Our favorite reissue label, Wewantsounds, offers yet another gem to one of the coolest catalogs around. This album comes from Egyptian diva Nagat, and it’s an example of a type of disco homegrown in Egypt – Disco Arabesquo – which combines the erstwhile dancing style of the 1970s with Arabic beats. Insanely good.
Though it is always with great sadness that modern record labels who release spectacular vinyl editions don’t offer such releases on digital formats for sale, it’s a forgivable sin, as our dear friends at WeWantSounds continue to impress with their choices of artists they so lovingly reissue.
Abdel Halim Hafez is at the peak of his powers at this point of his career, and Mawood is a shining example of the quality of Egyptian music during the early 1970s. The good folks at WeWantSounds explain further at their Bandcamp site:
“Famously sampled by Jay-Z on “Big Pimpin'” for one of his 60s tracks, Hafez is captured here live with his full orchestra including Omar Khorshid on guitar. the album mixes traditional Arabic music with modern instrumentation and shades of 70s groove. ‘Mawood’ is one of Hafez’s all-time classics, written by the legendary composer Baligh Hamdi. This release has been newly remastered for vinyl and features the original LP artwork with a 2 page insert featuring a new liner notes (English/French) by Mario Choueiry (IMA, Paris) who curates Wewantsounds’ Arabic series of reissues.“
From the album press release:
“Born in Lower Egypt in 1929, Abdel Halim Hafez became, during a relatively short career that ended with his death in 1977 aged 48, one of the giants of Egyptian Music and his legend has never stopped growing since. Alongside Oum Kalthoum, Warda, Farid el Atrache and Mohammed Abdel Wahab, Hafez revolutionised Egyptian music and became a hugely popular star across the whole Arab world.
Blessed with striking good looks, Abdel Halim Hafez started his career in the early 50s and quickly attracted the attention of one of the Egyptian radio’s A&Rs who took him under his wing and invited him to perform on the radio. His career went from strength to strength and from 1953, he was associated with the Egyptian revolution led by Nasser. His music mixing tradition and modernity made him one of the most loved singers of the 1950s as he developed a romantic edge that became his signature style (he was dubbed “the dark-skinned nightingale”). In the mid 50s, hot on the heels of his success in music, he launched his acting career in the thriving Egyptian film industry and also became a hugely popular actor.
Hafez worked with the greatest composers of their time including Mohammed Abdel Wahab and Baligh Hamdi who composed ‘Mawood’ (“Promised”).
Recorded live in 1971 (as it was the norm at the time. Singer would rarely record studio albums), ‘Mawood’ is one of the singer’s most recognizable standards. The song stretches over the two sides of the album and consists of several sections alternating instrumental parts and sung ones.
The song, written by Egyptian poet Mohamed Hamza, sees Hafez talking to his heart, apologizing for driving it from failure to failure and concluding that, to find solace, one must keep love at bay. He’s backed by his full orchestra featuring traditional instrumentation and those powerful strings that influenced the likes of Jean-Claude Vannier, together with modern instrumentation including organ and electric guitar by Omar Khorshid adding his unmissable twang to the
ensemble. ‘Mawood’ mixes tradition and modernity and develops into a hypnotic epic full of groove with a superb soulful performance by one of the greatest singers of the 20th century. An undisputed Arabic Music classic which Wewantsounds is delighted to reissue on vinyl for the first time since the 1970s.””
The legendary Habibi Funk will be releasing another scorching release on October 10, 2022. The release will feature a singer called Maha, who hails from Egypt and who worked with Salah Ragab’s Cairo Jazz Band as their main vocalist. There is an amazing backstory you can find on the release’s Bandcamp site, but the most important paragraphs can be read below:
Some years ago, we had released “Al Massrieen,” music which is the passion project of their composer, Hany Shenoda. Most of the music of this band was released by the Sout El Hob label and after our reissue they were happy with the extra visibility allowed us access to their back catalogue to assess whether there might be more projects we might be interested in. Maha’s “Orkos” was immediately a stand out album. A strong and energetic voice equally grounded in jazz as well as Egyptian vocal traditions, singing over instrumentals that offer a very wide range: from the funk sounds of “Law Laffeina El Ard” excursions into Latin music in “Orkos,” to the moody mellow sounds of “We Mesheet.” Nobody at the label really remembered much about the release or Maha herself. At the same time, we knew that this was an album we wanted to turn into a re-release.
While we could license the music from Sout El Hob, we didn’t want to commit to this project without the blessings and involvement by the woman who created it. We called her in late 2021 and she was clearly surprised to have someone call about music she recorded more than 40 years ago. But she also seemed interested in the idea to bring her music back to people’s attention and so the next time we were in Cairo we planned to meet. A few weeks later we were speaking with our friend Moataz, who runs the Disco Arabesquo project and showed him this great new album we found and to our surprise he knew the album, since having found a tape copy of it a year or two ago in Cairo. Thus, it was an obvious decision to team up for a collaboration for this project.
