Another Rouicha banger for your digital cassette rack. I obtained this tape recently. One of my favorite Rouicha tapes is TCK819 (now reupped in FLAC!), so I wondered whether TCK820, whose j-card features the same photo and yellow color scheme, might come from the same session and might be as jamming or be in a similar vein.
I've been trying to get my mind around the Rouicha discography for a while. He has released so many recordings over the years, the largest chunk being the cassettes on Tichkaphone. Between Discogs, various other online sources, and what I have on hand, I've identified almost 80 individual cassettes released on Tichkaphone, dating I would guess from the early 1980s to the mid-2000s. Like most Moroccan tapes, none of them list a release date or copyright date. One can assume that the catalog number listed on the cassette j-card indicates the sequence in which they were released. That may be so, but it's not clear whether the music contained on those cassettes was newly recorded at the time of release or had been sitting in the can for some time. As I related in my first Rouicha post in 2011, I visited the Comptoir Marocain de Distribution de Disques in Casablanca, which also served at that time as the headquarters of Tichkaphone. This would have been in around 2001. I was told that they had around 30 albums worth of Rouicha recordings that had not yet been released. It would sure be nice to know when the various songs and albums were recorded and released.
One think I noticed while compiling my list of Tichkaphone cassettes is that they appear to be released in groups of 2, sometimes 4 consecutive catalog numbers. In most of these cases, one release would feature songs in the Tamazight language while its companion release would be in Moroccan Arabic darija. Doubling up the production one each release would seem to maximize the appeal to the different linguistic audiences.
Back to the tape at at hand - it is the Tamazight companion to the Arabic release TCK819. It is excellent, but it does not feel or sound like the same session, despite the consecutive catalog numbers. Where TCK819 has a warm, dynamic sound, this one is thin, sounding almost like an AM radio broadcast compared to an FM broadcast. With the miracle of modern music apps, I was able to warm up and fill out the sound to give the lotar more of the round, low-end sound we know and love, and to give the bendir more of that good boom and buzz. I think it turned out alright and I don't think these songs are online anywhere else. Enjoy!
It's been a minute since we posted any ahwach - the communal song and dance performance tradition from Tachelhit-speaking regions of Morocco. Ahwach can take on very different forms from place to place or from occasion to occasion. Today's cassette presents an ahwach recording by artists from Tafraoute, led by the singer Othmane Azoulid. We actually posted a tape (now re-upped in FLAC) featuring Azoulid back in 2013. That tape featured an all-male ensemble. Today's tape is an ahwachn'tferkhine - a type of ahwach that features a seated male drum group accompanying a group of female singers. (The work tfrkhine means "young girls" in Tachelhit.) There are quite a few videos on YouTube of ahwach n'tferkine. In some varieties, women's heads are adorned by ornate headdresses. In others, their heads are completely covered by individual white sheets. And in others, as pictured on this cassette's j-card, the women stand shoulder to shoulder in a line and a single long cloth covers all of their heads.
This cassette contains a studio recording of ahwach songs, and the audio quality is very good. Particularly nice is the stereo separation between the different bendir frame drums, which take turns providing rhythmic punctuations. (Actually, on second listen, I think this is just a single bendir, just being panned left, right, or center in the mix to liven up the mix.) And the âwad flutes coming in at the end of some tracks are the icing on top of a lovely cake of naqqus, clapping, bendirs, and zgharits (ululations).
Ahouache N'tfrkhine أحواش نتفرخين B'riasat Lfnane Azoulid برئاسة: الفنان أزوليض [Directed by The Artist Azoulid] (Othmane Azolid) Box Music cassette 2011
No words needed. Just Rouicha on the lotar and one or two bendir players. Thirty-six minutes of jammy Zayane goodness!
Rouicha Mohamed رويشة محمد Ajmal at-Taqasim âla Aalat al Hajhouj أجمل التقاسيم على آلة الهجهوج [The most beautiful improvisations on the hajhouj instrument] Tichkaphone cassette TCK 763 تشكفون
There are so many recordings by the late Mohamed Rouicha (1950-2012) - they all sound pretty similar, and they're all pretty great - well recorded, solid performances, killer grooves, entrancing lotar plucking, soulful baritone singing from Rouicha in call/response with the piercing soprano voices of the backup singers, all animated by the incessant buzzy time-keeping of the bendir frame drums.
I've identified at least 65 cassette releases by Rouicha on the Tichkaphone label. These were preceded by some 7" vinyl releases on Koutoubiaphone (which later became Tichkaphone) and on Bouissiphone, and followed by some cassette/CD releases on the MasterOne label in the last decade of his life, including his famous late-career hit "Inas Inas".
Many of the Tichkaphone albums can be found on YouTube, but the digital transfers are often thin-sounding and sometimes corrupted. This cassette rip comes to us from Peter Doolan (blogmaster at มนต์รักเพลงไทย), and it's a great improvement over what you can hear elsewhere online.
For those who want to dig into some of the meanings of Rouicha's songs, here's a recent article in English:
There's not much scholarly or critical writing on Rouicha - I hope more will appear!
