Iran

Reuploaded by request 01/02/2026

Hossein Alizadeh was born in Tehran, Iran in 1951. After graduating from the Music Conservatory, he entered the School of Music of the University of Tehran in 1975. There he received his bachelor's degree in composition & performance. During the same period he studied with various masters of Traditional Persian music such as Houshang Zarif, Ali Akbar Shahnazi, NurAli Borumand, Mahmood Karimi, Abdollah Davâmi, Yousef Foroutan, & Saied Hormozi. From these masters he learned the radif of Persian classical music.

Upon completion of his studies, he was awarded a position with the National Orchestra. He became the conductor & soloist of the Iranian National Orchestra of Radio & Television of Iran. He began a solo career through which he has performed both in Iran & abroad. He was a member of the Sheyda Ensemble. In 1978 he helped established the Aref Ensemble. Both groups were dedicated to the promotion & advancement of Persian classical music.

Alizadeh's first professional experience in Europe was his participation in the orchestra of the famous Bejart Ballet Company in performance of Gulistan, a ballet by Maurice Bejart. In the early 1980's, he further expanded his formal education by studying composition & musicology at the Universityr of Berlin. 

Many consider Alizadeh to be one of the most important figures in contemporary Persian music. He plays tar (Tar [تار‎] is a Persian long-necked, waisted instrument. The word tar itself means ‘string’ in Persian. This is claimed to be the root of the names of the Persian setar & the guitar as well as the dutar & the Indian sitar.) & setar (setar [سه‌تار‎] from seh, meaning ‘three’ & tār, meaning ‘string’ is a Persian musical instrument. It is a member of the lute family, which is played with index finger of the right hand) as well as the sallaneh (the sallaneh [سلانه‎] is a newly developed plucked string instrument made under the supervision of Alizadeh, constructed by Siamak Afshari. It is inspired by the ancient Persian lute called barbat. The barbat used to have three strings, but the sallaneh has six melody & six harmonic strings giving Alizadeh a new realm in lower tones) & the shurangiz (the shurangiz is a new Iranian musical instrument, a member of the lute family, also developed under supervision of Alizadeh. It has a skin face, six strings, a longer, thinner fingerboard & an increased number of frets compared with its original prototype, the setar).

Hossien Alizadeh – Ney-Nâva, 1983.

Side A –

Ney-Nâva 1 – Darâmad

Ney-Nâva 2 -  Naghme        

Ney-Nâva 3 - Ney-Nâva

Ney-Nâva 4 – Nahoft, Forud

Ney-Nâva 5 - Dance of Samâ

Riders in the Field of Hope

Nowrooz

Side B –

Songs of Compassion 1 - Life

Songs of Compassion 2 - Sunrise

Songs of Compassion 3 – Depth of Catastrophe

Songs of Compassion 4 – Song of Compassion

Songs of Compassion 5 - Ascension

Songs of Compassion 6 – Search

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Djamshid Andalibi was born in 1956 in Gharveh, Kurdistan. At the age of ten he began to study music with Hassan Kamkar. Two years later he was admitted into the Kurdistan Iranian Music Orchestra. In 1975, he went to the Teheran Fine Arts Academy studying with the late Nour-Ali Boroomand. There, he learnt to play the ney under Hossein Omoomi. His masters for Mirza Abdollah’s classical repertoire “Radif” were Mohammad Reza Lotfi, Mohammad Karimi, & Nasrollah Nasseh-Poor.

The ney (نی/نای‎) is an end-blown flute that figures prominently in Middle Eastern music. The Persian ney consists of a hollow cylinder with finger-holes. Sometimes a brass or plastic mouthpiece is placed at the top to protect the wood from damage, but this plays no role in the sound production.

In 1977 he joined the Iranian National Orchestra of Radio & Television of Iran. He was a member of the group Sheyda. In 1978 he was one of the founding members of the group Aref with young musicians like Hossein Alizadeh, Parviz Meshkatian, Ali-Akbar Shekartchi, & Nasser Farhang. He is the ney soloist on Ney-Nâva posted above.

He has had a long collaboration with the most famous classical singer in Iran, Shajarian. He has performed on many CDs as guest vocalist or instrumentalist. He plays santur (santur [سنتور‎] is a Iranian hammered dulcimer) & ney on Senavazi va Taknavazi. He plays tar on Esfehan & Shur, also on Bayat-e-Tork & Esfahan. He plays santur on Segah, setar on Majnoon, & one of electronic instruments (MIDI piano, drums, etc.). He is a multi-instrumental virtuoso.

