Africa music reviews

This music is great. I heard the song titled "Sahra" back in 1997, when my dad played it in his car. I was like who is this guy? I love REGGAE, SOCA, CALYPSO, ZOUK, COMPA, & AFRICAN MUSIC. All those six big genres and their sub genres fall under what I call The "REGGAE CATEGORY." This music is a mix of tropical, arabic, reggae funk, and true african falvors that reach through all borders. Khaled is truly a talented perfromer,singer, and writer. I am just surprised that he is not popular in America. If he had a RAI concer North America, I guarantee, many americans would have a "RAI" craze. Anyone reading this, I strongly recommend you buy this cd, if you do not like it, sell it back or give it to a friend. But give it a chance and it will grow on you. This music is great, it falls right under African-Algerian music. I promise you will not be disappointed.

Reggae Forever!

For me, this is THE quintessential Khlaed album of all time. It combines many different styles of music from around the globe, each piece masterfully written. The gritty voice of Cheb Khaled is unbelievably beautiful, and highly entertaining. I do not speak Arabic, but the lyrics are great to listen to. What's nice about this album is that Khaled combines some Spanish (Ki Kounti with Saul Hernandez) and French (Aicha and Oran Marseille) into the record. The title song is particularly good. Sahra combines strings of an Arabic flare with some upbeat dance rhythms that make it a very catchy tune, along with the synthesizers and percussion. I do not particularly care for rap, but the IAM solo on "Oran Marseille" is REALLY entertaining. Plus, it's not offensive when you don't understand a word of French rap. Other notable songs on this alum include the classic "Aicha", the beautifully orchestrated "Mektoubi" (complete with a great horn section and sax solo) and "Ki Kounti" which combines traditional Arabic music with typical Spanish music with a funky flare. This is a great album. Every tune is very catchy, and it's gtreat music for the heart and soul.

There is a subtle jazzy sound to this CD when compared to some of Khaled's other releases, as well as a mix of styles, but this master of the rai genre excels at them all. Some superb musicians are included, and I especially like "Detni Essekra", which reminds me of a tango, with its emphasis on piano (Boyan Zulfikapasic), stringbass (Bernard Paganotti) and accordion (Philippe Eidel).
"Ki Kounti" is another gem; recorded in Los Angeles, it is a duet with Saul Hernandez, composer and lead singer for Mexico's well known rock band Jaguares, and is sung partially in Spanish.
Three tracks were recorded in Jamaica, and have a marvelous bouncy reggae feel to them: "Lillah" has a terrific brass accompaniment, "Ouelli El Darek" nifty background vocals by the "I Threes", and "Mektoubi" is an all-out big band number.

My two favorites would be "Wahrane Wahrane", which like a traditional Arabic pop song has a string arrangement similar to what one would have heard backing the classic Egyptian singers of a generation ago, and the final track, "Hey Ouedi", with its mystical quality, is quite thrilling, with instruments seeming to imitate the sound of ululation.
"Oran Marseille" with rap group IAM, only works half-way for me (I like the Khaled parts and the instrumentation), but perhaps that is because I do not care for rap music. "Aisha" is a signature song for Khaled, and always great to hear.

Khaled is a pioneer of rai music, and his title of "King of Rai" is well deserved; with his gritty expressive voice, he has brought this music to every corner of the earth. Also recommended is his CD "Kutche", and the live performance album with Faudel and Rachid Taha, "1, 2, 3 Soleils".
Khaled co-wrote all the songs except "Hey Ouedi", which he wrote alone, the sound is excellent, the insert foldout has recording info but no liner notes or lyrics, and total time is 51'51.

This music is great. I heard the song titled "Sahra" back in 1997, when my dad played it in his car. I was like who is this guy? I love REGGAE, SOCA, CALYPSO, ZOUK, COMPA, & AFRICAN MUSIC. All those six big genres and their sub genres fall under what I call The "REGGAE CATEGORY." This music is a mix of tropical, arabic, reggae funk, and true african falvors that reach through all borders. Khaled is truly a talented perfromer,singer, and writer. I am just surprised that he is not popular in America. If he had a RAI concer North America, I guarantee, many americans would have a "RAI" craze. Anyone reading this, I strongly recommend you buy this cd, if you do not like it, sell it back or give it to a friend. But give it a chance and it will grow on you. This music is great, it falls right under African-Algerian music. I promise you will not be disappointed.

Reggae Forever!