Rouicha Mohamed رويشة محمد Tichkaphone cassette TCK 1157 تشكافون A1 Ana Noussik أنا نوصيك A2 La Smaha Lli Kan Sbab لاسماحة اللي كان سباب B1 Hatta Line حتى لين B2 Lahbiba Latgouli Lawah لحبيبة لا تڭولي لواه
Âita, Moroccan deep Arabic folk song, doesn't need modernization - it's perfectly fine and powerful in its own right as performed by traditional ensembles. At the same time, it doesn't necessarily suffer when musicians put it into conversation with other genres and styles. Sure, this CAN be done in a simple way that doesn't add anything interesting and just waters down the hard-hitting time-tested acoustic textures of aita with modern instruments or vocal styles. In the best cases, though, something interesting emerges.
Last week I digitized a 1990's tape that Gary from Bodega Pop sent me by the group Toulati El Farah Lamnawar. It's a chaâbi album of the era but it's based in the âita repertoire, and pushes the right buttons for me. I also found out this week that the debut album of the group Aïta Mon Amour came out in January of this year. Their initial singles caught my attention last year with their clever settings of âita songs to modern electro beats and the powerful vocals of singer Widad Mjama.
Toulati El Farah Lamnawar
The cassette comes to us courtesy of Gary of Bodega Pop whose weekly program on WFMU's Give The Drummer Radio stream is eclectic, educational, and always entertaining.
The group Toulati el Farah Lamnawar [1] was led by the late producer, songwriter, and musician Abdeltif Lamnawar (1968-2022), who I believe is from Casablanca. I was not familiar with the group previously, but they seem to have produced a lot of music over the years in a number of formations. The presence of the name Lamnawar after Toulati el Farah suggest that this is Lamnawar's version of the group, which reached its initial successes as simply Toulati el Farah. You can find a couple of these early albums on the streaming platforms under the names "Dami" and "Ana Melit". I believe the initial formation of the group included Lamnawar as well as the vocalist Hassan Lougato. Later albums are attributed to "Orchestre Toulati el Farah" (Trio el Farah Orchestra). And I see some recordings and videoclips that mention the participation of the well known chaabi singer/violinist/arranger Mustapha Bourgogne. At any rate, as Lamnawar relates in this interview, the group formed around the idea of doing the old bendir-and-kamanja (violin) songs with drum set, guitar, and keyboard.
Followers of this blog know that I'm a sucker for electric guitar and drum set, so yes I did enjoy the early 1980s version of Toulati El Farah linked above. This cassette, however, dates from sometime in the 1990s, and chaâbi styles, like all popular music styles, can change substantially in a few years' time. How different is this? Well, it's smoother - seems like there is some drum programming that keeps the beat very steady, as opposed to the raucous drum set of the earlier recordings. However, the darbuka is high in the mix, keeping the music punchy and live. As a bass player, I tend to disdain the use of programmed keyboard bass, but I gotta say, this one here is pretty enjoyable - its syncopated runs provide some of the rhythmic variety that was previously provided by fills on the drum set. And the electric rhythm guitar is still there, buried a bit in the smooth mix, but prominent enough to provide that strummy goodness. Best of all, the 2 fine singers trade off verses, retaining the interactive excitement of shikhat groups. My assessment is of course a completely subjective one, based on my own personal tastes and experiences dancing to this sort of band years ago. For others, this may just sound old-fashioned, or may not work at all. But hey, you can be your own judge:
Toulati El Farah Lamnawar الثلاثي الفرح لمنور Rddou Ouarana Âacha ردو ورانا عاش Disco-Disc cassette ALBUM 19 ديسكو ديسك
[1] Depending on which words you want to translate and how, the group's name can be translated something like:
Lamnawar's Trio El Farah
Lamnawar's Trio of Joy
Lamnawar's Happiness Trio
Aïta Mon Amour
The group Aïta Mon Amour released their debut album Abda in January 2025. I'd been greatly anticipating the album after hearing the group's initial singles in 2024. The group is a powerhouse duo: Widad Mjama on vocals (and occasional drum pounding) and Khalil Epi on multiple instruments.
Like Toulati el Farah, the group was conceived as a vehicle for presenting the old songs in a new format. Here, the venue is not the chaâbi dance/wedding floor, but concert and festival stages, and the beats are contemporary and electronic. Normally I like my âita with a group of singers and musicians to provide that interactive texture that is such a vital part of this music. What Aïta Mon Amour lacks in that regard is made up by the power and expression of Widad's singing and the complex, suprising textures of Khalil's arrangements.
You can hear their album on all of the streaming platforms, but why not support the band and purchase a copy on Bandcamp.
How will these beats sound to ears 30 years from now? Who can say? But I have no doubt that the deep well of âita will still be a source of inspiriation for generations to come.
