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Bellemou Messaoud – C'est Pas Ma Faute (1993) – مسعود بلمو

6-06-2015, 11:41
Music | World | FLAC / APE



Bellemou Messaoud – C'est Pas Ma Faute (1993) – مسعود بلمو

Artist: Bellemou Messaoud · مسعود بلمو
Title Of Album: C'est Pas Ma Faute
Year Of Release: 1993
Label: Wergo SM 1521-2
Genre: Raï
Quality: MP3 | FLAC
Bitrate: VBR 0 | 16Bit/44kHz
Total Size: 129 MB | 449 MB
Total Time: 74:24
Website: Discogs

Tracklist:
01. C'est Pas Ma Faute 06:09
02. Telephone 04:30
03. Kayen Rabi 08:01
04. Adieu L'Amour 08:39
05. Ana Wa Gzalli 06:30
06. Sartli Ma Nawdchi 06:38
07. Nzour Nabra 07:17
08. El Achika Ma Nabrach 08:00
09. El Chira Illi Nbigha 06:25
10. Goululha Twali 06:02
11. Instrumental 06:15

Musicians:
Bellemou Messaoud – C'est Pas Ma Faute (1993) – مسعود بلمو


Included is a 28 pgs. booklet with essays about music, artists, recordings and history in English and German.
Recorded in the studios of the Berlin radio station "Sender Freies Berlin" (Radio Free Berlin) on occasion of his concert in the "Haus der Kulturen der Welt" (House of World Cultures) in Berlin, Germany. after World War II, this radio network was founded by the Allied military administration in Berlin to broadcast Western propaganda into East Germany.

Review by Chris Nickson on Allmusic:
While it seems that almost everyone long ago boarded the pop rai ship, veteran Bellemou Messaoud, known as "the father of rai" is one who's stayed away from that. He might employ guitar and keyboard – a keyboard that sometimes sounds very cheesy (as on "Ana Wa Gzalli") – but the heartbeat of his music is untterly Algerian, as perhaps befits someone who isn't a singer or frontman, but a trumpeter. There's an irony, however, in that when Messaoud began recording in 1968, utilizing his trumpet as a lead instrument, that style was called "rai pop," and it probably represented a turning point from the true traditional desert music. And those who followed, the ones who turned the music upside down again in the '80s, were often those who'd studied at the School of Rai he established after leaving recording in 1975 (he returned in the mid-'80s). But this record is completely in his '60s style, with their lyrics of yearning and unrequited love – a long way from the angry politics and underclass life that rai so often represents. In some ways it's rai light by modern standards, on songs like "Nzour Nabra," where no one will mistake the polite singing of Ourad Houari for the emotive heart rending of Khaled. There's a formality and, sometimes, it seems, a formula to the music, which isn't necessarily a bad thing, even if it adds to the lightweight feeling of it all. Messaoud might well be the father of modern rai, but, if so, he's definitely more Ozzie Nelson than Archie Bunker.


Info from Wikipedia:
Messaoud Bellemou is an Algerian musician and one of the most influential performers of modern raï music. Known as the father of raï, Messaoud began his career playing the trumpet but soon became known for adding foreign instruments like the saxophone, violin, and accordion to the genre. In 1974 he coined the term pop-raï to describe the new generation of chebs and chebats (from the Arabic for "young") introducing new instruments, and together with Belkacem Bouteldja released one of the first records of the new genre.


More info here:
Discogs
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aksyonoff   User offline   7 June 2015 14:41


Thaaaaaaanx!!!!!!

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