If you had not understood it : Rotana is crap !!!





 


Potrebbe sembrare che questo mixtape sia nato da un improvviso momento di follia , ma esiste una spiegazione.

Una coppia di amici (chiamiamoli Alessandro & Alessandra) , assidui frequentatori di villaggi turistici in giro per il mondo, contestano le mie pubblicazioni musicali sostenendo che non pubblico mai quella che è la vera musica araba. Si riferiscono ovviamente alla musica propinata dai centri turistici da loro frequentatati che consiste prevalentemente in stereotipate canzonette pop eseguite da cantanti femmine che mia nonna avrebbe definito ,senza mezzi termini, piccole sgualdrine.

Ora , sarebbe ingiusto usare tale termine in riferimento all ’intero corpus delle cantanti pop provenienti dal mondo arabo , pop non è sempre sinonimo di basso livello culturale e dissolutezza, ma è indubbio che esista un filone musicale che sfrutta l’ammiccamento sessuale per scopi commerciali .

Responsabile principale della diffusione della maggior parte della musica pop plastificata nel  mondo arabo è il Rotana Group , semplicemnte conosciuto come Rotana.

Si tratta della più grande società di intrattenimento del mondo arabo che comprende :
una casa di produzione cinematografica (Rotana Studios), una rivista (Rotana Magazine), una televisione (Rotana TV), sette canali musicali (Rotana Radio), un'etichetta discografica (Rotana Records).

Propietario dell’ imponemte gruppo è il principe saudita Al-Waleed bin Talal.

Sembra paradossale che un esponente di uno dei più oscurantisti paesi del mondo proponga sui suoi network divette sculettanti che eseguono canzoni assolutamente profane , allusive e sature di richiami sessuali , ma la realtà è esattamente questa.

Un esempio significativo di questa politica commerciale ci viene offerto dalla cantante libano/egiziana Haifa Wehbe (presente in questo mixtape con il brano Ebn El Halal ). Ogni video presente in rete di questa ugola d’oro è poco meno che vergognoso , una vera e propria esibizione carnale . Molto scalpore ha suscitato il suo fim “ Halawet Rooh “ remake egiziano della pellicola italiana “ Malena “ realizzata anni fa da Giuseppe Tornatore. Haifa Wehbe riveste i panni che furono di Monica Bellucci e manda in visibilio il folto gruppo di maschi assatanati che hanno permesso al film di incassare 988,000 lire egiziane solo nella prima settimana di programmazione.

Quindi, mentre da un lato le monarchie saudite finanziano gruppi islamici con l’intento di imporre la legge coranica al mondo intero ( ma questa è la versione che ci propinano giornali, tv e politici, la verità nei fatti risulta essere oscura ) dall’altro, i grandi principi ,devastano culturalmente l’intero mondo arabo saturandolo di culi e tette ( non scoperti a dire il vero ) con il solo scopo di intorpidire il pensiero delle masse.

Succede allora che la coppia di amici menzionata all’inizio ( come gran parte della popolazione occidentale che ritiene di essere informata dalla tv a pagamento e dai social network) creda che la vera musica araba sia quella trasmessa da Rotana  ed ignori le più interessanti e culturalmente avanzate realtà musicali che il mondo arabo sta partorendo in questi ultimi anni.

La copertina del mixtape vuole rappresentare proprio questo : una femmina conturbante che tiene al guinzaglio un maschio inebetito dalle sue forme . La femmina rappresenta Rotana e le sue politiche commerciali mentre il maschio rappresenta tutti coloro che svendono il loro pensiero in cambio di un effimero appagamento dei sensi .

Spero che Alessandro & Alessandra siano soddisfatti di questa compilation.

Dedicato a tutti gli ottusi utenti che seguono gli  stupidi programmi trasmessi dai nuovi canali digitali .


P.S. : Se non si fosse capito : Rotana è merda !!!





 Arab tunes mixtape # 32 - Pop music will kill your soul

 01  Melissa  - Jazeeret el Hob
 02 Gehan Rateb - Ediny Forsa
 03 Najwa Karam - 'artiwu qalby lamyn
 04 Amira eisawy - Rooh W Ensani
 05 Dounia Batma - Badri
 06 Maya Diab - Dabu 'ainik
 07 Darine - Aiwa
 08 Haifa Wehbe - Ebn El Halal
 09  Nancy Ajram -  Fe Hagat
 10 Ranin -  Habib Alby
 11 Myriam Fares -  ma yanni al naum
 12 Ruby  - 'a khayr
 13 Shakira -  El Kamoun
 14  Diana Dakwar-  Ah Ya Baba
 15 Yara - Salemoly
 16 Arwa - Ya moumayyaz
 17 Reem  - Tamer Amor
 18 Sabine  -  Barkouli Ya Banat
 19 Rosy  - Daket Mehbajek
 20 Shams  - Ashtah
 21 Reeda - Mashi Ya Zaman
 22 Rola Saad - ida ida 


 HERE

Arab tunes mixtape # 32 - Pop music will kill your soul from lazyproduction on 8tracks Radio.