The Music of Islam, Vol. 8: Folkloric Music of Tunisia

Music Of Islam (Celestial Harmonies Series)

Recorded in a house in the medina, the old quarter of the city of Tunis, the capital of Tunisia, this volume features the traditional instruments and songs of the folkloric music of Tunisia which thrive as a living testament to the wide spectrum of cultures and practices across the World of Islam. Performed by the Lotfi Jormana Group, this volume features the melodic mizwid—Tunisian bagpipe played in the central regions of Tunisia accompanied by percussion. The mizwid has two melody pipes and no drone pipes. In instrumental music the long flowing melodies of the mizwid seem to soar above the pulse of the percussion group. In vocal music, the mizwid echoes, punctuates, and connects individual vocal phrases. The members of the group include: Lotfi Jormana, the group leader and vocalist; Abdessalem Zarga, mizwid player; Fathi Bouguera, tabal (double-headed cylindrical drum); Fathi Dahleb, bendir (circular framedrum); Hichem Sallemi, darabukkah (drum); and Khaled Bekir, tar (tambourine).

MORE ABOUT THIS VOLUME HERE

| MP3 320 Kbps | Full Covers & Booklet (6 Pages) | 155 MB |

TRACK LISTINGS

[01]. Medley
[02]. Mawwal 1
[03]. Baba Salem
[04]. Leliri Ya Mana Lotfi Jormana
[05]. Hay Leli Leli and Ala Bab Souika
[06]. Guelb Ely Yehwek
[07]. Mawwal 2
[08]. Dhaouit Ayemek and Ma Indich Zahar
[09]. Nemdah Laktab

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The Music of Islam, Vol.7: Al-Andalus, Andalusian Music, Tetouan, Morocco

Music Of Islam (Celestial Harmonies Series)

Morocco, home to some of the richest Islamic music, became the recording site of three volumes in The Music of Islam series: Volume 5: 'Aissaoua Sufi Ceremony (14144), Volume Six: Gnawa Music (13146) and this volume. Recorded at the Palace Bouhlal, deep in the Medina—old city—of Tetouan, which is, with Fes, one of the two centers of al-Ala music in Morocco, shows the living tradition that is the musical heritage of al-Andalus. The musicians of the featured ensemble are ambassadors of this living tradition. Led by El Kacimi Mohamed, the ensemble uses traditional Arabic instruments. El Kacimi Mohamed plays the kamanja (violin), Ahmed El Kamas plays the 'ud (lute), Abdelkarim Doukhou plays the nay (flute), and percussionists Abdelilah Azlas and Mohamed El Rhouni play the darabukka (clay goblet drum) and tar (tambourine).

MORE ABOUT THIS VOLUME HERE

| MP3 320 Kbps | Full Covers & Booklet (8 Pages) | 180 MB |

TRACK LISTINGS

[1]. ESHBEHAYN
[2]. MKDAM SHARKI
[3]. RASHDAYL
[4]. ESTHLAL
[5]. TIMES MKDAM SHARKI
[6]. RASHDFA
[7]. HIJASOUL (CHAHSHAHACHHI)
[8]. ELHIJAZ

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The Music of Islam, Vol. 6: Al-Maghrib Gnawa Music

Music Of Islam (Celestial Harmonies Series)

Part of the Celestial Harmonies' lengthy Music of Islam series, this album showcases the music of the Gnawa sect of Morocco. The instrumentation is relatively simple, with the sintir holding the lead, a tbil or two keeping a deep bass rhythm, and the never-ending clash of the qaraqeb clacking throughout every moment of the ceremony. As a mild rarity, this group of musicians has a separate lead vocalist from the sintir player, who usually holds the duties. The sintirist still helps out on vocals, but only following the same melodic lines now and then for added force. The style of music embraced by the Gnawa is an amazing sound in and of itself, [but, with some quality musicians, it can come out far beyond its normal boundaries. Here, the levels of virtuosity are somewhat mid-level. The musicians are good, but perhaps not up to the level of some of the higher players in the genre (Brahim el Belkani, for example). As such, the sound is good, but there are better albums available elsewhere (such as the Moroccan Sufism installation of Rounder's Anthology of World Music series). As part of the extensive series here on Celestial Harmonies, this album fits in quite well. It's worth a listen, but don't spend a lot of time hunting for it. ~ Adam Greenberg, All Music Guide

| MP3 320 Kbps | Full Covers & Booklet (7 Pages) | 145 MB |

TRACK LISTINGS

[01]. ULAD BAMBARA (The Sons of Bambara)
[02]. YOBATI/KALKANI BULILA
[03]. 'ADA 9'25"
[04]. BUDERBALA/BUHALA
[05]. ITCHALABA TITARA
[06]. YOMALA
[07]. MIMUNA

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The Music of Islam Vol. 5 : Aissaoua Sufi Ceremony, Marrakesh, Morrocco

Music Of Islam (Celestial Harmonies Series)

'Aissaoua Sufi Ceremony, the first of three volumes in this series recorded in Morocco, captures the public performance of 'Aissaoua rituals, called hadra. 'Aissaoua is the brotherhood comprised of followers of one of Morocco's most well–known and highly regarded spiritual leaders, Shaykh 'Abd Allah Sidi Muhammad Ben 'Aisa as-Sufiani al-Mukhtari (870/1465-933/1526). 'Aissaoua performances work on several levels: for members of the brotherhood, they form part of their spiritual training; for ceremony sponsors they serve to bless the event; and for the individual pilgrim or participant, the ritual provides access to the tangible baraka (blessing) of the Shaykh (Arabic Sheikh), which can be activated for purposes of healing and guidance. The trance possession which occurs during the hadra is the most dramatic manifestation of this therapeutic function of the performance. The baraka which effects these transformations is activated and brought into the hadra by means of recitations, singing and music, all of which is traditionally featured on this double length recording. Perhaps Parsons has captured even more than the islamic music represented here, like, the transcendence of baraka from Shaykh ben 'Aisa for all who listen.

More about this Volume HERE

| MP3 320 Kbps | Full Covers & Booklet (8 Pages) | 285 MB |

TRACK LISTINGS

Disc 1
[01]. Dikr (Part 1)
[02]. Dikr (Part 2)
[03]. Fatha [00:31]
[04]. Dikr (Part 3)
[05]. Invocation
[06]. Ada (Part 1)
[07]. Ada (Part 2)

Disc 2
[01]. Scene Inauguration
[02]. Dikra Rebbania
[03]. Closing Music

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The Music of Islam Vol. 4 : Music of the Arabian Peninsula - Doha, Qatar

Music Of Islam (Celestial Harmonies Series) The Music of Islam, Volume Four embraces some of the most beautiful Islamic music from Iraq, featuring the 'ud and various percussion instruments, performed by Iraqi master musicians who keep their music traditions alive in Qatar.

Amazon.com An invigorating set of Iraqui music, recorded in Doha, Qatar by expatriate Iraqui oud master Mohammed Saleh Abd Al-Saheb Lelo and percussionist Haitham Hasan. Exploring the various modes ("maqam") and rhythmic meters ("wazn") of Arabic music, the two move from brisk, aggressive tempos to unmetered solo pieces, like the beautiful, virtuosic oud solo that begins "Ya Gariya Khabirini," where the distinctive grainy, penetrating tone of the oud is suddenly joined by a propulsive four-beat feel from Hasan, who overdubbed tabalah, kasur, tar, and other drums to create the layered bed of rhythm that makes this album so remarkable, if somewhat unorthodox. Part Four of a 17-CD collection of Islamic music from Celestial Harmonies--all, like this one, boasting excellent liner notes, top-notch sound, and in-depth background information. --James Rotondi

| MP3 320 Kbps | Full Covers & Booklet(8 Pages) | 155 MB |

TRACK LISTINGS

[01]. Quam Na Dimi
[02]. Ish Lonak Ini
[03]. Taqsim 1
[04]. Ya Gariya Khabirini
[05]. Al Hajr
[06]. Marou Alyaa El-Helwen
[07]. Taqsim 2
[08]. Bead Konto
[09]. Lama BadaYatasana
[10]. Taqsim 3
[11]. Ya Helo Ya Abu El-Sedara

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The Music of Islam, Vol. 3: Music of the Nubians, Aswan, Egypt

Music Of Islam (Celestial Harmonies Series)

Recorded at the Aswan Palace of Culture in Aswan, Egypt, this third volume in The Music of Islam series is performed by the highly acclaimed Aswan Troupe for Folkloric Arts, under the musical direction of Dr. Fawzy Fawzy. Originally formed of amateurs to participate in weddings and celebrations in the homes of friends and relatives, the troupe quickly evolved into a professional organization. With the support of the Palace of Culture's director and Aswan's governor, the troupe made its first public performance in 1395/1975, featuring a number of folk dances and representing various customs and traditions of the region. The troupe is co-directed by Dr. Modather Saleem Ahmed and Dr. Fawzy Fawzy.