For me, this is THE quintessential Khlaed album of all time. It combines many different styles of music from around the globe, each piece masterfully written. The gritty voice of Cheb Khaled is unbelievably beautiful, and highly entertaining. I do not speak Arabic, but the lyrics are great to listen to. What's nice about this album is that Khaled combines some Spanish (Ki Kounti with Saul Hernandez) and French (Aicha and Oran Marseille) into the record. The title song is particularly good. Sahra combines strings of an Arabic flare with some upbeat dance rhythms that make it a very catchy tune, along with the synthesizers and percussion. I do not particularly care for rap, but the IAM solo on "Oran Marseille" is REALLY entertaining. Plus, it's not offensive when you don't understand a word of French rap. Other notable songs on this alum include the classic "Aicha", the beautifully orchestrated "Mektoubi" (complete with a great horn section and sax solo) and "Ki Kounti" which combines traditional Arabic music with typical Spanish music with a funky flare. This is a great album. Every tune is very catchy, and it's gtreat music for the heart and soul.

There is a subtle jazzy sound to this CD when compared to some of Khaled's other releases, as well as a mix of styles, but this master of the rai genre excels at them all. Some superb musicians are included, and I especially like "Detni Essekra", which reminds me of a tango, with its emphasis on piano (Boyan Zulfikapasic), stringbass (Bernard Paganotti) and accordion (Philippe Eidel).
"Ki Kounti" is another gem; recorded in Los Angeles, it is a duet with Saul Hernandez, composer and lead singer for Mexico's well known rock band Jaguares, and is sung partially in Spanish.
Three tracks were recorded in Jamaica, and have a marvelous bouncy reggae feel to them: "Lillah" has a terrific brass accompaniment, "Ouelli El Darek" nifty background vocals by the "I Threes", and "Mektoubi" is an all-out big band number.

My two favorites would be "Wahrane Wahrane", which like a traditional Arabic pop song has a string arrangement similar to what one would have heard backing the classic Egyptian singers of a generation ago, and the final track, "Hey Ouedi", with its mystical quality, is quite thrilling, with instruments seeming to imitate the sound of ululation.
"Oran Marseille" with rap group IAM, only works half-way for me (I like the Khaled parts and the instrumentation), but perhaps that is because I do not care for rap music. "Aisha" is a signature song for Khaled, and always great to hear.

Khaled is a pioneer of rai music, and his title of "King of Rai" is well deserved; with his gritty expressive voice, he has brought this music to every corner of the earth. Also recommended is his CD "Kutche", and the live performance album with Faudel and Rachid Taha, "1, 2, 3 Soleils".
Khaled co-wrote all the songs except "Hey Ouedi", which he wrote alone, the sound is excellent, the insert foldout has recording info but no liner notes or lyrics, and total time is 51'51.

Benjamin Gate were a South African Christian alternative rock band led by female vocalist Adrienne Liesching. ("The actual Benjamin Gate was one of the original gates in the walls of ancient Jerusalem that they used to herd the young sheep through," explains the band's drummer, Brett Palmer. "For us, that directly relates to youth, and our music being a gateway between the church and the world." Now you know where the odd name comes from...) They released 2 albums before breaking up when Liesching wed fellow Christian rocker Jeremy Camp. Along the way, the group traded in gnarly guitar riffs but with plenty of "techno" touches (phased keyboards and filtered vocals) and the powerhouse tender or tough vocals from 19 year old Adrienne. The comparisons to Garbage are probably about the best in terms of sonics, though this group tends to be "heavier" than Garbage usually is.

HIGHLIGHTS:
"All Over Me", the big radio hit, is undoubtedly the finest tune here. The charging "Blow my Mind" is an all-out assault on the senses coupling a throbbing club drumbeat with a thick instrumental track full of production tricks. It's probably the most "techno" song here. "Lay it Down" overcomes its weak chorus (say "lay it down" again and again and again...) with sheer shredding guitar power and vocal fury. "Hands" is a beautiful but menacing piano ballad that resembles Evananescence's huge hit "My Immortal" (though it predates it by 2 years). It proves Liesching has the voice for ballads.

LOWS:
Biggest criticism overall is boring choruses lyrically. As another reviewer pointed out, they're often nothing more than the song's title ad infinitum and as a result sap the power away from a lot of the songs. "Rush" probably is the worst offender where the chorus is "Your grace/Your grace/Your grace/Your grace/Oh Jesus/Oh Jesus". (No, really, that's it..) The tragic part is the song has a VERY cool Psalm 1 rap but it's hard to take it fully seriously in the midst of the rest of the lyric.

