Bellemou Messaoud- C'est Pas
Raï developed in the 1920s in the Oran region, an Algerian port city that has many cultural influences. The emotional voices and rapid rhythms were soon addressing explosive themes such as alcohol and prostitution, depression and poverty. In addition to the traditional gasbah (flute) and bendir (drum) oud, violin, and accordion were used. In 1965 Bellemou Messaoud formed his own ensemble with drums (tabla, darbouka) and trumpet - a combination that had never been heard previously. To the music of his ensemble, which was firmly anchored in rai, he added the timbres of other styles familiar to him.
Tracklist:
- C'Est Pas Ma Faute
- Telephone
- Kayen Rabi
- Adieu L'Amour
- Ana WA Gzalli
- Sartli Ma Nawdchi
- Nzour Nabra
- El Achika Ma Nabrach
- El Chira Illi Nbigha
- Goululha Twali
- Instrumental
Raï developed in the 1920s in the Oran region, an Algerian port city that has many cultural influences. The emotional voices and rapid rhythms were soon addressing explosive themes such as alcohol and prostitution, depression and poverty. In addition to the traditional gasbah (flute) and bendir (drum) oud, violin, and accordion were used. In 1965 Bellemou Messaoud formed his own ensemble with drums (tabla, darbouka) and trumpet - a combination that had never been heard previously. To the music of his ensemble, which was firmly anchored in rai, he added the timbres of other styles familiar to him.
Tracklist:
- C'Est Pas Ma Faute
- Telephone
- Kayen Rabi
- Adieu L'Amour
- Ana WA Gzalli
- Sartli Ma Nawdchi
- Nzour Nabra
- El Achika Ma Nabrach
- El Chira Illi Nbigha
- Goululha Twali
- Instrumental