The traditional instruments featured, which are used to accompany Nubian song and dance, include the 'ud (fretless, short-necked lute), tabla (or tabalah, single–headed tapered drum) and tar (or duff, round framedrum). The typical song style is based on alternation of a solo singer with a chorus. Both song and dance are often accompanied by intricate patterns of hand–clapping and foot-stomping. Wedding celebrations, which can last up to a week, are the main social setting for performing traditional Nubian music and dance. | MP3 320 Kbps | Full Covers & Booklet(8 Pages) | 165 MB |

TRACK LISTINGS

[01]. Al-Kartch
[02]. Folk Song
[03]. Nubian Rhythms (Koneksh, Holi, Najimshad)
[04]. Zafa (The groom's wedding procession)
[05]. Popular Games
[06]. Al-Najimshad (Medley)
[07]. Al-Soukh (At the Market)
[08]. Salaam ya
[09]. Al-Sayaddin (Fishermen)
[10]. Al-Tatha
[11]. Allah Musau

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The Music of Islam, Vol. 2: Music of the South Sinai Bedouins

Music Of Islam (Celestial Harmonies Series)

Proudly produced in the year 1418 (by the Muslim calendar), volume two of the relatively far-reaching Music of Islam series focuses on the nomads of Southern Egypt. The ud and the rebab figure heavily in this music, providing the backdrop to every possible song. Combined with this is the general chorus of vocalists and handclaps accompanying the leader of the troupe. The music is performed wonderfully, though the requisite repetition could prove itself a bit much for the casual listener. Another nice note on this album: The liner notes are more than extensive, delving into the history of Islam and all things related to it. For a curious listener, this Music of Islam series could prove itself quite fulfilling. A single volume alone, however, might not be expansive enough to provide an appreciation of the forms. ~ Adam Greenberg, All Music Guide

THE ARTISTS From the harsh and beautiful land of desert plains and rugged red–brown and black mountains—the South Sinai—this volume features the traditional folk music of the legendary desert nomads. Recorded in a single night, in a dry riverbed under a full moon, the backdrop of the desert offered a priceless doorway into this ancient culture, people and music, capturing their very essence. The South Sinai Bedouin singers and musicians featured in this recording not only symbolize the survival and legacy of their ancestors, but of future generations to come. With a declining population (about 200,000 as of 1418/1997) and facing inevitable society changes from impending modernization, their preservation is critical. The group consists of musical director, lead singer, 'ud (fretless lute) and simsimiyya (five-string lyre) player Selim Seliman; poet-singer and rabab (one-stringed fiddle) player Haj-Mohamed Ouda; singers Ghaneb Mohamed, Awad Gomaa, Mosallam Soliman, Aly Hemeid, Mohamed Abdallah, Ayed Hamdan, Hussein Awad, Hemeid Abdallah, Mohamed Hemeid and Meneify Hamdan; and percussionist (oil-can drum) Soliman Hussein. | MP3 320 Kbps | Full Covers & Booklet (10 Pages) | 165 MB |

TRACK LISTINGS

1. Ba'ad al- 'asaha (After Dinner)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

2. Fi solam al taeira (On the Aircraft Steps)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

3. Lala todayeqoun al-Tarfi (Do Not Bother al-Tarfi)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

4. El banat metalemat (The Girls are Educated)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

5. Ibnattan 'Arabiyattan (Arab Girl)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

6. Mili 'allaya mili (Lean on Me, Lean)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

7. Qasidah (Poem)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

8. Ya rim (Oh Gazelle)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

9. Allah ani talabtak, ma talabt al-bakhil (God I Asked You)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

10. Ya warid al-ma, asqini sharaban (You Who are Going to the Water Hole, Give Me a Drink)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

11. Sid el 'Arab (Master of the Arabs): Sid el'Arab (Master of the Arabs)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

12. Nartiji wa al-raja fi Allah (We Hope in God)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

13. Khelli ya khelli (Beloved Oh Beloved)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

14. Gal al wada' (She Said Farewell)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

15. Barhum ya barhum (Abraham, Oh Abraham)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

16. Ahlan wa sahlan (Welcome, Welcome)

Artist(s):
Hemeid Abdallah played Vocals |
Mohamed Abdallah played Vocals |
Hussein Awad played Vocals |
Meneify Hamdan played Vocals |
Aly Hemeid played Vocals |
Soliman Hussein played Percussion |
Haj-Mohamed Ouda played Vocals |
Selim Seliman played Vocals |
Mosallam Soliman played Vocals

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The Music of Islam, Vol. 1: Al-Qahirah - Classical Music of Cairo

Music of Islam Vol. 1-15 [Box-Set] (Celestial Harmonies Series) It would have been more appropriate to name the album, "Music of the Islamic World" since the music in this and others in the series are a collection of classical performances from Muslim countires.

The Music of Islam ;THE PROJECT

Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the world's population, over one billion people, are Muslims, occupying a large territory stretching from the Atlantic shore of north and west Africa, through west, central, and south Asia to island southeast Asia, and attracting an increasing following in India, western Europe, north America, east Asia, and southern Africa. This is a global presence which cannot be ignored. The complete set of 17 CDs from Celestial Harmonies' Music of Islam series features music from every corner of the Islamic world, including North Africa, the Middle East and Indonesia. One highlight are the extremely detailed and extensive liner notes, which are excerpts of chapters from books on Islam and Islamic music. A must-have for any collector of Islamic music.

(Music of Islam: Vol. 1) - Al-Qahirah: Classical Music of Cairo


| MP3 320 Kbps | Full Scans | 155 MB |


Mostly modern Egyptian classical instrumental pieces by key composers (e.g. Zakariya Ahmad, Mohammed Abd al-Wahab), beautifully arranged, plus helpful CD notes outlining the culture and history of art music and its relationship to folk and religious music.

1. Khatwet habiby (Footsteps of my love)

Artist(s):
Hesham El Araby |
Mostafa Abd El Khalek |
Mohammed Foda |
Mamdouh El Gbaly |
Ibrahim Gomaa |
Khaled Gomaa

2. El helwa dayer shebbak (The beautiful girl in the window)

Artist(s):
Traditional |
Hesham El Araby |
Mostafa Abd El Khalek |
Mohammed Foda |
Mamdouh El Gbaly |
Ibrahim Gomaa |
Khaled Gomaa

3. 'Ud Solo

Artist(s):
Traditional |
Mamdouh El Gbaly

4. Ana fi entizarak khalet (I got tired of waiting for you)

Artist(s):
Zakariya Ahmad |
Hesham El Araby |
Mostafa Abd El Khalek |
Mohammed Foda |
Mamdouh El Gbaly |
Ibrahim Gomaa |
Khaled Gomaa

5. Nay Solo

Artist(s):
Traditional |
Mohammed Foda

6. Samra ya samra (Oh you brown girl)

Artist(s):
Traditional |
Hesham El Araby |
Mostafa Abd El Khalek |
Mohammed Foda |
Mamdouh El Gbaly |
Ibrahim Gomaa |
Khaled Gomaa

7. Qanun Solo

Artist(s):
Traditional |
Mostafa Abd El Khalek

8. Bint al-balad (Daughter of the country)

Artist(s):
Hesham El Araby |
Mostafa Abd El Khalek |
Mohammed Foda |
Mamdouh El Gbaly |
Ibrahim Gomaa |
Khaled Gomaa

9. Tabalah Solo

Artist(s):
Traditional |
Khaled Gomaa

10. Sama'i Bayati (Al-aryan)

Artist(s):
Ibrahim al-Aryan |
Hesham El Araby |
Mostafa Abd El Khalek |
Mohammed Foda |
Mamdouh El Gbaly |
Ibrahim Gomaa |
Khaled Gomaa

11. Riqq Solo

Artist(s):
Traditional |
Hesham El Araby

12. Habibi wa enaya (My darling, my dear)

Artist(s):
Traditional |
Hesham El Araby |
Mostafa Abd El Khalek |
Mohammed Foda |
Mamdouh El Gbaly |
Ibrahim Gomaa |

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OM KALSOUM - LAILET HOB ( A LOVE NIGHT )

Om Kolthoum - Lailet Hob (1972) / Sono 108
| MP3 224 Kbps | All Covers | info+tracklist |

[01]. Lailet hob / A love Night (50:36)
Composer: Muhammad 'Abd al-Wahhab
Lyrics: Ahmad Shafiq Kamil
Genre: Ughniyah
Maqaam: Nahawand
Dialect: Egyptian colloquial
Alt. transcriptions: Leilet Hobb, Laylit il-hubb, Yalli 'umrak ma khalaft ma'ad