BOTTOM LINE:
After 4 years of distance, this album doesn't sound as good to me as I once thought. The music's still phenomenal but it's harder not to snicker at the lyrics on some of the tracks. Worth having for the best tracks but not one that will be a favourite of mine in 10 years or so.

POSTSCRIPT:
There's a hidden track (sort of) called "(Did you Know that) I Love You?" It's track 77 on the CD.

Now, I may not be the best guy to judge music, but I've really enjoyed this CD and keep on coming back to it. As a Christian Band, the Gate has deeply engrained their beliefs into their music, in other words, you can tell. Nice rocking sounds most of the time, good vocals, found these guys (and girl) through pandora.com and simply had to have the CD.

The more you listen to this music, the more you will like it. As an American that has been to South Africa twice, I find their adventurous and stalwart character represented here yet again in their stand for their faith in Jesus Christ. One can only have admiration and appreciation for this project. May you be once again reminded of the greatness of God and his unlimited compassion in this cd as I have been.

On this album, the production trims the focus away from dense production stacked with walls of guitar atmospherics and technoish keyboards drifting in and out of the mix and instead focuses on "cleaner" guitar lines. The lyrics (a bit of a downfall for the last one) are quite a bit better here, avoiding much of the repetitiveness that undercut many tracks on the last one. Perhaps it's all the influence of wunderkind producer Charlie Peacock, whose name turns up here as co-executive producer with David Bach and who's been responsible for producing much of the most memorable Christian pop and rock of the last 10 or so years.

HIGHLIGHTS:
The debut began with mediocre track "How Long?" On this one, the Gate comes out swinging with radio hit "Lift Me Up", a soaring sonic merry-go-round celebrating the promise of Jesus' eventual return to Earth. The 'whoa-oh-oh-oh' hook to "This is Not" is infectious. "Do What you say" issues a challenge to spend more time living a TRUE Christian life rather than merely "doing what we should". ("We're here to love and not be manipulated/And that should never be understated/Let's see what we've got here/Let's take it on...") A completely revamped cover of 80s Men at Work hit "Overkill" also sparkles. "Your Kisses Blind Me" uses a unique image to try and express the wonder of knowing God ("Beautiful you are to me/Moon above a raging sea..")

LOWS:
There's still a couple songs where the words aren't up to snuff but at least they're at the end. Chorus to "Violently" is "Fight/Got to fight/Got to fight to get thru/Got to reach/Got to reach/Till we find you". Same thing with "Fall Away" ("I fall away/away/away..")

BOTTOM LINE:
In every way a step up from the debut. One can only wonder where they might have gone had the band not broken up. This one has a pretty good consistency to it and I think will probably still be listenable as time goes on.

POSTSCRIPT:
Keep listening after "Fall Away" for a hidden version of "The Calling" that's a little more raw than track 3.

3 1/2 stars

The more you listen to this music, the more you will like it. As an American that has been to South Africa twice, I find their adventurous and stalwart character represented here yet again in their stand for their faith in Jesus Christ. One can only have admiration and appreciation for this project. May you be once again reminded of the greatness of God and his unlimited compassion in this cd as I have been.

I heard the song "The Calling" on the radio before this CD came out, and I recognised Adrienne's voice straight away, me being a huge fan of The Benjamin Gate. Their music has a quite unique sound, one that is not too poppy, but catchy enough to sing along to.

This CD in particular is not my favourite CD of theirs, but it is definitely deserving of five stars. They did an amazing cover of "Overkill" by Men At Work, along with giving some of their old demos facelifts and including those on here. It's great to hear how Adrienne's voice has matured on this album, and the musicianship is impeccable. The only reason I don't really like this CD as well as "Untitled" is it seems to be a bit too polished, with too much ForeFront and not enough Benjamin Gate going on. Their older sound seems more raw and more untamed, along with their songs seeming more varied on their older CDs.

This CD is very much worth buying, but don't buy it and not any of their older CDs. If you're gonna buy this one, you should also pick up "Untitled" if you can.

When I listen to a song and I like it, I have the tendency to buy the cd, even if I know nothing about the other songs. Well, sometimes the surprise is not positive whatsoever, basically I have to put up with a bad album with one good song, but in this case I have to say that I'm very, very pleased with most of the other songs. Iemanja is still my favorite, and the reason why I bought this cd. Ms. Kidjo has done a superb job exploring the links between his hometown in Africa and Bahia. Sarava Angelique!

