Paco Abderrahmane - T'hayyer A Moul al Hal (new rip, remix, remaster)

Here's new digitization of one of my favorite Gnawa cassettes. I shared a version of this back in 2011. I recently obtained a new copy of the tape and a new cassette deck too, so I thought I'd try to improve the sound compared to the earlier version. 

This is an album by Paco Abderrahmane (of Nass el Ghiwane, as the j-card points out). It features 4 songs from the Gnawa repertoire. See my original post to hear me sing the praises of the instrumentation and ensemble.

A couple of things strike me upon listening to this album again. 

1) Paco's singing. It's completely unrestrained and I love it - he reaches for notes and doesn't always hit them, but I'll take his conviction and energy on every failed attempt over a smooth restrained performance any day of the week. 

2) The swing of the guinbri. The way Paco's guinbri lines sit on the beat FEELS different from what I hear from players of the Marrakech school (Boussou, Baqbou, Sam, Baska, et al. ), but I find a similarity with the feel of Mahmoud Guinia's playing - so maybe it's an Essaouira thing. Like maybe they're playing more on top of the beat where the Marrakech players play a little behind it. I may be completely wrong... 

I may also have been wrong to try to remix this cassette. The tracks on side A were recorded or mastered very hot, and the vocals max out in the refrains - even when I split the stems and tried to work on the vocal sound there was not much I could do for the distorted passages. I tried to give some more definition to the guinbri and the tbel barrel drum, but it was a challenge since they exist in a similar frequency range. (I think that's one reason those instruments are not played together very often.)

Anyway, I'm tired of tweaking and re-tweaking the eq, imaging, and other settings. I'm an amateur engineer, so this has been, shall we say, a "learning opportunity" for me. I'm happy with some of the results, and meh with other parts of it. So what I'll do is share my remix as well as a raw rip of the cassette (which is at least an improvement over my 2011 rip). And the music is still fantastic, whichever version you may prefer. 

Raw cassette rip of track 1 (below) for comparison with remix version (above in YouTube clip), if you're interested in that kind of thing:

Best of luck to your teams of choice in the World Cup, or boycott the whole damn thing if you are so inclined.

Thayyer A Moul Al Hal Mâ  تحير امول الحال مع
Paco Abderrahmane باكو عبد الرحمن
(Nass el Ghiwane ناس لاغيوان )
Edition Sonya Disque cassette ESD 322 سونيا ديسك
1993 + Moroccan Tape Stash Remix 2026

A1 Subaîi السباعي
A2 Lyaburi اليابوري
B1 Damman Lbled ضمان البلاد
B2 Lâtfa Lillah العطفة لله

Raw Rip: FLAC | 320
Remix/Remaster: FLAC | 320

Fatima Tabaamrant - Finally!

 

It's about time we got around to posting about La Tabaamrant! Fatima Tabaamrant (b. 1962) is a powerhouse singer, songwriter, and activist for Amazigh and women's rights. In addition to being a pivotal figure in Soussi music, she served as a representative in the Moroccan parliament from 2011-2016, where she became the first person to ever pose a question in the Amazigh language. 

After a troubled childhood and early marriage, Tabaamrant turned to poetry and music as a mode of expression. (Her early life is dramatized in the 1994 film Tihiya, in which she stars.) She spent time working in the troupes of several different rwais (Rais Jami’ Al-Hamidi, Said Ashtouk, Moulay Mohamed Belfaqih, and Mohamed Demsiri) before ultimately striking out on her own in the early 1990s. She was not the first female artist to lead her own troupe in the field of Soussi amarg poetry and song: Rqiya Demsiriya and Fatima Tihihit were two notable predecessors. Tabaamrant, however, distinguished herself by not only singing and leading her own troupe but also composing her own poetry. 

 

Her work has addressed many themes and issues over the years, primarily connected to and in support of Amazigh identity. These include: marginalization, Amazigh culture, land, language and traditions, women's rights, education and parenting, rural vs urban life, history and religion, love and marriage and contemporary topical issues. (She released a song in 1998 mourning Kabyle singer/songwriter Matoub Lounes, who was assassinated in Algeria that year.)

I picked up this cassette in 2012, I believe in Rabat. (Tabaamrant's YouTube channel dates it to 2000.) I don't speak Tachelhit, so I don't know what these songs are about. The main musical style here is a sort of tagroupit augmented with ahwach sounds. On first listen, I thought it was the typical tagroupit electric guitar plus banjo or bouzouki. On second listen, I think it's actually 2 electric guitars: one plucky twangy one and a second warm/fluid one. Additionally, all tracks feature drum accents and punctuations typical of ahwach performance, and the final track adds flutes and clapping to the mix for a big ahwach finale. For fans of quintuple meter (like me), the title track (Track 2) is 14 and a half minutes of fivey goodness!