Recorded live 1972, Egypt

HERE

Pass : WeLove-music

Warda - Dandana

Her name translates as the Algerian rose. A true living legend of Arabic music, her carreer spans over three decades. Presented here are two of her most memorable songs including the very popular 'Welad El-Halal'. | MP3 160 Kbps | Incl. covers | 75 MB | TRACK LISTINGS [01].Dandana [02].Welad El-Halal Download HERE Pass : WeLove-music

DALIDA CHANTE EN ARABE

Track Listings

[01] . Helwa Ya Balady
[02] . Ahsan Nas
[03] . Salma Ya Salama
[04] . Aghany Aghany
[05] . Dalida
[06] . Gameel El Soora
[07] . Ahssan Nass (Music)
[08] . Salma Ya Salama (French)
[09] . Salma Ya Salama - ReMix [Bonus]

HERE

THE ROUGH GUIDE TO THE MUSIC OF [Asia & Middle East]

[01].THE ROUGH GUIDE TO THE MUSIC OF MALAYSIA

With four different racial categories, Malaysia is a confluence of cultures. There's Malaya, Chinese, South Asian, and a mixed bag of others, with Islam being the reigning religion. That cultural grab bag is apparent in the country's music, at least if this Rough Guide to the Music of Malaysia is anything by which to judge. There's Sandii, one of the country's biggest stars (who's actually Japanese), who turns in a glowing performance on "Cinta Hampa." But she's just one of several outstanding female singers on this disc, like Siti Nurhaliza and Noraniza Idris. However, that's only one facet of the music. There's vintage Malay pop/rock from Fredo & the Flybaits, which is deliciously cheesy. There's also creativity and originality (still rooted in the tradition) from "Salih Yacoub," and a mix of Indian ghazal and Middle Eastern rhythms on "Ghazal Masri" from Mari Menari. The diversity is quite spectacular, and it's easy to trace influences in the music: the Zapin rhythm, for example, featured on "Burung Burung Ayam" is simply a softer version of Arabic Zapin. What remains apparent is that Malaysia has a strong identity that's more than the sum of its parts, while still retaining its various ethnic characteristics. ~ Chris Nickson, All Music Guide

| MP3 320 kbps | Incl.Covers | 95 MB |



TRACK LISTINGS



[01]. Ghazal Masri - Mari Menari

[02]. Yo Allah Saidi - Noraniza Idris

[03]. Cinta Hampa - Sandii

[04]. Hati Kama - Pak Ngah

[05]. Setia Menuggu (Main Chali Main) - Zaleha Hamid

[06]. Burung Burung Ayam - Yusoh

[07]. Andainya Kau Sudi - Malek Ridzuan

[08]. Sindai - Siti Nurhaliza

[09]. Rindu Ha Tihu Tidah Terkira - Liza Hanim

[10]. Berkorban Apa Saja - S. Atan

[11]. Azizah - Salih Yaacob

[12]. Berdendang Sayang - Rosiah Chik

[13]. Johore Sports Club - Muzik Tarian Malaysia

[14]. Pantun Berjoget - Bersama R. Ismail

[15]. Nasib Si Gadis - Fredo & The Flybaits



Download HERE



[02].THE ROUGH GUIDE TO THE MUSIC OF IRAN

It's virtually impossible to consider the state of contemporary Iranian music without taking into account the country's contentious political relationship with the rest of the world. As compiler Simon Broughton acknowledges at the outset of his liner notes, the images of Iran received on the outside, particularly in the West, tend to give an impression that this complex country is populated entirely by religious zealots who would suppress any creative expression. Compounding that false notion is that not much indigenous Iranian music has been allowed to escape, to be heard and appreciated in the West. Not surprisingly though, Iran, both in its cosmopolitan city of Tehran and throughout the rest of the country, hosts a diverse range of traditional and modern artists, as well as many who fuse the two into a new whole. As all of the other entries in the Rough Guide series so admirably do, this 15-track collection of album tracks and previously unreleased field recordings, ancient and modern sounds alike, serves as a fascinating introduction to the breadth of Iran's musical landscape. Never is that diversity clearer than in the transition from Chengis Mehdipour's "Misri Koroglu" to Barad's "Dar Har Rage Man (Within Each of My Veins)." The former is a mesmerizing traditional piece, featuring an instrument from the lute family called the korpuz. In a raga-like way, it lures and builds in intensity, before giving way to Barad's track, an all-out rocker that, while somewhat sloppier and less sophisticated than most contemporary rock coming out of Europe or America, could have found its way to American pop radio -- had its lyrics not been grafted from the work of Sufi poets. The set's opener, the Arian Band's "Afsoongar (Glamorous)," is another pop track, but admittedly the collection's highlights are, in the end, the acoustic, traditional numbers featuring local instrumentation: Kayhan Kalhor and his kamancheh (spiked fiddle) collaborating with tanbur player Ali Akbar Moradi; Hossein Alizadeh, and Armenian duduk master Djivan Gasparyan's live contribution; Jahlé's lulling "Lullaby." Fittingly, the renowned Masters of Persian Music close out this intriguing, educational, and, most importantly, delightful set with the uplifting "Torkaman," from their critically acclaimed 2003 album Faryad -- a prime example of Iranian music that has managed to find its way, successfully, to Western ears before. The CD also includes a data track featuring an interview with the compiler. ~ Jeff Tamarkin, All Music Guide

| MP3 192 kbps | Incl.Covers | 95 MB |



TRACK LISTINGS



[01]. Afsoongar (Glamorous) - Arian Band

[02]. Dekay Ambar, Dekay Auber - The Kamkars

[03]. Sari Gailin - Hossein Alizadeh & Djivan Gasparyan

[04]. Yazdah - Trio Chemirani

[05]. Daramad Homayoun - Parvin Javdan

[06]. Dashti - Abdolnaghi Afsharnia

[07]. Saz Va Avaz - Dastan Ensemble & Shahram Nazeri

[08]. Showgh - Kayhan Kalhor & Ali Akbar Moradi

[09]. Lullaby - Jahle Listen Listen

[10]. Misri Koroglu - Chengis Mehdipour

[11]. Dar Har Rage Man (Within Each Of My Veins) - Barad

[12]. Haj Ghorban Soleimani - Zareni Hossain Yar

[13]. Ya Ghows - Din Mohammad Zangeshahi

[14]. Darde Eshgh - O-Hu

[15]. Torkaman - Masster Of Persian Music



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[03].THE ROUGH GUIDE TO BHANGRA DANCE

Even in the wake of the Asian Massive movement, bhangra remains alive, although it's still a predominantly British phenomenon. However, the term bhangra dance is almost redundant, as it was originally a folk dance style that's evolved through Western instruments into something that packs the dancefloors in clubs -- though still marked by the beat of the double-headed dhol drum. But plenty of styles come under the umbrella of bhangra, as this compilation ably shows. There's the R&B of Veronica that wouldn't sound out of place in America, the almost indie rock of Manak-E, the more traditional acoustic sound of Madan Bata Sindhu, or the neo-Bollywood beat of Malkit Singh, who's been a bhangra star for two decades. The Americans are represented by the raga-bhangra of Soni Pabla, while Binder puts a touch of dancehall into "Billo Raneeay." The common factor of the tracks is their danceability, sometimes subtle, sometimes overpowering, as on Daljit Mattu's naggingly infectious "Taweet." Taz offer a poppy bhangra-soul mix with a killer hook, and it all closes with a classic, Panjabi by Nature's "Nain Preeto De," that brings roots and modern sounds together in perfect balance. ~ Chris Nickson, All Music Guide