Someone donated this to a thrift store, unopened, and I am the lucky girl who found it for only a dollar! Well, I'm a happy girl, because all the songs are delightful...Ms. Kidjo has a lovely voice and well-suited to her Afro-Brazilian rhythms...Tumba, tumba, tumba!

This could be Kidjo's best ever, although she's still young, and no doubt, has more tricks up her sleeve, as the more recent, Caribbean-influenced OYAYA! would indicate. This collection of songs is largely inspired by Brazilian music, but as usual, Ms. Kidjo likes to mix things up, so her Aftican rhythms combine with French, South American and other shadings, and most of the melodies here are not only beautiful, but memorable; "Iemanja" and the kora-backed "Okan Bale" are particularly lovely. Even the fairly commercial duet with Dave Matthews is fine, and the one track I've heard on the radio, "Tumba" is joyfully infectious. Angelique Kidjo is an international treasure who has grown as a singer. She has become subtler, while retaining the power and soulfulness that first caught my attention in the early '90's. If you have the opportunity, catch Kidjo live, as she is an energetic, animated stage performer who can move even the most reserved audience to dance in the isles!

Zap Mama has described their own sound as "Afropean," meaning the mixture of European (or Western) hooks and instrumentation with the authentic African vocal stylings from group leader Marie Daulne's homeland. This is a very fun album but unfortunately there's a little too much of the Western and not enough of the non-Western. The main problem here is the many different types of music behind the group's vocals. As Zap Mama were once an acapella group, they're now backed by hip hop, funk, electronica, and R&B in alternating songs, leading to an album that is not very cohesive. This is what happens when too many producers and guest stars meddle with a group's basic sound. I do admit that the funk in "Allo Allo" is really swinging, but some of the music here just plain doesn't work. The predictable drums-n-bass beats in "Call Waiting" and limp R&B in "My Own Zero" really undermine Marie's seductive lead vocals and the ladies' unique African harmonizing. The best songs on this album are those that don't stray too far from Zap Mama's true roots in African vocal techniques, and that's no coincidence. The winners are "W'Happy Mama," "Gissie," and "Ya Solo." So while the music on this album is sometimes exasperating and detracts from the group's sound, overall the day is saved as Marie is an excellent singer and the group's harmony techniques are very intriguing.

Note: My copy of this album has two limited edition tracks - the soundtrack item "Iko Iko" which is a predictable cover song; and a remix of "Rafiki" which differs from the original only by having less melody and adding a useless rap overdub. Don't worry if you can't find a copy with these extra tracks because they're not essential.

I borrowed this cd from a friend and have kept it for almost a year. It is what I always listen to in my car and at home. Zap Mama's collaboration with The Roots is going to break down barriers in music. It's smooth grooves and soft vocals will put you in a good mood any time you listen to it.

Any CD or album recognized as a classic, generally warrants such accolades within it's own genre. After listening to "a ma zone" repeatedly for years after it's release, I've concluded that the term "classic" for it's own genre (whatever that may be) sells this special CD short. Zap Mama has come up with a universal gem of all contemporary musics combined. Simply put, one of the greatest musical projects I've ever listened to. By mixing instrumental, electronic, and vocal dynamics within brilliant yet simple compositions, these angelic artists take you on an emotional ride of orgasmic proportions. Abstract as the Cocteau twins and as sophisticated as Les Nubians, Zap Mama succeeds in sounding like neither. Fusing elements of funk, alternative, jazz, hip-hop and so much more, this CD provides a flawless "must have" masterpiece for the eclectic ear. Rated 5 stars only `cause 6 wasn't an option.

Zap Mama has described their own sound as "Afropean," meaning the mixture of European (or Western) hooks and instrumentation with the authentic African vocal stylings from group leader Marie Daulne's homeland. This is a very fun album but unfortunately there's a little too much of the Western and not enough of the non-Western. The main problem here is the many different types of music behind the group's vocals. As Zap Mama were once an acapella group, they're now backed by hip hop, funk, electronica, and R&B in alternating songs, leading to an album that is not very cohesive. This is what happens when too many producers and guest stars meddle with a group's basic sound. I do admit that the funk in "Allo Allo" is really swinging, but some of the music here just plain doesn't work. The predictable drums-n-bass beats in "Call Waiting" and limp R&B in "My Own Zero" really undermine Marie's seductive lead vocals and the ladies' unique African harmonizing. The best songs on this album are those that don't stray too far from Zap Mama's true roots in African vocal techniques, and that's no coincidence. The winners are "W'Happy Mama," "Gissie," and "Ya Solo." So while the music on this album is sometimes exasperating and detracts from the group's sound, overall the day is saved as Marie is an excellent singer and the group's harmony techniques are very intriguing.