Though I don’t think this banger will be available as a digital download (my friends at Wewantsounds will be happy to clarify this), Sharayet El Disco is going to be an indispensable part of your world disco collection! From the label’s Bandcamp site:
“Wewantsounds is delighted to release ‘Sharayet el Disco’ a selection of Egyptian 80s Disco and Boogie tracks curated by Egyptian DJ Disco Arabesquo from his vast collection of cassettes. Most tracks have never been released on any other format and are making their vinyl debut with this set. A journey through the funky sound of 80s Egypt, Sharayet El Disco (which can be translated by “Disco Cassettes”) features Simone, Ammar El Sherei and more obscure names from Cairo‘s cassette culture. The audio has been remastered for vinyl by David Hachour at Colorsound Studio in Paris and features artwork by young Egyptian graphic designer Heba Tarek.”
A side note – the packaging looks absolutely stunning, and judging by quality of the promotional tracks I’m listening to, the remastering is stellar. Of particular interest is Dr. Ezat Abou Ouf & el four M’s track Gonoun El Disco. It’s a combination of ABBA and cuts from the Saturday Night Fever soundtrack imbued with the spirit of 1970s Cairo’s dancefloors.
Read more about the release at the label’s official website here.
Saudi singer Msylma & Egypt’s Ismael are two musicians who come from the rich Middle Eastern electronic music scene. Msylma’s rich, mournful and introspective voice gives depth and emotion to the electro music produced underneath. I have to admit, though this isn’t the kind of music I normally listen to, it’s so appealing to my ears that I’ll have to see what else these fine folks have produced in the past.
Infinite respect to Éditions Appærent for publishing this fine album.
From the legendary Canary Records Bandcamp site:
From the 1910s through the 1950s, immigrants released 78rpm discs marketed to their own language / ethnic groups, and that practice survived for a century well into the era of the 33rpm, 45rpm, cassette, and CD era. But from the mid-50s though the mid-70s some Greek, Armenian, and Lebanese-Syrians capitalized on the bellydance fad by issuing their recordings to a broader American public. While many of those recordings drew straight from the repertoire of pre-existing bands, some of the resulting LPs represented ad hoc groupings of performers that were unique and, in retrospect, interesting. (See the Canary albums The Cleopatra Record and Marko Melkon – HiFi Adventures in Asia Minor.)
FRKTL is the nom de plume of British-Egyptian composer Sarah Badr, and her work straddles so many genres that it’s quite hard to describe accurately (a wonderful thing, as it means her work is incredibly fresh-sounding).
There are, of course, long, drone-y elements to the music, but once you go into tracks 3 and 4 (Hverfa af himni heiðar stjörnur and Hart er með hölðum, respectively, you start hearing elements of techno (!), bleak synthetic choruses sounding like the angels reciting the liturgy over the bowels of Hades (or, in this case, Hel, in order to maintain a proper cosmology). The pulses are warm, it maintains a consistently interesting rhythm, and the percussive effects sound as though soft bombs are continually going off, gently hitting the ears with a sense of force that somehow remains pleasant.
I trust you, my friends, had a lovely Gregorian-Calendar Boxing Day. I spent mine listening to a Lebanese experimental band called Alif. At least as the liner notes on their Bandcamp site explain, it looks to be a collaboration between Lebanese and Egyptian musicians, and features the talents of the following musicians:
Khyam Allami (Oud)
Tamer Abu Ghazaleh (Vocals/Buzuq)
Bashar Farran (Bass)
Maurice Louca (Keys/Electronics)
Khaled Yassine (Drums/Percussion)
The music is so rich and complex that I’m having a bit of trouble putting to words how to describe it, but the best crack I can give at the moment is that Alif blend elements of traditional music with post-rock, Andalou rock, a vibe of post-punk deep inside of the mix, and a lot of exuberance in the vocals. Really, this is a powerful album that I’m surprised I missed out on, as this was released in 2015.
Sublime Frequencies never ceases to amaze me with the gems they dig up. From their Bandcamp site:
Sublime Frequencies finally unleashes it’s ESSENTIAL compilation from 1970’s Egypt. Modal instrumental tracks from Baligh Hamdi – one of the most important Arabic composers of the 20th Century (writing for legends Umm Kalthum, Abdel Halim Hafez, Sabah, Warda, and many others). Features his legendary group the “Diamond Orchestra” with Omar Khorshid on guitar, Magdi al-Husseini on organ, Samir Sourour on saxophone, and Faruq Salama on accordion. All of these musicians were discovered and recruited by Hamdi to interpret his vision of a modernized, hybrid Arabic music. Under Hamdi’s direction, this orchestra charted a new melodic direction and created a new musical language. This compilation is culled from a specific era of Hamdi’s long career, a decade where he fully realized an international music which incorporated beat driven Eastern tinged jazz, theremin draped orchestral noir, tracks that feature searing guitar solos from none other than Omar Khorshid, and a selection of buzzing, sitar driven, Indo-Arabic tracks establishing a meeting of mid-east and eastern psychedelic exotica, and a vision that created some of the hippest music coming out of the Middle East from the late 1960’s and throughout the 1970’s.
A magnificent composer paired with an obscenely great label. What a perfect match.