| MP3 VBR kbps | Incl.Covers | 95 MB |



TRACK LISTINGS



[01]. Rail Gaddi - Four Of A Kind

[02]. Dil Tera - Soni Pabla

[03]. Captain Bhangre Da - Ravi Bal

[04]. Dil Nai Lagda - Aman Hayer

[05]. Gal Sun - Partners In Rhyme

[06]. Sajna - Veronica

[07]. Chal Hun (Get Up Fix) - Malkit Singh

[08]. Billo Raneeay - Binder

[09]. Akheer - Juggy D

[10]. Paisa - Manak-E

[11]. Mahndi/Madhorama Pencha - Madan Bata Sindhu

[12]. Lakh Hilda - Indy Sagu

[13]. Taweet - Daljit Mattu

[14]. Apna Sangeet - Taz

[15]. Nain Preeto De - Panjabi By Nature



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[04].THE ROUGH GUIDE TO THE MUSIC OF CENTRAL ASIA

While there are a few handfuls of albums of Mongolian music, and older targeted albums for particular nations, this is more of a rarity: an album covering the music of Central Asia as defined essentially by the 'Stans' of the former Soviet Union: Kazakhstan, Kyrgyzstan, Uzbekistan, Turkmenistan, Tajikstan. The music on Rough Guide to the Music of Central Asia ranges from the classical traditions of the region, as hailing from Samarkand and Tashkent, to modern hard rock, as well as all points on the spectrum between the extremes. A number of the performers herein are fusionists and revisionists, combining traditional folk musics with contemporary sounds. The album starts on such a note with a mix of classical Kazakh tunes pounded over by electric guitars. Pop singers from the last decade of cultural exchange are sprinkled throughout the album, as recorded locally and through international channels (some have some decent fame in Europe). Folk performers and classicists also take their share of playing time, with masters of the various Central Asian lutes prominent, such as Turgun Alimatov. The album carries a little of something for everyone, in theory, without as many of the particularly foreign sounds, or the more weathered voices and wails that are sometimes known to accompany the music of the region. It's a more accessible entry point to the region's music than many, and may provide a good reference for current listeners to find something new, as well. ~ Adam Greenberg, All Music Guide

| MP3 128 kbps | Incl.Covers | 65 MB |



TRACK LISTINGS



[01]. Adai - Ulytau

[02]. Fergana Tanovar - Turgun Alimatov

[03]. Adolatingman - Sevara Nazarkhan

[04]. From The Station To The Mill - Ashkabad

[05]. Devonah Shaw - Davlatmand

[06]. Aktamak Koktamak - Abdorahman Nurak

[07]. Schoch Va Gado - Yulduz Usmanova

[08]. Yod Kardom - Farzin Listen Listen

[09]. Sary-Arqa - Abdulkhamit Rayimbergenov

[10]. Akku - Raushan Orazbaeva

[11]. Az Ghami Tu - Nobovar

[12]. Jygach Ooz Komuz - Kambarkan Folk Ensemble

[13]. Gongurbash Mukamy - Yagmyr Nurgeldyev

[14]. Song Of Karara - Ayjemal Ilyasova

[15]. Zhez-Kiik - National Ensemble Of The Presidential Orchestra

[16]. Oz'begim - Sherali Juraev

[17]. Garduni Dugah - Ari Babakhanov & Ensemble

[18]. Untitled - Munadjat Yulchieva

[19]. Bul Bul Zaman - Edil Husainov



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[05].THE ROUGH GUIDE TO BOLLYWOOD LEGENDS MOHD. RAFI

Continuing its run through the great stars of Bollywood's playback singing, the Rough Guide (and primarily compiler Ken Hunt) have moved to the third of the Big Four (Rafi, Lata Mangeshkar, Asha Bhosle, and Kishore Kumar) of the genre with an album of Mohammed Rafi's work. Here, he dips and croons his way through a number of classic performances from the films that his voice graced. The album opens with a number taking freely from the blaxploitation aesthetic, before moving into an early duet with Lata Mangeshkar, prior to their temporary falling-out. A simple happy song passes quickly, followed by a somewhat sparser work (sparse being a relative term in Bollywood orchestration) featuring Rafi's vocals more centrally, and a pair of duets with Asha Bhosle (Lata's sister). Another duet with Lata, post-falling-out, continues the stretch of multiple voices, and a couple of solo pieces showcase the essence of Rafi's vocal delivery exquisitely. The rest of the album follows much of the same formulas, showcasing Rafi in various lights, but especially as a light romantic singer in various contexts. Perhaps most interestingly to some of the Hindustani music purists, there's also a single track here featuring the singer in a more classical context alongside sarangi and sitar. It's a fine work, only muddied somewhat by the ever-present string sections. Ultimately, the listener should have an idea of the Bollywood aesthetic before diving into any full compilation of a single playback singer, regardless of their stature within the genre. That said, this compilation makes an excellent item for those with a basic appreciation of the genre, showcasing one of its finest singers in his best light, as well as in combination with other luminaries of the playback scene. ~ Adam Greenberg, All Music Guide

| MP3 224 kbps | Incl.Covers | 120 MB |



TRACK LISTINGS



[01]. Chand Mera Dil

[02]. Chal Ud Jare Panchhi

[03]. Taarif Karun Kya Uski

[04]. Dil Ka Bhanwar Kare Pukar

[05]. Yeh Ladka Hai Allah

[06]. Hum Kisise Kum Naheen

[07]. Rut Hai Milan

[08]. Tum Jo Mil Gaye Ho

[09]. Pardesiyon Se Na Ankhiyan Milana

[10]. Babul Ki Duayen Leti Ja

[11]. Woh Hain Zara Khafa Khafa

[12]. Nain Lad Jai Hai

[13]. Jo Baat Tujh Mein Hai

[14]. Aaj Mausam Bada Be-Iman Hai

[15]. Wadiyan Mera Daman

[16]. Jab Pyar Kisi Se Hota Hai



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[06].THE ROUGH GUIDE TO RAVI SHANKAR

With a recent focus on Indian music taking a foothold on the Rough Guide series, it was only fitting that the grand ambassador of Hindusthani music would get a retrospective of his own. Taking a somewhat surprising turn here, the compilers have stuck with a number of relative rarities highlighting periods of Ravi's career, but not highlighting the more noteworthy performances and collaborations. The album opens with "Kathakali Katthak," a 1989 composition for a theater troupe. Moving on, "Transmigration" hails from the British film Voila, and a rendition of "Mishra Piloo" pairs Shankar with his premier tabla compatriot, Alla Rakha, for an extended, ponderous work. Two dhuns hold the middle of the album, with "Dun Man Pasand" paying tribute to the city of Paris and "Devgiri Bilawal" allows some of Ravi's trademark high-speed runs. "Reflection" comes from the film Transmigration Macabre, and somewhat obviously has a reflective atmosphere, with somewhat unusual rhythmic structures filling out the mood but keeping the whole a bit off-center. "Raga Patdeep" is mixed with a high-speed gat in "Sitarkhani Taal" for another of the signature displays of virtuosity that help to display why Ravi is an undisputed master of the instrument. Dropping Shankar oddly enough on a Shankar compilation, there's a short tabla solo from Zakir Hussain (Alla Rakha's virtuoso son and common accompanist for Shankar as well) from the Concert for Peace, and the album ends on an exceptional working of "Raga Bilashkani Todi" with Ali Akbar Khan on sarod, the two masters playing with some give-and-take as well as working together beautifully. The most notable highlights of Shankar's career aren't here themselves (the East Meets West with Yehudi Menuhin, the London and New York concerts, the San Francisco performances...), but representatives of those eras are present, as are some exceptional, though little heard, pieces from his extensive work with the film industry. There are certainly other worthwhile Ravi Shankar compilations out there, but this one falls in near the top as well, making an excellent starting point for those looking to just get a taste of the master's abilities before delving deeper into the catalogs. ~ Adam Greenberg, All Music Guide

| MP3 VBR kbps | Incl.Full Covers & Booklet | 105 MB |



TRACK LISTINGS



[01]. Kathakali Katthak

[02]. Transmigration

[03]. Mishra Piloo

[04]. Dhun Man Pasand

[05]. Dhun In Devgiri Bilawal

[06]. Reflection

[07]. Raga Patdeep/Gat Sitarkhani Taal

[08]. Tabla Solo Listen Listen

[09]. Bilashkani Todi



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[07].THE ROUGH GUIDE TO BOLLYWOOD LEGENDS - LATA MANGESHKAR

Any account of Indian playback music must start with Lata Mangeshkar. While it is not possible to more than list the most important playback singers, one, because of her supreme stature, merits detailed attention. Born September 28, 1929 in Indore, India, Lata Mangeshkar has been active in all walks of Indian popular and light classical music having sung ghazals, bhajans and pop. She is the supreme voice of popular Indian music, an Indian institution. Her importance rests not solely with her prodigious output. Many of her performances are considered timeless and undatable, although her voice has changed and matured over the years. In effect she sang the soundtrack for millions of Indians' lives. Until the 1991 edition, when her entry disappeared, the Guinness Book of Records listed her as the most recorded artist in the world with not less than 30,000 solo, duet and chorus-backed songs recorded in 20 Indian languages between 1948 and 1987. By 1990 she supposedly had worked on over 2000 film soundtracks as a playback singer -- meaning she pre-recorded the songs to which the films' leading ladies lip-synched. Dinanath Mangeshkar, her father, owned a theatrical company and was a classical singer, a disciple of the Gwalior school, and gave her singing lessons from around the age of five. She also studied with Aman Ali Khan Sahib and later Amanat Khan. Her God-given musical gifts meant that she could master the vocal exercises effortlessly on first pass and from early on she was recognized as being highly gifted musically. Also in the family were brother Hridaynath, a music director, and sisters Meena, Asha (the famed Asha Bhosle), and Usha. Hridaynath's soundtrack work included Lekin... (EMI India CD PMLP 5206) released in 1990 which, keeping it a family affair, placed Lata Mangeshkar well to the fore. Usha also became a playback singer. Only Asha Bhosle's career can compare in any way with her sister's award-strewn output although by 1994 reports were appearing to the effect that Asha Bhosle had overtaken her big sister's output. Lata Mangeshkar began work as playback singer in the 1940s and grew to become the most famous playback singer of the century. She received her first proper named credit under her own name in actor/director Raj Kapoor's 1949 film Barsaat (the soundtrack from which forms a third of the Barsaat/Aah/Aag album on EMI India CD PMLP 5188). She would sing for every major actress, including Geeta Bali, Nanda, Nargis, Nimmi, Nutan, Padmini, Sadhana and Meena Shorey. The sheer scale of recording activity makes any examination of her life and works impossible in such a confined space. ~ Ken Hunt, All Music Guide