Note: My copy of this album has two limited edition tracks - the soundtrack item "Iko Iko" which is a predictable cover song; and a remix of "Rafiki" which differs from the original only by having less melody and adding a useless rap overdub. Don't worry if you can't find a copy with these extra tracks because they're not essential.

I borrowed this cd from a friend and have kept it for almost a year. It is what I always listen to in my car and at home. Zap Mama's collaboration with The Roots is going to break down barriers in music. It's smooth grooves and soft vocals will put you in a good mood any time you listen to it.

Any CD or album recognized as a classic, generally warrants such accolades within it's own genre. After listening to "a ma zone" repeatedly for years after it's release, I've concluded that the term "classic" for it's own genre (whatever that may be) sells this special CD short. Zap Mama has come up with a universal gem of all contemporary musics combined. Simply put, one of the greatest musical projects I've ever listened to. By mixing instrumental, electronic, and vocal dynamics within brilliant yet simple compositions, these angelic artists take you on an emotional ride of orgasmic proportions. Abstract as the Cocteau twins and as sophisticated as Les Nubians, Zap Mama succeeds in sounding like neither. Fusing elements of funk, alternative, jazz, hip-hop and so much more, this CD provides a flawless "must have" masterpiece for the eclectic ear. Rated 5 stars only `cause 6 wasn't an option.

If I ever get invited to be on that NPR Harrisburg radio show "Desert Island" where you play selections of the 10 albums that you absolutely must have with you to continue your life in the deepest, happiest, most connected way possible (or something like that), this will be at the top of my list. Where it's been for the last 9 years, a refreshing fountain always ready when you need it. And you can dance to it.

Great music that combines the Gypsy, Moorish and Mediterranean influences with some Cuban rythm! If you are proud of your roots like me, you will enjoy the album and the other two that follow.

Deep-rooted, authentic music you might expect to hear in some far off land ... The stringed instruments, wind-blow instruments, drums, percussion & vocals provide just the right blend of natural sounds. The raw, earthy male vocals remind one of haunting gypsy music - the liner notes provide a translation: lost love, yearning to be recognized and fulfilled. Passionate emotions, almost groaning from within, rumbling like a volcano ready to erupt, revealing feelings only Meditarranean male vocalists can produce.

"Rumba Argelina" the mysterious title of this CD unfolds like a bud which blooms in the spring: the rain showers come and go, the green leaves unfurl on the trees, the flowers bloom, the cycle of nature is complete. The music here is fresh, original, exotic and mysterious. If gypsy or Middle Eastern music appeals to you: you will love this CD. Erika Borsos (erikab93)

Faudel is one of rai's brightest stars, but in this first CD, he only partially succeeds; a partial success from Faudel however is probably better than the best from many singers. He has an excellent voice, and in these songs sounds youthful and sweet, and not what one usually associates with rai music. He tends to sing in a higher register than he does in his subsequent albums, and his voice does not have the colorations and mature musicality that it has on his 2nd effort, "Samra".

Favorite tracks: "Omri": A flamenco flavored number with terrific guitar work.
"Abadou": Faudel sings in a throatier voice on this track and sounds great, and the song has the feel of a more traditional Arabic melody.
"N'Sel Fik": Here Faudel is joined by Samira Cherraj for a rousing version of the song made a hit by the duo of Fadela and Sahraoui; this track is terrific and "real rai", with no "pop" sugarcoating.
Faudel fans will also like his hit "Tellement n'Brick", which is given a second "hip hop" version on track 12, and the title song is given an "oriental" version on track 13.
If you're looking for an authentic sounding rai CD, you will only like "N'Sel Fik", if you're a devoted Faudel fan, you'll enjoy it.
Sung in a mix of Arabic and French, the sound is good, and total time is 57'58.

Baida is excellent album from Faudel that spotlights this young singer's exceptional talent. The CD is fused with Arabic rhythms, North African beats, French lyrics, R&B, pop, and a host of other musical stylings. This has got to be one of the best CDs that represent rai music.