Marrakchi folk/Gnawa/Ghiwani ensemble Muluk el Hwa not only released a number of albums on cassette in Morocco, but also released 3 albums in Spain. According to a 1988 article in El País (1), the group came to Spain thanks to author Juan Goytisolo, "who met them by chance in the barbershop run by
one of the members of the quintet."
Their first Spanish release was the 1985 album Xarq al-Andalus, a collaboration with Valencian folk revival group Al Tall. It is the only Muluk el Hwa album available on streaming platforms.
Xarq al-Andalus is an interesting project - translations into Catalan of Arabic poetry from the region of Valencia from the 11th to 13th centuries, set to music by Al Tall with some musical support from Muluk el Hwa. Using Muluk el Hwa for the project is an unusual choice. The obvious or easy choice might have been to collaborate with an Arab-Andalusian group from North Africa, but Al Tall preferred a different trans-regional Mediterranean mix.
Muluk el Hwa's contribution to the album is rather limited. The track embedded above, "La Tirana", is the only one to feature prominent vocals from the group, and the only one to list Muluk el Hwa as a composer/arranger (at least on my CD copy).
Their other two Spanish albums, including 1986's Cançons de Jmà-el-Fnà present them doing what they do best: mixing up Gnawa tunes, Marrakchi and Sahraoui folk and popular pieces, and original compositions. As usual, they take the Ghiwani model of a folk ensemble: the guinbri, a plucked string instrument (here I belive it's some sort of mandol), and several drums, and augment it by adding qarqabas and sfiqa (interlocking clapping) to the mix, accenting that Marrakchi feeling. Cançons is a lovely album. Its varied musical textures engage the ears of listeners who may not understand the Arabic lyrics.
Of note is track B1, "Ghziel Miel". Like "Tafla Zina" (featured in a post last week), this is another song that Muluk el Hwa credits to a Saharan folk origin. Led Zeppelin fans may recognize it as the basis for the tune "Wah Wah" that was featured on the Jimmy Page & Robert Plant album No Quarter and the related Unledded live video. It's one of two songs that Page & Plant recorded in Marrakech. Hassan Larfaoui "Baska" of Muluk el Hwa can be seen playing bendir in the video:
Cançons is out of print and unavailable via streaming platforms. Happy to share it here - hope you enjoy!
Muluk el Hwa Cançons de Jmà-el-Fnà أغاني جامع الفناء Di-fusió Mediterrània LP, 1986
A1 Ued الواد A2 Taleb Hanaya طالب هنايا A3 Aununa Rijal Elah عاويونا رجال الله A4 Anti Arfa Elebia انت عارفة اللي بيا
B1 Ghziel Miel الغزيل ميل B2 La Ilaha Ila Alah لا إلاه إلا الله B3 Jhar Medlam جحر مظلام B4 Mizem De Marraquech ميزان مراكشي
Here's a great album by lotar-master Mohamed Rouicha. It's been a while since I posted anything by Rouicha, though we've recently featured some of his collaborators and an album of covers of his songs.
Rouicha's albums rarely differ from the standard format - 4 songs over 2 sides of a cassette, all with lotar, some bendirs, and one or several female vocalists singing the song's refrains. It's a great formula, and there's LOTS of Rouicha's music available online, much of it aggregated at the Arab Tunes blog and at Ournia. I'd already posted 3 Rouicha albums here, here, and here. So I hadn't gone back through my Rouicha tapes for a while.
Somehow, though, this album didn't appear anywhere online, even on YouTube. I hadn't listened to it in a long time, and didn't remember it being this good. There's a nice organic push and pull of dynamics between the lotar and the bendirs. Some songs alternate between different melodic sections. (Middle Atlas songs often repeat the same melodic material over and over.) And of course Rouicha's touch on the lotar is always a gift. Enjoy!
Rouicha نجم الموسم رويشة Tichkaphone cassette TCK872 تشكافون
Here's a beautiful album by a trio of great artists from Khenifra (Magni and Cherifa) and Khemisset (Boutmazought). I love the sparse texture of this recording - just the lotar, a single bendir, and verses sung in rotating fashion by each of the three distinctive singers. In the clip below, the first singer is Maghni, followed by Cherifa and then by Omar:
We wrote about Maghni in our previous post. The fiery Cherifa Kersit is among the most celebrated singers of the Middle Atlas region. You can find her biographical sketch and more of her music at the Arab Tunes blog. The deep-voiced Omar Boutmazought is a singer and lotar player whose career dates back to the 1990s. You can find more of his music at the Moroccan Tapes site.
This album comes not from my physical media stash but from my hard drive (aka my file stash). It was shared 11 years ago by AbdelSMB at his long dormant site
The Silence Has a Voice, and the Real Music Teach You the Silence. Shout out and well wishes to Abdel, wherever he may be - he has disappeared from Facebook and Twitter. I've uploaded his audio and image files and retagged the songs to include their titles. The CD appears to have been issued in 2007, but an image of the cassette issue of the album indicates a 2003 release date (https://www.youtube.com/watch?v=7ZPy1D_kImg).
