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Bellemou Messaoud - Le Père du Raï

C'est pas ma faute
House of the Cultures of the World
Product number: SM 15212
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Product Details

Description

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.

Content

C'est pas ma faute
Téléphone
Kayen Rabi
Adieu l'amour
Ana wa Gzalli
Sartli ma Nawdchi
Nzour Nabra
El Achika ma Nabrach
El CHira illi Nbigha
Gouluha Twali
Instrumental

More Information

Title:
Bellemou Messaoud - Le Père du Raï
C'est pas ma faute
House of the Cultures of the World
Bellemou Messaoud / Bellemou Milaud / Benaffan Mohamed / Ourad Honari / Misabih Miloud / Muklouf Mohamed / Messaoudi Lakhtar / Tewil Kemal
Publisher/Label:
Wergo
Duration:
74 ′28 ′′
Series:

Technical Details

Product number:
SM 15212
MAN EAN:
4010228152128
Weight:
0,11 kg

More from this series

Music of World Cultures
World Music – What Is Distant? What Is Near? World Music is a not uncontroversial term for the rich variety of musical culture of our planet, and it comprises not only the musical traditions of the rural parts of Africa, Asia, and Latin America but also those of the high cultures of the Indian subcontinent, Japan, and China as well as the popular music of urban metropolises throughout the world today. This edition of CDs, most of which were produced in cooperation with Berlin’s House of the Cultures of the World and the Music Department of Berlin’s Ethnological Museum, mixes up the categories of “foreign” and “familiar” not only by bringing closer things that are unknown and unfamiliar but also by revealing the familiar in the foreign and the foreign in the familiar. The encounter with the varied musical ideas that exist outside of our own culture has made us more aware of our own categories and shown us that we can no longer operate with a single compulsory aesthetic but that we must instead speak of innumerable distinctive aesthetics. This conclusion is supported both by the extraordinary recordings and the high quality of the booklet texts on the WELTMUSIK label.

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