Eid al-Fitr witnessed the release of a group of songs in light of a tradition that became common at the time of the song “Singel”, especially since the idea of releasing “complete” albums in general has become a rarity throughout the year, let alone a short season like Eid al-Fitr.
The first to attend the Eid season was Amr Diab, who released before the end of Ramadan his new song “Hittla’a”, which is his first production in cooperation with the “Anghami” application, which announced months ago that it acquired all Amr Diab’s previous and new songs exclusively.
“Hittla’a” is from the words of Mohamed Al-Qayati, composed by Mohamed Yahya, and arranged by Ahmed Ibrahim, and it is a song belonging to the Spanish flamenco template, which is one of Amr Diab’s old bets, especially as he was one of the first Egyptian and Arab singers who presented this color in the nineties of the last century, specifically through an album They blame me.
The song begins with a musical opening with the guitar solo, as if it is a replica of the famous “Bear Gate” opening by “Lavard Greg”, but what distinguishes the song is Amr Diab’s clear practice in performing “flamenco” songs in a way that shows his voice as part of the rhythm and the rhythm of strong Spanish guitars with expertise Great in performing the Arabs of this musical color.
Finally, the distributor Ahmed Ibrahim did not deviate from the framework of the flamenco mold with all its traditional ornaments and variations. He presented a very classic song of this color without venturing by adding new or different touches as an attempt to keep pace with the times.
play in content
Hussein Al Jasmi still continues to play in the content, specifically during his dealings with the Egyptian song. Since we knew it, Al Jasmi’s Egyptian songs have been associated with the rhythm of the divided, specifically the version with the “Hamidiyah poetic” tone in reference to Hamid Al Shaeri, but from the implementation of the distributor Touma, the main partner in most of Al Jasmi’s Egyptian songs.
Starting from “Sitt Al-Sabah”, passing through “Bishra Khair” to “Balbat Al-Barid”, and even when Al Jasmi collaborated with distributor Ali Fathallah in the song “Heta Min Albi”, it did not go out of the rhythm of the divider, with the exception of some musical ornaments and new electronic sounds that he added to the song. The identity of Fathallah was distinguished in the implementation of this color.
This Eid, Al Jasmi presented the song “Dalaa Wa Etla’a”, written by Tamer Hussein, composed by Hussein Al Jasmi, and distributed by Touma. The song, in general, carries a degree of joy and naughty romance in its lyrics, which is very suitable for the atmosphere of Eid. As for the melody, it was appropriate for Al Jasmi’s vocal abilities, especially as he is always keen to compose this type of songs in a manner appropriate to his musical and lyrical abilities.
Finally, Touma’s distribution comes as the weakest element of the song, not to reduce his abilities as a distributor, but his strong insistence on not developing this rhythm, and providing duplicate copies of it over the past years, which made him lose a lot of his luster, and compared to the previous Jasmi song “Hata Min Albi” by distributor Ali Fathallah. You will simply discover that the latter was charged with new rhythms and sounds on this color that Tom is still cruising in his tradition until now.
Renewable compulsory path project
Masar Egbari has distinguished itself from its cocoon of “underground” bands for years, and the establishment of its clear artistic and musical project. We are facing one of the best Egyptian bands making music during the last ten years.
This project was clearly crystallized in the album “Taqqaa wa Wa’am” in 2015, then the album “Al-Album” at the end of 2018 to confirm the diversity and spaciousness of this project.
Personally, I do not hide my admiration and enthusiasm for the “forced path” experience, which was influenced by different cultures and music, starting with the Egyptian musical heritage, passing through “Pink Floyd” music, to their ability to adapt Western rock, pop and disco stering rhythms to mate with Egyptian music in a wonderful harmony that does not lack identity.
In the song “Ness El Hajat”, the team presents an integrated musical project that combines “electro-popular” music with its clear clamor in the tambourines and the Sa’idi tambourines that begin at the front of the song and continue in the background with its extension, and rock music that imposes its mark throughout the song with electro and bass guitar combinations, and finally with the electro guitar solo The ending, which became a clear imprint in most of the songs of the obligatory track.
The lyrics of the song represent an affirmation of the artistic identity of the team, which presents its ideas in philosophical songs that often discuss human feelings before emotional ones, and searches for existential questions surrounding the human soul, about frustration, contentment, life and share.
The song is written by Mohamed Behairy, composed by Hani El Dakkak, and distributed by Massar Obligatory, which includes among its members musicians and distributors who were not picked up by the commercial song market, such as Ayman Masoud and Ahmed Hafez.
Why are we here?
What does a male and female singer aim for when they present a new duet? A question that will haunt you while you hear the song “Min Al Dhaikaia” by Elissa and Saad Lamjarred.
From the first minute you hear the song “From the First Minute”, you will discover that we are in front of a very traditional romantic song in the “soft rock” mold suitable for “slow dances” at weddings, a song that prompts you to ask yourself the famous ironic question: Why are we here?!
Why did Elissa think of attracting Saad Lamjarred to sing a romantic song with her, which is far from this color? And why in this project did Saad Lamjarred abandon his lyrical color, in which the main element was the mixing of Maghreb music of all kinds with electronic music at the hands of the well-known Moroccan distributor Jalal Hamdaoui, owner of his icon Lamjarred “The Moallem”.
There is nothing new that can be mentioned at the level of the words written by Amir Tuaima, and nothing new at the level of the melody that Ramy Gamal formulated without carrying one attractive musical sentence, even Ahmed Ibrahim’s distribution did not deviate from the traditional form of dozens of songs that appeared of this color during the past years, and did not Adding a single instrument or a new electronic sound gives the song a bit of a missing freshness.
It is true that there is a clear Lebanese media celebration of the song and the multiplying number of views due to the popularity of Elissa and Saad Lamjarred’s “jadaliyya,” but the project on the musical level did not present anything new equivalent to this celebration, which will fade in time and the song will disappear with it as if it had gone unnoticed like dozens of duets that appeared on the scene without a goal Only a real art popular exchange.