Cherifa (Kersit), (Mohamed) Maghni, and Omar Boutmazought الشريفة و مغني و عمر بوتمزوغت Edition Wislane CD 09/01/07 2003
Continuing with another Tamazight tape this week, this one by the powerhouse singer Hassania. Born in Errachidia, she grew up in Azrou, where she continues to perform. This album is on the imprint Masterone out of Fes. In the late 2000s/early 2010s, the great Rouicha Mohamed was also recording for Masterone, and Hassania was featured as a vocalist on 4 of his albums during this period. [1]
Tracks A1 and B1 are more pop-oriented, featuring prominent use of keyboard and other instruments as well as wider sung melodic ranges, while tracks A2 and B2 stick more closely to the bendir and viola format, with the narrower melodic ambitus typical of Middle Atlas Amazigh song. I wish I could understand the lyrics, but even without that, the expressive power of her singing is formidable.
Another track from this album was uploaded to YouTube by Izlan.fr. The clip includes the Tamazight lyrics transcribed in both Roman and Arabic letters. It also credits the track to Hassania along with the viola player El Mansouri Houssa. You may also enjoy the accompanying video of someone driving around northern Bretagne.
Hassania is still active performing. Here is a great live clip from a party in Azrou just before COVID, accompanied by a nice band with drum kit, several bendirs, viola, and an unobtrusive keyboard.
Ouaboud Mohamed is a singer and bendir player from the region of Khenifra. Most recordings of Middle Atlas Amazigh music seem to be published under the name of the viola or lotar player (who is often the male lead singer) or that of the lead female singer. Thesinging male bendir player is typically anonymous in these recordings, being more of a support role than a star role. I love that Ouaboud plays this support role but also can be the lead singer and release his own recordings. (Full disclosure: I am a singing bendir player who likes the spotlight once in a while but also loves to play a support role in an ensemble. Maybe it comes from also being a bass player.)
I picked up this tape in Beni Mellal in 2012. I couldn't find info online about Ouaboud, but he does maintain a Facebook page and a YouTube channel. He appears to remain quite active performing at private events (weddings and other parties, and private music salons) in the Khenifra area in formations with various viola players like Moha Amzyan and Mustapha Sghir, and female singers such as Fatima Talgadit and Naima Kouda. The ensembles typically consist of several bendirs, one violist, and one or more female singers. In the clip below, Ouaboud is playing the white high-pitched bendir, and he throws in some great syncopated accents in the 2nd half of the clip.
In addition to live performances, Ouaboud has made several studio recordings under his name, but I don't find any of them on the typical streaming platforms like Ournia or even on Izlanzik, which specializes in Middle Atlas Amazigh music. There a number of clips, however, on YouTube. Unlike in live performances like the one above, most of the studio recordings take place with an ensemble augmented by other instruments including, you guessed it, a keyboard bass.
On this tape, the studio has "chaâbified" the songs not only by using additional instruments, but also by adding instrumental "refrains" to the arrangements. The first 4 tracks of this tape each begin with a short instrumental section that features a melody played by synth strings and synth banjo (track 1) or flute (tracks 2-4). This melody is, in each case, unrelated to the sung melody of the song (other than being in the same melodic mode). Once the melody is played once or twice, the synth strings drop out and the live, scratchy Amazigh viola enters, playing the actual sung melody. After a couple iterations of this melody, Ouaboud enters, singing, followed by the female lead after a couple of verses. After a few back-and-forth verses between the two singers, the synth strings and banjo or flute return, playing the instrumental refrain from the opening of the song:
Even with these chaâbi tropes, the album still highlights the timbres of the scratchy viola and the buzzy bendir. In contrast to the first 4 tracks, the album closes with a short track that recalls the excitement of the live setting by losing the synth strings, ramping up the tempo, and letting the bendir come to the front of the mix in all of its syncopated glory! (Stream Track 5 below.)
Ouaboud Mohamed أعبود محمد Tasjilat Igly cassette 5/08/2010 تسجيلات اگلي
Here's a tape by a young Jamal Eddine Said Elhouate, known commonly these days as Said Ould El Houate. The singer and viola player was born in 1968 in Casablanca. His real name is Jamal Eddine Said, and he was nicknamed ould el houate (son of the fishmonger) because his father worked at the port [1]. He rose to fame in the 2000s and 2010s with a chaabi style rooted in aita.
This album dates from the mid 1990s, and it benefits from the simple production values of the time. This is the simple and satisfying combination of a scratchy viola, a couple of tightly strung bendirs, Said's lead vocal, and some shikhate singing response vocals. Most recordings you find of Said Ould El Houate date from the 2000s and later, when it becomes hard to find chaabi recordings without a keyboard bass. This older style is refreshing, sort of in the vein of Abdelaziz Stati. Like Stati, Said appears to be an aficionado of aita. He has spent time in Safi learning and reviving old songs from the Abda variety of aita [1].