"Anti" opens the album with an upbeat tempo and is followed by the uplifting "Eray." "Tellement n'Brick" is Faudel's breakthrough French single that best highlights his talent. "Dis-moi" is a political outpouring expressing the frustrations of the beur generation in France. "Omri" is yet another great song with Spanish influence sung entirely in Arabic. "La valse" is not a high-point and "Baida" is another generally good song. "Miskin" is an up-tempo song that is almost reminiscent of Culture Club beat fused with Indian rhythms. "Abadou" is a slow yet soothing piece and "N'Sel Fik" is a fast beat duo with a girl. "Ma vie" is yet another take on frustrations of the beurs. The remix for "Tellement n'Brick" was really unnecessary and very inferior to the original track. Yet the remix for Baida is better orchestrated on the final track remix.

The fusion of the all the different sounds is very innovative and it is what makes the opus truly groundbreaking. This is a must have for anyone who needs a little flavor in his music collection.

Our western aproach to music is very different than eastern ways, sometimes even when you are not understanding a damn thing what singers are saying, you can feel that they are so close to true emotions and that they are really bare souls searching for non-terrestrial comunication.
Fortunately once Khaled passes away, we'll have another "chosen one" among us, and it's this boy.
The first time I listened to the tittle song, I felt so vulnerable that I was even ashamed of myself.
Buy this cd and prepare yourself for a sublime experience, half of it it's a bit edgy since he mixes hip-hop, techno-pop and other western styles with rai (now an essence within the style) but the other songs are so great that you will never regret.

Faudel is one of rai's brightest stars, but in this first CD, he only partially succeeds; a partial success from Faudel however is probably better than the best from many singers. He has an excellent voice, and in these songs sounds youthful and sweet, and not what one usually associates with rai music. He tends to sing in a higher register than he does in his subsequent albums, and his voice does not have the colorations and mature musicality that it has on his 2nd effort, "Samra".

Favorite tracks: "Omri": A flamenco flavored number with terrific guitar work.
"Abadou": Faudel sings in a throatier voice on this track and sounds great, and the song has the feel of a more traditional Arabic melody.
"N'Sel Fik": Here Faudel is joined by Samira Cherraj for a rousing version of the song made a hit by the duo of Fadela and Sahraoui; this track is terrific and "real rai", with no "pop" sugarcoating.
Faudel fans will also like his hit "Tellement n'Brick", which is given a second "hip hop" version on track 12, and the title song is given an "oriental" version on track 13.
If you're looking for an authentic sounding rai CD, you will only like "N'Sel Fik", if you're a devoted Faudel fan, you'll enjoy it.
Sung in a mix of Arabic and French, the sound is good, and total time is 57'58.

Baida is excellent album from Faudel that spotlights this young singer's exceptional talent. The CD is fused with Arabic rhythms, North African beats, French lyrics, R&B, pop, and a host of other musical stylings. This has got to be one of the best CDs that represent rai music.

"Anti" opens the album with an upbeat tempo and is followed by the uplifting "Eray." "Tellement n'Brick" is Faudel's breakthrough French single that best highlights his talent. "Dis-moi" is a political outpouring expressing the frustrations of the beur generation in France. "Omri" is yet another great song with Spanish influence sung entirely in Arabic. "La valse" is not a high-point and "Baida" is another generally good song. "Miskin" is an up-tempo song that is almost reminiscent of Culture Club beat fused with Indian rhythms. "Abadou" is a slow yet soothing piece and "N'Sel Fik" is a fast beat duo with a girl. "Ma vie" is yet another take on frustrations of the beurs. The remix for "Tellement n'Brick" was really unnecessary and very inferior to the original track. Yet the remix for Baida is better orchestrated on the final track remix.

The fusion of the all the different sounds is very innovative and it is what makes the opus truly groundbreaking. This is a must have for anyone who needs a little flavor in his music collection.

Our western aproach to music is very different than eastern ways, sometimes even when you are not understanding a damn thing what singers are saying, you can feel that they are so close to true emotions and that they are really bare souls searching for non-terrestrial comunication.
Fortunately once Khaled passes away, we'll have another "chosen one" among us, and it's this boy.
The first time I listened to the tittle song, I felt so vulnerable that I was even ashamed of myself.
Buy this cd and prepare yourself for a sublime experience, half of it it's a bit edgy since he mixes hip-hop, techno-pop and other western styles with rai (now an essence within the style) but the other songs are so great that you will never regret.