| MP3 VBR kbps | Incl.Covers | 95 MB |



TRACK LISTINGS



[01]. Inhi Logon Ne

[02]. Allah Tero Naam, Ishwar Tero Naam

[03]. Aayega Aanewala

[04]. Sare Shaher Mein

[05]. Satyam Shivam Sundaram

[06]. Aye-Dil-E-Nadan

[07]. Aa Jane Jaan

[08]. Pyar Kiya To Darna Kya

[09]. Yeh Dil Diwana Hai

[10]. Kuchh Na Kaho

[11]. Kuchh Dil Ne Kaha

[12]. Nainon Mein Badra Chhaye

[13]. Yara Seeli Seeli

[14]. Chandni Raaten Pyar Ki Baaten

[15]. Kaise Rahun Chup

[16]. Soja Rajkumari



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[08].THE ROUGH GUIDE TO BOLLYWOOD LEGENDS ASHA BHOSLE

From perhaps the most prolifically recorded artist in worldwide history comes the Rough Guide installment devoted to Asha Bhosle. Bhosle has some 20,000 recordings to her name, making a compilation of 16 a nearly impossible. This compilation was culled from her full archives, with the help of Bhosle herself, as well as her son, so the songs work surprisingly well to represent the various facets of her work. The album opens with a song heavily informed by early rock & roll and swing jazz, a revolutionary sound for its time. It moves quickly through disco on its way to a pair of songs that are somewhat more standard in nature, showcasing the basic forms of film music and Hindustani classical at the same time. "Mera Kuchh Saaman" is a tour de force for her vocal ability, followed by a political work and a powerful chorus piece from the classic Mother India. A more experimental work follows, preceding some light classical, which itself is followed by a duet between Bhosle and her husband. A bit of a Hindu Marlene Dietrich number continues the stretch of innovations, followed by a shorter work that focuses on her ability to turn notes. The album finishes on a trio of classic Bollywood numbers, the final one including a duet with Mohammed Rafi. The full range of Bollywood sounds are represented here, all tied together under the banner of Bhosle's extensive work history. As such, it becomes an important album for those interested in the sound of the film factories of the subcontinent, as Bhosle's been there for nearly the full existence of the industry and usually at the forefront. Her vocals are outstanding, as one would expect, but the real treat for the listener is the chance to hear her ease in moving from one style to another and to be exposed to the full range of her abilities. Give it a listen as a veteran of the Bollywood recordings or as a newcomer -- it will serve well for either listener. ~ Adam Greenberg, All Music Guide

| MP3 128 kbps | Incl.Covers | 70 MB |



TRACK LISTINGS



[01]. Ina Mina Dika

[02]. Jawani Jan-E-Man

[03]. Rishte Bante Hain

[04]. Dil Cheez Kya Hai

[05]. Faaske Hain Bahut

[06]. Mera Kuchh Saaman

[07]. Kali Ghata Chhaye

[08]. Dukhbhare Din

[09]. Mera Naam Hai Shabnam

[10]. Jaane Kya Haal Ho Kai

[11]. Sapna Mera Toot Gaya

[12]. Karle Pyar Karle

[13]. Teri Meri Yaari Badi Purani

[14]. Neeyat-E-Shauq

[15]. Rang De

[16]. Main Soya Aankhiyan Meeche



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[09].THE ROUGH GUIDE TO THE MUSIC OF CHINA

Whatever you imagined about Chinese music, put it aside for this stunning compilation that captures China today. Yes, there's a brief (and actually very listenable) snippet of Chinese opera, but much of this is decidedly contemporary, whether it's the endearing, broken English semi-punk of Hang on the Box, or the simply otherworldly, captivating music of Urna. And to hear Tse Chun Yan on the qin, a type of zither, is to understand the possibilities of the instrument. The Chinese-German band, Wu Xing, offer plenty of space in their track, with a singing style that bridges the gap between classical and contemporary music. Following it with a classic cinema song from the pre-Communist era makes for a surreal juxtaposition, but still splendid, like walking farther and farther into an unknown but enchanting forest. While Chinese pop has often received a bad rap, the examples here show a very creative side, whether it's the atmospheric, building sound of Tats Lau, the rocker Cui Jian, or Ai Jing's classic "My 1997," which caused a controversy on its release in 1992. Put everything together here, even the intelligent new age of Kin Taii, and you have what's possibly the most persuasive -- and certainly the most accessible -- compilation of Chinese music available in the West. ~ Chris Nickson, All Music Guide

| MP3 192 kbps | Incl.Covers | 90 MB |



TRACK LISTINGS



[01]. Yi Wu Suo You (Nothing To My Name) - Cui Jian

[02]. Silaihuar - Urna Listen Listen

[03]. Jiu Kuang 'The Drinking Song' - Yao Gongbai

[04]. Wo Yao Hui Jia (I Want To Go Home) - Bai Hong

[05]. My 1997 - Ai Jing Listen Listen

[06]. Stone Forest Nocturne - Min Xiao-Fen

[07]. Hong Niang Hui Zhang Sheng - Zheng Jun Mian

[08]. Shanaxi Air - Silk Road Music

[09]. Yellow Banana - Hang On The Box

[10]. Nocturnal Light - Kin Tall

[11]. Li Xiang Lan - Lan Guei Ji Ji

[12]. The Green Brook Running - Tse Chun Yan

[13]. Tirik Bostan - Sinkiang Uighur Autonomous Region, Song & Dance Ensemble [14]. Bo - Wu Xing

[15]. Chiang Wei Cu Cu Kai - Gong Chio Xia

[16]. Autumn Moon - Tats Lau

[17]. The Night Of Bonfire - Liu Fang



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[10].THE ROUGH GUIDE TO THE MUSIC OF THAILAND

Thai music hasn't had much exposure on the world stage, but on the basis of the excellent Rough Guide to the Music of Thailand compilation, it's only a matter of time before it emerges as a global force. The emphasis here is on the lukthung and morlam styles, which originated in northern Thailand, illustrated in both traditional and more modern pop forms, but there are also oddities like the Thai Elephant Orchestra (which, yes, is made up of elephants) on "An Elephant's Swan Song." Although it doesn't say so in the comprehensive booklet, Chawiwan Damnoen's track would seem to feature the khaen, a kind of massive forerunner of the harmonica (with origins in China) that produces a fascinating full sound closer to an accordion. While the styles have been modernized, few have done it as effectively as China Dolls, whose "Oh Oh Oh" was one of the biggest Thai singles of 2001, a series of absolutely irresistible hooks. Much of the music here is at the pop end of the spectrum while still managing to sound well-rooted, rather than bland and faceless. And some tracks can be stunning, like "Phin Solo," a solo by Surasak Donchai on the phin, a Thai lute, which is simply virtuosic. Jieb Benjaporn's "Ma Kor Tho Tai" is lukthung that blends a heartfelt slow melody with guitar that would sound at home on an Ennio Morricone soundtrack to wonderful effect. More traditional sounds come from Fong Nam, playing classical music featuring the double reed pi. And veteran Benjarong Thanakoset offers some beautiful music on the bowed so-duang to complement it, helping to explore some of the many facets of Thai music. This isn't a complete look at the music of Thailand, as the notes point out. But for the time being, it does a valuable, informative, and extremely entertaining job. ~ Chris Nickson, All Music Guide

| MP3 VBR kbps | Incl.Covers | 130 MB |



TRACK LISTINGS



[01]. Hae Nang Maew - Man Motorgai

[02]. Lam Yai Lam Poon - Namoiy Thammalangka

[03]. Phin Solo 'Transcendental Technique' - Surasak Donchai

[04]. Lerk Dai Lerm Bor Dai - Mike Piromporn

[05]. Rang Jai Rai Wan - Siriporn Aumpiapong

[06]. An Elephant's Swan Song - Thai Elephant Orchestra

[07]. Moo Lam 'Lam Teai' - Chawiwan Damnoen

[08]. Amazing Isaan - Pol Pan Lao

[09]. Oh Oh Oh - China Dolls

[10]. Roop Khao Krapao Aei - Anand Jaidee

[11]. Ma Kor Tho Thai - Jieb Benjaporn

[12]. The Nang Hong Suite For Double Piphat Ensemble - Fong Nam

[13]. Sieng Soong Wao Sao - Ekachai Srivichai

[14]. Katikar Huajai - Sao Somparn

[15]. Tam Ha Kujee - Krusala

[16]. So Duang 'The Sad King' - Benjarong Thanakoset

[17]. Sao Noong San - Sorn Shinchai

[18]. Sao Na Sang Fan - Paijit Aksornnarong

[19]. Pong Lang Ensemble 'Pong Lang Dance' - Chagkachan



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[11].THE ROUGH GUIDE TO ARABESQUE