I was surprised to see the song title "Koubaily Baba" on this cassette. The name is reminiscent of Gnawa songs "Koubaily Bala" and "Koubaily Mama". Said's song does not sound like either of those songs, but the lyrics explicitly reference possession, Gnawa and Baba Mimoun. The music evokes Jilala trance music, with the bendirs playing a very syncopated pattern where drum strokes rarely coincide with the beat. So this track is a chaâbi evocation of a Jilala approach to Gnawa spirits.
Said Ould El Houate remains active and popular today. You can stream many of his albums at Ournia and a few on Spotify. And you can find lots of content on his Youtube channel.
Jamal Eddine Said Elhouate جمال الدين سعيد الحوات Sawt Ennachat cassette صوط النشاط mid 1990s
1) Essamra Qilini - السمرة قيليني 2) Mal Ezzine Tghayer - مال الزين اتغير 3) Ma Bin Lila ou Nhar Lhubb Tghayer - ما بين ليلة و نهار الحب اتغير 4) Daq Alhal - داق الحال Koubaili Baba - كبيلي بابا 5) Moulay Abdellah Ben Lhoucine - مولاي عبد الله بن لحسين
US voters elected over 100 women to Congress in this week's midterm election. May they be as fierce as these awesome âouiniyat ladies out of Marrakech!
Âouniyat Ladies of Safi Disque Safi Disque cassette
circa 2001
1) Wa Lalla Fatima / Aw ya L-Hajj
2) Ândi bniya wahda / Âjebtini a bniti
3) Rani halfa / Ha hiya jatek ya loulid
4) Feen jellaba elli bghit ana / Wa kanet jaya jaya malha wellat / Âjbatu w bghaha
5) Ghadi âref a ya siri fouti / Had rajel ârfali fâylu / Ha w feen saken
After the success of Nouveau 92, Najat Aâtabou did not return to the oud and bendir format of her earlier hits. Rather, she adopted various other instrumental combinations, moving eventually toward a more mainstream chaâbi sound.
I own copies of some of these cassettes (without j-cards), and have lost a few along the way. Also, some of these are available to stream or purchase online. So I'll mainly post here links to existing web resources and try to piece together her discography between Nouveau 92 and Attention Monsieur (2000).
Souaret (1993)
This album came out as a cassette on Edition Hassania in 1993. My copy went missing long ago, but I believe the j-card may have had this photo, which accompanies Amazon's version:
The production sounds similar to that of Nouveau 92, using the same funky synth bass on many tracks. I remember at the time being a bit disappointed with the album, feeling it was less hard-hitting than Nouveau 92, and contained no super-catchy single. Listening to it again now, though, it sounds like a breath of fresh air! It augments the unusual synth and viola texture of Nouveau 92 and fills it out with a more organic early-90s chaâbi orchestra: live strings, bendirs, full drum kit, and an occasional electric guitar. It's a more organic, orchestral overall sound. (Admittedly, I'm a sucker for the chaâbi sound of that era.)
And Najat's singing is spectacular. Those folks over at Edition Hassania really knew how to record her - whether accompanied by a simple oud-and-bendir ensemble or a full orchestra, her voice remains powerful and startling.
This is, I believe, the last album that Najat released on Edition Hassania. I used to have a copy of the cassette. Like the previous albums, this one is also driven by the viola. But the style is different here. Rather than a chanson moderne style of viola playing, hearkening to the smooth sounds of the modern Arab orchestra, here we have a straight-up dance-inducing chaâbi fiddle! The overall ensemble is more simple - bendirs, some oud and melodic keyboard here and there, and what sounds like a drum machine (hi-hat and some fills). Though a return to oud and bendir-s is nice, the chaâbi viola really dominates the mix and doesn't quite work for me. That being said, the tune "Baadou Lhih" is awesome and became part of her live repertoire.
The album's 6 tracks were remastered and released in the US as part of the Rounder compilation CD "Country Girls and City Women", which is out of print. It's worth finding a used copy of the CD - the booklet includes a nice essay, translations of all the song lyrics into English, and an interview with Najat. I can't find any streaming or download options for the album. Here's a YouTube playlist of the album's songs:
Sabara (1996)
I had a dub of this album, and I remember it being on label called something like "Safa Disque". (It wasn't the well-established Sonia Disque, with whom she would later record.) The leadoff track "Aatani Bedhar", also known as "Mali Ana Ma 3andi Zhar" was a smash hit - smooth chaâbi groups were covering it, and with its singalong chorus of "Wa-a-a-a-ayli", it was an instant classic, and one of Najat's biggest ever hits. I love it!
It was around this time that studio-produced chaabi in Morocco started to sound a bit too perfect and precise for my ears. Though rhythms were still driving and percussive, drum sets had given way to drum machines and programming, which could feel mechanical. Electric guitars for rhyhmic and chordal accompaniment were rarely found anymore, replaced by more versatile synthesizers, which could also add a variety of melodic textures. Even oud-s and violas began to sound more processed and perfect. I tend to like my chaâbi (and most music) a little on the sloppy side - I appreciate being able to hear the human interactions and imperfections.