Fatima Tabaamrant continues to produce new music consistently, incorporating different musical configurations as times change, but always anchored in her poetry and vocal delivery. Follow her on Instagram and/or Facebook, and subscribe to her YouTube channel, where she dropped this new track AN HOUR AGO:

Fatima Tabaamrant  فاطمة تبعمرانت
Nekkay Igan Anafal نكى أيڭان أنفال
Afraou Cassette 295 افواو كاسيط

 

A1 Tezwit Rzmed Ousafar تزويت رزمد أسفار
A2 Nekkay Igan Anafal نكى أيڭان أنفال
B1 Ikhfnouhan Ikhfinou أيخفنوهان إخفنو
B2 Alalla Noumad Oufigh أللانوماد أفيغ

FLAC | 320

 

SOURCES CONSULTED:

• Femmes du Maroc (FDM).  "Fatima Tabaamrant: 'c’est le public qui donne le ton à mes concerts'". 2022-07-16. https://femmesdumaroc.com/archives/fatima-tabaamrant-cest-le-public-qui-donne-le-ton-a-mes-concerts
• Hawamich. "فاطمة تبعمرانت.. من طفولة قاسية إلى صوت للهوية الأمازيغية [Fatima Tabaamarant.. From a cruel childhood to a voice for Amazigh identity]". 2025-09-22. https://hawamich.info/10504/
• Oudadene, Hassane. "Rwāys and Tirruyssā: A Symbolic Site of Amazigh Identity and Memory." Jadaliyya, Nov 1, 2021. https://www.jadaliyya.com/Details/43446
• Talmenssour, Abdelâali. "Rraysa Fatima Tabaâmrant: Figure emblématique de la chanson amazighe traditionnelle du Sud marocain", Moenia, 20 (2014), 215-230. https://hispadoc.es/servlet/articulo?codigo=7541628

Toudadine - Songs of Lhoucine Amentag, Tagroupit-Style

This tape comes to us courtesy of Peter at the still active, still great มนต์รักเพลงไทย blog. The group is called Toudadine. I gather that the word toudadine is the female plural in Tachelhit for the Barbary sheep (ewes). The male plural for these sheep (rams) is oudaden, which is of course the name of a renowned Soussi group that originated the tagroupit style in the late 1970s/early 1980s. 

We posted about Oudaden and tagroupit here back in 2015. Briefly, tagroupit originated in the 1980s as a sort of return to traditional Soussi rhythms and melodies as well as love songs. It was seen as a "return" in light of the 1970s innovations of the earlier, more eclectic and political tazenzart style that originated with the group Izenzaren. This 1980s return to traditional melodies by Soussi artists reminds me of the rise of new chaabi groups in 1980s Casablanca like Noujoum Bourgogne and Toulati el Farah who were also "returning" to traditional sources and lyrical themes in distinction to the 1970s proliferation of eclectic and political groups like Nass el Ghiwane.

This cassette by Toudadine is in a sort of pop-tagroupit style. It features the typical electric guitar and banjo, but 3 of the 4 tracks also feature a keyboard, and the rhythm sounds like programmed beats throughout. The group is fronted by what sounds like 2 female singers singing in unison, with a group of men as choral responders. The j-card flap reads:

أغاني متنوعة - كلمات وتلحين الحاج الحسين أمنتاك
Various Songs – Lyrics and Composition by Lhaj Lhoucine Amentag

Lhoucine Amentag (not to be confused with Hmad Amentag) was a well-known singer and composer in the rwayes/amarg tradition. My ear thinks that the first song on this Toudadine tape may not be one of Amentag's: it seems to have more of a pop structure than the other 3 songs, and the lyrics keep coming back to the word "Toudadine", so I wonder if it might be an original song of the Toudadine group.

I didn't find any information about the group online. There are several video clips of a Toudadine group uploaded by Production Disco, but they are clearly a different group - the female vocals are in a different register, it seems about 20 years removed from the group in our cassette, and the songs are very poppy, despite the traditional banjo/guitar accompaniment. (The commenters on the video clips of this group are 50% complaints about their clothes and 50% defending them for having nice voices, despite their terrible clothes. E.g., here.)

Google identified one of the songs on this cassette as "Ahbib Nyan Zound Lkhatam", credited to a "Toudadine Amazigh". Perhaps LVEM rebranded the recordings with this name to avoid confusion with the other fashion-challenged Toudadine group 😅.

Speaking of Rais Lhoucine Amentag, you can find a swell cassette of his over at Moroccan Tapes and another one at TRAD & FOLK MUSIC ON 33RPM & TAPES. I used one of the tracks from the Moroccan Tapes cassette in a mix I recently produced for Radio Is A Foreign Country called "Buzz, Rattle & Scratch: Grainy Timbres of Moroccan Music". Check that out HERE - it's a buzzy, rattling, scratchy good time!

Toudadine تودادين
La Voix El Maarif cassette 461 صَوت لامعَارف

FLAC | 320