People are familiar with rai or some of the more traditional music to emerge from North Africa and the Middle East, but lately there's also been an undercurrent of more adventurous music -- hip-hop and electronica. The roots still shout loud and proud, but the sounds (often made by artists who've moved to Europe or the U.S.) are as hard and modern as anything, anywhere -- for example, the rap of Clotaire K or Mafia Maghrebine, the edgy, skittering rhythms of U-Cef, or the powerful trance of Gnawa Impulse. And this compilation makes the ideal introduction, from the pounding beats of "A Muey A Muey," which was a revelation and breakthrough when it first appeared, to the contemporary remix of Ali Slimani's "S'Habi." The full range of the music gets an airing here, and for anyone with an urge to explore the lesser-known (for now) areas of Maghrebi music, this is the starting point. ~ Chris Nickson, All Music Guide

| MP3 VBR kbps | Incl.Covers | 105 MB |



TRACK LISTINGS



[01]. A Muey A Muey - Aisha Kandisha's Jarring Effects

[02]. Fantasy - Oojami

[03]. Beyrouth Ecoeuree - Clotaire K

[04]. Desert Dancer - Nickodemus

[05]. Dourbiha - MoMo

[06]. S'Habi (Stereomovers Remix) - Ali Slimani

[07]. Zanzibar - DuOuD (Mehdi Haddab-Smadj)

[08]. Frere Faut Que Tu Saches - Mafia Maghrebine

[09]. Sidi Mansour (Remix) - Tango

[10]. Tango - Soap Kills

[11]. Aalash Kwawna - U-Cef

[12]. Lahillah Express (Remix) - Gnawa Impulse



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[12].THE ROUGH GUIDE TO THE MUSIC OF PAKISTAN

Pakistan's music has generally tended to be overshadowed by that of its neighbor India. (It did share an earlier volume in this series with India, but fully deserves its own.) And while the two countries share of lot of characteristics -- especially Pakistani and North Indian (or Hindustani) music, there's plenty going on in Pakistan besides the qawwali singing of the late, legendary Nusrat Fateh Ali Khan (who's represented here on the long closing track). Of particular note here is Abida Parveen, whose Sufi singing is very different from Khan's, with her voice quite jolly and enticing rather than overtly spiritual. There's a highly developed instrumental tradition, as Tsiganes de Sind show on "Popular Melodies," in which the harmonium -- an instrument brought from Europe -- carries much of the melody, and "Traditional Pashtoun Song," which features the rabab lute. It would be impossible to survey the country's music without including the love song known as ghazal, and Farida Khanum, the Queen of Ghazal, gives an exquisite illustration of the poetic form. Vital Signs merged Western pop with Pakistani music and proved very popular while it existed, although, to many Western ears, "Guzray Zamaney Waley" might seem a little cheesy and coy -- like Bollywood without the soaring melody. Adnan Sami Khan (supposedly the world's fastest keyboard player) grew up in England, but his "Lift Kara De" proved to be a huge hit in Pakistan, even if his speedy keyboard work isn't evident in Eastern pop. However, it seems vapid next to the singing of Noor Jehan, the leading lady of both acting and song. "Jis Din Se Piya," a Bollywood song with deeper soul, is caressed by her voice and a delight to hear. This album does Pakistan a service, letting people in on what's been a well-kept secret for far too long. ~ Chris Nickson, All Music Guide

| MP3 VBR kbps | Incl.Full Covers & Booklet | 105 MB |



TRACK LISTINGS



[01]. Mera Isqh Bhi Tu - Pathane Khan

[02]. Yaar Di Gharoli - Abida Parween

[03]. Popular Melodies - Tsiganes De Sind

[04]. Aaj Jane Ki Zid Na Karo - Farida Khanum

[05]. Traditional Pashtoun Song - Sultan Muhammed Channe

[06]. Thumri In Raag Desh - Mehdi Hassan

[07]. Guzray Zamaney Waley - Vital Signs

[08]. Jhullay Lal - Sajjad Ali

[09]. Dil Na Lagay - Faakhir

[10]. Lift Kara De - Adnan Sami Khan

[11]. Jis Din Se Piya - Noor Jehan

[12]. Aj Rang Hai Hai Maa - Nusrat Fateh Ali Khan



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[13].THE ROUGH GUIDE TO THE MUSIC OF INDIA

An album attempting to cover the multiplicity of styles available in Indian music. Given the enormity of such a task, it's amazing that Rough Guide managed to compile it into a single album at all. Of course, there are plenty of omissions to be had with such an endeavor, primarily in the folk end of the spectrum. The album starts out with a Bollywood classic, as Asha Bhosle's "Aaj Ki Raat" is taken from the original recordings for Anamika. Later in the album, Carolene performs "Thee Thee," another Bollywood number from the legendary A.R. Rahman with an aesthetic strongly reminiscent of Weather Report in many ways. The carnatic aspects are covered by N. Ravikiran on the chitra vina, as well as the "queen of melody" M.S. Subbulakshmi in a performance from the 1941 film Savithri. Classical Hindusthani music is supplied in quantity by exponents such as Sultan Khan on sarangi and Zakir Hussain on tabla in an adaptation of a Rajasthani folk song, and Kamalesh Maitra on his instrument of choice, the tabla tarang array. Sultan Khan shows up again later in the album in a jugalbandi with sitarist Ustad Rais Khan. The Rajasthani mode played upon by Sultan Khan and Zakir Hussain shows up again in fuller force as the Rajasthani troupe Musafir performs a rather noisy, but rather more authentic Rajasthani folk song toward the end of the album. Brass instruments abound in the transplanted tradition of off-key brass playing that's taken the world by storm since the Ottoman Empire's days, and is shown to its most jubilant, if almost cacophonous end in the work of Dharat Brass, and then to its most refined in the next track as Kadri Gopalnath uses the saxophone to adapt a classic carnatic kriti to a new instrument. Along the lines of innovation, Vishwa Mohan Bhatt provides a number on his namesake instrument, the Mohan vina: a Spanish guitar slowly transformed over time into a fully Indian instrument, but with the ability to make short runs in a Spanish method as desired. Also innovative is the Baul love song, performed here by Subhendu Das Bapi and Baul Bishwa. The song and instrumentation are purely traditional, but the manner of rhythm accompaniment is a step toward the European house/club scene, as performed to excellence manually on Indian percussion. While a few of the notable names in Hindusthani classical music are absent, there isn't really room for them with the multitude of other acts that are present on the album. For an overview of the multitude of styles available in the wide, wide spectrum of Indian music, this album makes an excellent step in the right direction for newcomers and those wishing to make good additions to their existing collections. ~ Adam Greenberg, All Music Guide