That said, when all the elements come together in a studio production, it can be great, and that's the case throughout this album. The oud remains prominent in the mix, the real or synth strings (I can't always tell which) support without being overbearing, the rhythm section pops and crackles, the synth bass keeps things funky and in the pocket, and Najat and the backup choir sound great! A mega-post on the ARAB TUNES blog has this album, and many others by Najat!
Also, here'a YouTube playlist of the whole album:
Souvenir (1998)
According to this interview, Souvenir, like its predecessor Sabara, was produced by Najat's former husband Hassan Dikouk. It has a similar overall sound to Sabara, and Najat seems to have comfortably settled into a mainstream chaâbi setting. To my ears the sound is a little less punchy - a bit more emphasis on the viola and less on the oud, and the vocals seem more subdued. But when it works, like in "El Aati Houwa Allah" and "Daba Ytem El Nachat", it still kicks.
ARAB TUNES has this one as well, and here's the whole album on YouTube:
Et Oui Mon Ami, Parle Je T'écoute (1999)
My cassette copy of this (get it HERE) contains a track not available on streaming platforms - a spoken message from Najat to her public, presenting her new cassette, on which, she says, she has tried as always to move chaabi song forward, and that the most important measure of its success is "your entertainment, clapping, and pleasure".
I don't know what prompted the inclusion of this rather apologetic message. Perhaps her moves into mainstream chaabi were criticized by some sectors of the public. Or perhaps she was nervous about the leadoff track, which has a distinct Latin feel and a light programmed percussion track, straying further away from her roots than usual. (This was the era of Amr Diab's smash Egyptian hit "Habibi ya Nour el Ain". Unlike that track, though, Najat's does not include the soon-to-be-ubiquitous-in-Arabic-pop flamenco guitar.) On streaming versions of the album (like the YouTube playlist embedded below, or Amazon's version), there is a bonus track - a chill lounge remix of the title song, with light funk electric guitar and Middle Eastern strings replacing the punchy synth horns of the original.
Outside of the title track (which was not a big hit), the rest of the album features a pretty standard chaâbi texture, though a bit more sparse than the previous two albums. I couldn't quite put my ear on what was different at first. I heard a viola and a synth banjo, some restrained programmed rhythm with a live darbuka. There is a funky synth bass again, though it's very low in the mix as compared to the previous albums. The really key difference here, though is that there is NO BENDIR! Throughout all of her albums, whether based around the oud, the viola, or a full orchestra, the one constant is the presence of the buzzy bendir! On this one, though, the only buzzy timbre you can hear is the occasional taarija. The low percussive tones, are not buzzy booms, but clean synth bass drums. Which is a weird idea, but it sort of works for me.
The viola-centered sound of this album hearkens to 1995's Taqi Fia Allah, but with punchier rhythm and overall sound. Again, the chaabi viola isn't my favorite instrument to hear with Najat Aâtabou's voice, but this ain't bad.
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I saw Najat Aâtabou do a concert in Casablanca in 1999, and the only songs she did from any of these 5 albums were "Mali Ana Ma 3andi Zhar", from Sabara and "Baadou Lhih" from Taqi Fia Allah. But although these albums may not be packed with hits, there's worthwhile material on all of them. My ear for Moroccan lyrics isn't developed enough to critically assess Najat's 1990s songs in comparison to the earlier hits that brought her to fame. A lot of the same themes seem to pop up - complaints about romantic relationships, trying to keep things cool with mom, patience, acceptance, and calling out hypocrites. Her turn toward a mainstream chaâbi sound strikes me as a way for her songs of support and solidarity to resonate with a broader community of Moroccan sisters. At any rate that's my interpretation for now. Am happy to hear other opinions.
Wishing a blessed Ramadan to you all. Thank you for continuing to visit, even though I seem to only post about Najat Aâtabou these days! I promise I'll get some other stuff cued up soon...
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UPDATE: Here is another Najat album from the 90s that I didn't know about:
Do not mess with these badass âouiniyat ladies, who come to you straight outta 1990s Marrakech armed with bendir-s, târija-s, and non-stop rhyming couplets, to rock you all night long. Just fire up a pot of mint tea, set out a tray and some glasses, and when the groove takes you, get up and shimmy to your heart's content.
As I've said before, everything I've ever heard on the Âatiphone imprint out of Kelaat es-Sraghna is super-great, and this tape is no exception. Enjoy!
Âouniyat Ladies of Âatiphone Âatiphone cassette, Kelâat Es-Sraghna, 1990s
01 Wa Khay Ya Khay
02 Ara Liya Khwitmi Ha Lbalini Ya 03 Alawa Ya Mwi Lawa Ya Tawl Ezzman Âyyani
04 Hak a Rasi
05 Wa Jewwejih Ya Mwi Duwwez Hayatu Wa
06 Diri 3lach Terj3i Ha Ya Lwaqfa Fel Bab
07 Wa Rah Blani Lalla
08 Duwr a Chayfuwr
Here's a slight upgrade to a tape I shared a few years ago. I wanted to share some more of the great Daqqa Marrakchiya music that gets played in the streets of Marrakech on Ashura, and I knew I had another tape.
The downside was that the tape turned out to be the same one that I shared previously. The upside was that there was different, equally great j-card art, and that the tape flip and in/out points were different.
I patched the two together, so here is a slight upgrade that adds an additional great 20 seconds of music and that can now be heard as a single track uninterrupted by a tape flip.
I like it when Islamic and Jewish holidays line up together. This
year both new New Years came in at the same time, as did Ashura and Yom
Kippur. Wishing blessings, reflection and inspiration to all.
Dekka de Marrakech (الدقة المراكشية) Majmuât ad-daqqa al-marrakchiya (مجموعة الدقة المراكشية) under the direction of al Hajj Muhammad Baba (برئاسة الحاج محمد بابا)
Sawt el Haouz (صوت الحوز) cassette S.H. 38
slight upgrade
Well whaddya know? The Stash yields another Tagada tape! This dates from around 1992, when Mohamed Louz was still a member of the group. (For some historical info on the group, see our previous Tagada post.)
I wrote previously that Tagada's folk-revival approach was rooted in the âita. This album stretches things a bit, while maintaining a core texture of viola driving the melody, male group or antiphonal vocals and a bendir-driven percussion section.
"Lalla Lgada" leads things off in a typical âita mode, though with what sounds like scissors hearkening back to the âbidat errma. The strange "Ach Ngoul Lik" leads off with a pentatonic viola solo somewhat evoking the amarg tradition of the Soussi rwayes, but then the rhythm enters, featuring a Gnawaguinbri (and some faint qraqeb, I think). It sounds sort of Nass el Ghiwan-ish, except for the continued presence of the viola, which pulls the sound in a different direction. "Âyyitini" goes full Soussi, adding a banjo or lotar and naqqus for that rwayes vibe, though the singing is in Arabic, not Tachelhit.
Finally "Hada Hali" returns viola and bendir to the center of the texture with a real deep âita feel - angular bendir-s, alternating solo vocals evoking shikha song, sliding eventually into trance-based and trance-evoking lyrics, idiomatic viola riffing recalling the sweaty middle-of-the-night when the âita groove gets so heavy and REAL that it crosses over into that zone where all one can do is call prayers upon the Prophet and the saints, hope for deliverance and submit to the groove. At this point in the song, Tagada incorporate the guinbri and qraqeb again. This sounds nothing like Gnawa music, though, resembling much more the saken trance songs of theâitatradition. But with Gnawa signifiers added for intensification? Mixing these elements together is a weird, improbable idea, to which I'm sort of opposed on principle, and yet somehow... it kind of works! Well played, Tagada, well played!
Tagada (تگدة) Edition Hassania cassette EH 1462
01 Lalla Lgada (لالة الگادة)
02 Ach Ngoul Lik (اش نگول ليك)
03 Âyyitini (عيتني)
04 Hada Hali (هذا حالي)
For those of you following the US elections: Haven't you had enough already? Haven't you already decided who you're voting for? Aren't you tired of the 24-7 stream of horrible words, words, words from candidates and pundits?
Wouldn't you rather just sit back and listen to a full album's worth of sublime riffing and groovemaking, all instrumental with no words, from the undisputed king of the lotar?
best guess personnel, clockwise from top center: Lahcen Bizenkad - lead vocal, bendir; Mohamed Abdelghani - guitar, vocal; Hassan Batch - tam tam, vocal; Boubker Ouchtain - bendir, vocal; Hamid Baih (Hamid Inerzaf) - banjo, vocal.
Today's tape comes to you courtesy of Mr Tear, curator of the Snap, Crackle & Pop blog and host of the The Junk Shop radio program. It's a good one, too - a vintage tape from the group Inerzaf (or Inrzaf). Thanks, Mr T!
Inerzaf ("Wedding Guests") came together in the early-to-mid-1980s in the area of Agadir. Like tagroupit contemporaries Oudaden and Ait Lâati, Inerzaf were inspired by the wave of 70s groups like Izenzaren, Archach and Ousman, but drew more heavily on Soussi Berber musical sources, such as the amarg/rwayes tradition. And like Oudaden and Ait Lâati, Inerzaf used the distinctive combination of electric guitar and banjo.
The most renowned version of the group seems to be the one including both composer/singer/bendir player Lahcen Bizenkad and banjoist Hamid Baih. A highlight of this line-up is Hamid's
virtuosic banjo playing, which is universally praised in online video comments. This version of the group was together from the mid/late 80s to around 1995. They are pictured on the j-card above and are featured in the live video embedded below:
All members of the group remained active after they split in the mid-1990s. Hamid and Lahcen both lead groups to this day, and the others have done so over the years as well. All of them use the name Inerzaf, and formations often feature more than one member of the earlier group (e.g., Inerzaf Hamid, Inerzaf Lahcen Bizenkad, Inerzaf Boubker, Inerzaf Brothers, Inerzaf Family...)