| MP3 192 kbps | Incl.Covers | 95 MB |



TRACK LISTINGS



[01]. Aaj Ki Raat - Asha Bhosle

[02]. Vhaba Pare - Bapi Das Baul & Baul Bishwa

[03]. Sarasamukhi - Ravikiran

[04]. Desh - Swapan Chaudhuri

[05]. Bruhi Mukundhehi - M.S. Subbulakshmi

[06]. Rajasthani Folk Song - Zakir Hussain

[07]. Dehati - Kamelesh Maitra

[08]. Thee Thee - Carolene

[09]. Chamil - New Bharat Brass-Band

[10]. Napali Srirama - Kadri Gopalnath

[11]. Bhairavi - Sultan Khan

[12]. Hanji Mara Lalou Sa - Musafir

[13]. Sun Ja Dil Ki Dastaan - Helmant Kumar



HERE



[14].THE ROUGH GUIDE TO BELLYDANCE

The Western image of bellydancing is associated with Greek or Middle Eastern restaurants, or some form of low-cost home seduction. The truth, of course, is something different. It's an ancient form of dance, requiring extremely complex body control to execute properly -- and it's original name, baladi, has nothing to do with the belly, translating instead as "country dance." But whichever way you look at it, the music on this compilation is made for the dance, whether it's the satisfying full Egyptian strings of Jalilah and Mokhtar Al Said's "Enta Omri," a piece originally written for the great Oum Kolthoum, or the stunning buzuq work of the late Mohamed Matar, whose nimble, inventive playing deserves greater exposure. The centerpiece, however, belongs to Nubian percussionist Mahmoud Fadl, with "Aament Bellah," a piece written to illustrate the power of the dance to lighten spirits and the oppressive weight over everyday life. At 12 minutes, it demands a lot from the listener, but amply repays it with shards of musical genius from the ensemble, and a rhythm that can't be denied. The music ranges from the classical compositions of Mohammed Abdel Wahab to folk pieces, presented in a manner that largely runs the gamut of Middle Eastern music. And if you get tired of using it for dancing, it makes excellent listening too. ~ Chris Nickson, All Music Guide



TRACK LISTINGS



(01) [Jalilah feat. Ihsan Almounzer] Tahia's Dance

(02) [Reda Darwish] Marhaba

(03) [Ahmad Fouad Hasan] Dimashq

(04) [Fadl, Mahmoud] Aament Bellah

(05) [Jalilah feat, Mokhtar Al Saïd] Enta Omri

(06) [Setrak Sarkissian] Ala Jsrel Low Ziyyi

(07) [Mohamed Matar] Adawar

(08) [Omar Faruk Tekbilek] Laz

(09) [Kemanî Cemal Cinarli] Kirkpinar Ciftetellisi

(10) [Jalilah feat. Mokhtar Al Saïd] Rakiya's Tabla

(11) [Mahmoud Fadl] Ana Wehabibi

(12) [Armando El Mafufo] Arruga La Camisa

(13) [Ahmed Mneimneh] Aini Bet Ref

(14) [Rabih Abou-Khalil] The Happy Sheik

(15) [Reda Darwish] Raqset El Banat



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[15].THE ROUGH GUIDE TO THE MUSIC OF THE HIMALAYAS

Subtitled "Sounds From Shangri-la," which could erroneously scare off anybody who ever sat through the ghastly 1973 musical remake of Frank Capra's Lost Horizon, Rough Guide to the Music of the Himalayas gathers together a varied assortment of music from the high altitudes and plunging valleys of Tibet, Nepal, and Ladakh. Centuries of geographical and political isolation have preserved some traditions virtually intact, while others have been exported to the West via the perceptions of well-meaning and/or culturally rapacious musical tourists. The 13 tracks range from folklore and devotional styles to the sort of new age pastiches one imagines might cling to the inner ear of a frost-bitten, oxygen-deprived Sherpa somewhere on Mount Everest. Wisconsin-born guitarist Steve Tibbetts supplies a pair of the latter. He sits in with a husky sweet-voiced singing nun named Choying Drolma, and if the resulting collaboration has its cloying, aging-hippie moments, it is also rather charming in an aggressively mellow way. On the more authentic side, a field recording of the cloistered inhabitants of a Buddhist nunnery perform a looping a cappella chorale, exhibiting unexpected overtones and a cyclical, repetitive momentum that Philip Glass would certainly recognize. A nearly seven-minute sample of a bass-grounded, gradually ascending chant by monks from the Drete Dhargon at Drepong Monastery could, in the right hands, be one of the most effective lease-breakers of all time. Many music lovers would not expect to have much fun listening to a compilation from this part of the world, but should they decide to give it chance, they would be agreeably surprised. ~ Christina Roden, All Music Guide

| MP3 320 kbps | Incl.Front Cover | 90 MB |



TRACK LISTINGS



[01]. Ngani Troma Part 1 (Tibet) - Steve Tibbetts

[02]. Pahadi (India) - Hariprasad Chaurasia

[03]. Gurans Ko Phool Siuri (Nepal) - Krishna Das & The Modern Light Music Brass Band

[04]. Gaden Lhagya (Tibet) - Nuns From Jangchub Cheling Nunnery

[05]. Kyamdro Semkye (Tibet) - Choying Drolma

[06]. Lekdri Ma (Tibet) - Monks From Drete Dhargon At Drepung Monastery

[07]. Fire Channels. Me (Tibet) - Hooked Light Rays

[08]. Dar Tson Nanga (Tibet) - Petso

[09]. Music For Archery (Ladakh) - Ladakhi Musicians

[10]. Ling Sho La (Bhutan) - Jigme Drukpa

[11]. Mew Dyahlhaygu (Nepal) - Nepali Musicians

[12]. Dong Lim (Tibet) - Do-Pe

[13]. Himalayas (China) - Joji Hirota



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[16].THE ROUGH GUIDE TO THE ASIAN UNDERGROUND

How you view the Asian underground might well be a matter of geography. To those in the U.S., it's an English-based scene that blew up in 1997 and exploded. In Britain, its roots date back to the beginning of the '90s, as this compilation so excellently explains. Starting with the granddaddy and inspiration to all, Ananda Shankar, it takes off through the pioneers, like State of Bengal and Black Star Liner, with Fun-Da-Mental's "Ja Sha Taan" an especially strong track with its strong qawwali influence. But there are no bad cuts here. Orchestral World Groove's "Pyar" is marvelously atmospheric and Asian Dub Foundation smokes, while Mahatma T offers an early glimpse of Talvin Singh, at one point the movement's poster boy. Full marks to compiler DJ Ritu -- a veteran of the scene herself -- for including a track by Sister India, who is unsigned to a label but remains quite successful (and from the sound of "Out of Place," the group deserves to be widely heard). If you though the Asian underground was all banging club beats, then this compilation is going to make you think again; it's a range of music, a mindset, if you will. And an unreleased track from Joi is simply icing on the cake. Maybe, as the notes suggest, the scene is currently in a lull; if so, you have to think it's just the calm before an even bigger movement erupts. A superb disc, excellently annotated. ~ Chris Nickson, All Music Guide

| MP3 192 kbps | Incl.Covers | 105 MB |



TRACK LISTINGS



[01]. Streets of Calcutta - Ananda Shankar

[02]. Elephant Ride - The State of Bengal

[03]. Killah Connection - Black Star Liner

[04]. Fulfilment in Dub [Edit] - Joi

[05]. Ja Sha Taan

[06]. Yab Yum [Edit][Mix] - Uzma

[07]. Pyar

[08]. Sundance - ShivaNova

[09]. Debris - Asian Dub Foundation

[10]. Is It Legal? - T.J. Rehmi

[11]. Jihad

[12]. Nataraj Express - James Asher

[13]. Out of Place

[14]. Mixed Vision [Edit] - Mo Magic

[15]. Path of the Blazing Sarong - Bill ''Ravi'' Harris & The Prophets



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[17].THE ROUGH GUIDE TO NUSRAT FATEH ALI KHAN

There's no doubt that Nusrat Fateh Ali Khan was probably the greatest singer of qawwal, the devotional songs of the Sufi. He was, arguably, one of the greatest singers of the 20th century, up there with names like Pavarotti for the power and emotion of his vocalizing, much of which came in his ecstatic improvising, which could stretch out -- all too often the pieces would last more than ten minutes each, like "Hazrat Khwaja Kheliye Dhamar," a song from the original qawwali repertoire that Khan makes entirely his in this stunning performance, backed by his group, or party as they're known. This collection carefully balances the spiritual side of Khan's repertoire with the more secular ghazals and romantic poetry. His art was in his voice and the flights of extemporization that were specifically his. But while much of his career, and indeed his reputation, came from his work in the traditional manner, Khan was also a relentless experimenter, as shown by the final track here, "Dam Mast Qalandar," which brings in a female chorus, beats, and samples for a dance track that's actually messy and far from his finest work. The biggest problem with Khan, really, is picking the best of his work -- there's simply so much of it available. This does a very fair job of representing the man, and showing his facets and talents, more so than some other best of collections available, at least. Inevitably, with so much great work of Khan's on disc, the choices are subjective. But to hear him at his best, within the tradition, the 1985 Paris Concerts are a high point, and for his more experimental side, Mustt Mustt is little short of brilliant. This disc gives you a picture of the man; those two are a more direct route to his essence. ~ Chris Nickson, All Music Guide

| MP3 320 kbps | Incl.Full Covers | 115 MB |



TRACK LISTINGS



[01]. Ya Hayyo Ya Qayyum

[02]. Dam Hama Dam Ali Ali

[03]. Nami Danam Chi Manzil Bud Shab Jai Ki Man Budam

[04]. Hazrat Khwaja Sangh Kheliye Dhamar

[05]. Mera Yeh Charkha

[06]. Boha Aes Wele Kine Kharkaya

[07]. Mera Sohna Sajan

[08]. Dam Mast Qalandar



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[18].THE ROUGH GUIDE TO BOLLYWOOD