Inrzaf (انرزاف) Nassiriphone cassette NP183
A1) Ahinou Madrigh Zine - احنو مدويغ الزين - Iskert Lehouz Uwuday - إسكرت الحوز ؤوداي A2) Allah Allah Ijra Ghikad - الله الله إجرا غكاد
I recently inherited a box full of cassettes with no j-cards. The second cassette I popped in is an album by the AWESOME electric-guitar-drum-kit-and-shikhat group Noujoum al Houz, who were featured in one of the earliest posts on this blog, almost exactly five years ago!
The music of this group remains one of my favorite Moroccan sounds of all time. I've not heard another group doing quite what these folks did back in the late 80s/early 90s. The songs and singing are straight-up âita and women's chaâbi styles. The accompaniment just happens to replace the viola with an electric guitar and to move the bendir-taârija continuum of interlocking rhythms to a drum kit.
Having a guitar take the riffing melodic lead role (usually played by a viola or an oud) - is something I've not heard elsewhere inMoroccan chaâbi. Most electric guitars one hears in chaâbi (and one rarely hears them any more) are relegated to strumming rhythmic patterns and playing chords along with melodies that never used chords before (like in this old Orchestre Asri cassette, h/t Snap Crackle & Pop). This chordal support function in chaâbi was taken over by keyboards by the early 90s. One was more likely to hear melodic picking of electric guitars in Berber music (Moulay Ahmed Elhassani, Mohammed Amrrakchi), or in some of the Ghiwanesque folk revival groups (Oudaden, early Tagada).
As for the drum kit, well it does remain in chaâbi music, but it's never as in-your-face as you'll hear here. (And I mean "in-your-face" in a good way!) In most chaâbi music, the drum kit seems to play a supporting role in the overall texture of the ensemble. It doesn't drive the rhythm section, but rather provides support to the darbuka and bendirs (like dig this Daoudia live clip - you can barely hear the drum kit behind the bendirs, qarqabas, and darbuka, and it never does any fills.) But for a minute in the 80s and early 90s, the drum kit took a fantastic role in a few chaâbi recordings, stepping to the front of the mix, tumbling and accenting in a really exciting way. (In addition to these Noujoum el Haouz recordings, I'm thinking also of these bitchin' Mahmoud Guinia recordings and this excellentanonymous chaâbi tape.)
Today I'm offering a twofer. One is the newly-found cassette on the Kawakib label.
The second, let's call it a bonus album, is the actual tape that matches this j-card that I uploaded with my original post 5 years ago:
I never uploaded the actual tape that goes with this j-card because it is severely damaged. Over half of side A is barely audible due to some magnetic weirdness. Bits of side B suffer from this as well. Don't download this until you've heard the other tapes. If, like me, you can't get enough of them, you will happily sit through the magnetic weirdness in order to spend a few more minutes with this fantastic group.
I've been able to find no information online about the group or its leader, Lâyyadi Abdeljalil. I'm guessing they were a purely Marrakchi phenomenon, since both of the labels they appeared on, Sawt el Mounadi and al Kawakib, were based in Marrakech. Hope to find out more about them some day. In the meantime, enjoy!!
Noujoum el Haouz (نجوم الحوز) - Sawt el Kawakib cassette (ca. 1990)
1) Daouli Ghzali
2) A Moul L3aoud A Wlidi
3) Track 03 4) Sayh Ya Bu Derbala (see YouTube clip above)
5) Ayma Sabri Llah
6) Track 06
7) Suwwelu Moul Dar
Noujoum el Haouz (نجوم الحوز) - Tansiq ou Tanshit Lâyyadi Abdeljalil (تنسيق و تنشيط العيادي عبد الجليل) Sawt el Mounadi (صوت المنادي) cassette, ca. 1993
01) Dami
Alf Lila Ou Lila
Husa ya Husa
Waye Wa Houara
02) Ila Bghiti Temchi Ghir Sir
Ezzine oul Jamal
Lilwajed Lmra Zwina
This tape has major audio problems on side 1 (the first 13 minutes), and a few on side 2 as well. But the music is so good, I'm uploading the whole thing anyway.
Well look what I found inside the Hello Kitty Boom Box - it's a cassette on the Anzaha imprint out of Rabat! I've shared one other Anzaha cassette here, and it was a good one!
I haven't been able to identify the singer featured on this tape. During the faux-live-audience opening banter at the beginning of track 5, I hear what sounds like the crowd chanting "Kha-di-ja, Kha-di-ja". She doesn't sound like Khadija al Bidaouia or Khadija Margoum. Sounds a bit like Khadija Laboat Al Atlas, but I haven't found any recordings of her that sound quite like this one. Please let me know if any of you can identify her.
Whoever this chaâbi-singing Khadija is, this is a jamming cassette in the Casa style with riffy viola, plinky banjo-keyboard, and driving varied percussion section throughout (some darbuka, some taârija, some bendir, and some live and/or programmed drum kit. I'd place it around the mid-aughts - the faux-live-audience, the keyboard sounds, and the absence of autotuned voices remind me of Daoudi cassettes from around '04.