As the Indian film phenomenon sweeps mainstream Britain the Rough Guide To Bollywood is the essential introduction to the colourful, vibrant and dramatic soundtracks of the multi-million dollar industry that is bigger and more productive than Hollywood. Compiled by DJ Ritu, broadcaster and club DJ for London club nights Kuch Kuch and Club Kali and assisted by BBC Asian Network's Bhagwant Sagoo – this is a collection of the biggest and best Bollywood has to offer.

| MP3 320 kbps | Incl.Front Covers | 95 MB |



TRACK LISTINGS



[01]. Dum Maro Dum - Asha Bhonsle

[02]. Roop Tera Mastana - Kishore Kumar

[03]. Piya Tu Ab To Aaja - Asha Bhonsle

[04]. Kabhi Kabhi Mere Dil Mein Khayal Aata - Lata Mangeshkar

[05]. Chura Liya Hai Tum Ne - Mohammed Rafi

[06]. Pyar Diwana Hota Hai - Kishore Kumar

[07]. Yeh Dosti Hum Nahin - Kishore Kumar

[08]. Aap Jaise Koi - Nazia Hassan

[09]. Jaadu Teri Nazar - Udit Narayan

[10]. Tujhe Dekha To - Lata Mangeshkar

[11]. Kehna Hi Kya - Chitra

[12]. Didi Tera Devar Deewana - Lata Mangeshkar

[13]. Kuch Kuch Hota Hai - Udit Narayan

[14]. Ek Pal Ka Jeena - Lucky Ali

[15]. Phir Bhi Dil Hai Hindustani - Udit Narayan



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[19].THE ROUGH GUIDE TO THE MUSIC OF INDONESIA

Like most releases in the Rough Guide series, this compilation provides a solid overview of the music of a particular region, but Indonesia's musical traditions are probably among the least well-known in the West. World music aficionados may be familiar with the gamelan orchestras for which the region has become known, but this 15-song CD exposes the broad diversity of sounds you might expect from a country with over 550 ethnic groups spread across more than 17,500 islands. From the traditional gamelan and throbbing percussion of CBMW's folksy "Sambasunda" and the lilting guitar picking and melancholy vocals of Grup Bamba Puang's "Los Quin Tallu-Tallu" to the more modern, Indian- and Arabic-influenced pop sounds of artists like Elvy Sukaesih and her former partner, Rhoma Irama, The Rough Guide to Indonesia provides an accessible introduction to some very unfamiliar musical traditions. ~ Bret Love, All Music Guide

| MP3 256 kbps | Incl.Front Covers | 135 MB |



TRACK LISTINGS



[01]. Sambasunda - CBMW

[02]. Anoman Obong - Waldjinah

[03]. Kareta Malam - Elvy Sukaesih

[04]. Begadang - Rhoma Irama

[05]. Jeruk Manis - L.S. Gelik

[06]. Dar Der Dor - Detty Kurina

[07]. Los Quin Tallu-Tallu - Grup Bamba Puang

[08]. Ceurik Rahwana - Imas Permas /Asep Kosasih

[09]. Sumbawa - Sabah Habas Mustapha & The Jugala All-Stars

[10]. Rentak 106 - Sandii

[11]. Joged Laksmana Mati Raden Ditembak - Ibu Maimunah Mochtar And Group

[12]. Page Sakarimpang - Uning-Uningan

[13]. Kucap-Kicup - Gentra Pasundan

[14]. Boleh Bersuka Ria - Nasida Ria

[15]. Bengawan Solo - Waldjinah/Gesang



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[20].THE ROUGH GUIDE TO BHANGRA

A 13-track release that starts out with an example of traditional bhangra, dips a toe into the beginnings of its cross-cultural metamorphosis, and then dives headfirst into some examples of bhangra as sound system devotees know it best, with walloping beats, reggae riddims, and rap amongst the elements swirled into the folk elements. This Rough Guide sampler provides a very limited look at the style and its practitioners, unfortunately, and there is a sense that they needed to produce a rather more extensive release to give potential fans a better idea of what bhangra represents, and just how many countries and communities it connects with. That said, this is a record that is both listenable and danceable, and a lot of fun to boot. Also, most will learn something from the liner notes. ~ Steven McDonald, All Music Guide

| MP3 320 kbps | Incl.Full Covers & Booklet | 175 MB |



TRACK LISTINGS



[01]. Bhabiye Ni Bhabiye - Alaap

[02]. Mera Laung Gawacha - Rama & Bally Sagoo

[03]. Chargiye - Bombay Talkie

[04]. Pyar Ka Hai Bairi - Sangeeta

[05]. Boliyan - Malkit Singh

[06]. Gidda Pao Haan Deo - Mohinder Kaur Bhamra

[07]. Valeti Boliyan - A.S. Kang

[08]. Pendha Gidda - Satwinder Bitti & Bally Sagoo

[09]. Piya Re Piya Re - Ustad Nusrat Fateh Ali Khan

[10]. Janj Mahi Ley Aya - Baldip Jabble

[11]. Par Linghade - Safri Boys

[12]. Saqian Da Dhol - Saqi

[13]. Mundian To Bach Ke - Labh Janjua & Panjabi MC



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[21].THE ROUGH GUIDE TO THE MUSIC JAPAN

The inimitable travel mavens at Rough Guides are not offering your average travel fare, and their counterparts in music are also looking for the unusual and the undercovered. This guide to Japanese music sidesteps the obvious shakuachis, kodo drums, and No theater music in favor of taiko-rap, ondo-funk, Okinawa-pop, and some forms yet to be hyphenated, let alone explained. It runs the gamut, from the mediocre pop of Kawachiya Kikusuimaru (toss-off synths and drum machines) to the brilliant avant-garde biwa (lute) and accordion of Yukihiro Goto and the minimalist koto quartet Koto Vortex. Humor abounds in the Surf Champlers' weird Tokyo take on the James Bond movies' theme. Fuzzy electric blues meets Okinawa in the music of An-Chang Project, fronted by the emotive vocals of Yasuba Jun. The set has it all, great, good, bad, and awful in pretty equal amounts, but for the good and great alone it's worth the price, and the bad and awful are certainly enlightening and entertaining. --Louis Gibson

| MP3 192 kbps | Incl.Covers | 105 MB |



TRACK LISTINGS



[01]. Makura - Takeharu Kunimoto

[02]. Kakin Ondo - Kawachiya Kikusuimaru

[03]. Fukko Bushi - Soul Flower Mononoke Summit

[04]. Nikata Bushi - Michihiro Sato

[05]. Takio's Soran Bushi - Takio Ito & Takio Band

[06]. Amagoi Bushi - Yasuba Jun & An-Chang Project

[07]. Mangetsu No Yube - Takashi Hirayasu

[08]. Hiyami Kachi Bushi - Ayame Band

[09]. Moji Banana No Tatakiuri - Tadayoshi Ikawa

[10]. Utuwaskarap - Oki

[11]. Nyorai Shizune - Shozan Tanabe

[12]. Ubue - Yukihiro Goto

[13]. Asadoya Yunta - Tetsuhiro Daiku

[14]. James Bond Theme - The Surf Champlers

[15]. Haisai Ojisan - Makoto Kubota & The Sunset Gang

[16]. Agari Jo - Yasuko Yoshida

[17]. Ho Na Mi (Excerpt) - Koto Vortex

[18]. Utage (Excerpt) - Eitetsu Hayashi

[19]. Shi Chome - Cicala Mvta



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[22].THE ROUGH GUIDE TO SUFI MUSIC



[23].THE ROUGH GUIDE TO THE MUSIC OF JAPAN



[24].THE ROUGH GUIDE TO Australian Aboriginal Music



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"A skilled guitarist who is pleasing to hear." TRACK LISTINGS ---------------------- 01 - Tamally Maak 02 - Radeynak 03 - El-Hob El-Ha2e2i 04 - Zahret El-Mdaaen 05 - Midnight Love 06 - Aally Soatak 07 - Ajmal Dar 08 - Ma Erftneash 09 - Helm Montasaf El-Lial 10 - Ya Habebty Ya Masr Download HERE Pass: WeLove-music