The following is a set of 3 tapes of radif (the traditional music of Iran is based on the radif, which is a collection of old melodies that have been handed down by the masters to the students through the generations. Over time, each master's interpretation has shaped & added new melodies to this collection, which may bear the master's name) for ney. It is the radif of Mirza Abdollah, originally for tar, here played on ney.

 Djamshid Andalibi  - Radif Mirza Abdollah-Ney I, II, & III. 

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Ney I - 

Shour
Abou Ata & Esfahan

Ney II -
Mahour
Dashti

Ney III –

Homayoun
Segah

Enjoy,

NØ

 

Azerbaijan

Vagif Azizovich Mustafa-zadeh was born March 16, 1940 in Baku, Azerbaijan. He is a jazz pianist & composer. One of the first virtuosos & founders of the Azeri jazz movement. He graduated from the A. Zeynalli Music College in Baku in 1959, having studied piano. In 1963 he formed his first group, the trio Caucasus in Tbilisi. He had several other groups during his musical career, the female vocal quartet Leyli (1970-71) & Sevil (1972-77). Vagif died in 1979 in Tashkent.

Although this is jazz, Vagif’s piano sounds like a blues version of Turkish zantuuri, or Eastern European cymbalum.

 Vagif Mustafa-zadeh – Self-titled, Мелодия, 1976. 

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Tracklist -

Aman Ovçu

Düşhünce
Zibeydə
“Bayati Şiraz”
Ay Pəri
Qizil Üzük
Melodiya

Əzizə
Fantaziya
Gəlmədi
İmprovizasiya

These rare vinyls reflects the innovative & edgy work of the legendary pianist Vagif Mustafa-zadeh, who created a brilliant fusion of jazz with the Azerbaijani ethnic music (mugham). These release are from his own vinyl collection.

The first disc (1974) features a trio of Vagif Mustafa-zadeh – piano, David Koifman –contrabass, & Arkady Dadashyan – drums.

Vagif Mustafa-zadeh - Jazz Compositions 1974, Melodiya C 04593-94, 1974.

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Side A –

Азиза (Aziza)
При Свидетелях (Witnessed)
Клавиши, Щетки, Струны (Keys, Brooms, Strings)
Весной (In Spring)
Кавказ (The Caucasus)

Side B -
Импровизация (Improvisation)
На Рассвете (Sunrise)
Смотри, Не Ошибись (Try not to Make a Mistake)
Всего Шесть Тактов (Only Six Squares)

The second (1976) is solo works of Vagif on organ & piano, some tracks are over-dubbed.

Vagif Mustafa-zadeh - Jazz Compositions 1976, Melodiya С 06407-408, 1976.

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Side A –

Ритм (Rhythm)
Бакинец (From Baku)
Со Временем В Ногу (Keeping Up with Time)
Характер (Character - No. 1)
Ночной Прелюд (Night Prelude)
В Москве (In Moscow)

Side B -
На Репетиции (At the Rehearsal)
Март Месяц (March)
Восемнадцатого Числа (On the 18th of the Month)
Севиль (Sevil)
Сколько Возможностей (Opportunities)
Неожиданно (Suddenly)

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Aziza Mustafa-Zadeh is a classically trained pianist & singer from Azerbaijan, She is the daughter of Vagif Mustafa-Zadeh & Eliza Khanom, a noted singer. Aziza’s music is a blend of jazz, classical piano, & Azerbaijan folk.

Dance of Fire is a blend of worldly influences which makes for a rocking piano-based "exotic" album centered around Zadeh's excellent piano playing & vocals. It is fleshed out by an impressive cast: Al DiMeola - acoustic guitar; Bill Evans – sax; Kai Eckhardt Karpeh de Camargo & Stanley Clarke – bass; & Omar Hakim - drums.

Aziza Mustafa Zadeh -Dance of Fire, Columbia Records, 1995.

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Tracklist –

Boomerang

Dance of Fire

Sheherezadeh

Aspiration

Bana Bana Gel (Bad Girl)

Shadow

Carnival

Passion

Spanish Picture

To Be Continued

Father

Like Father - like daughter,

NØ

Georgia

Nino Katamadze was born August 21, 1972 in Adjara, in southern Georgia. She is a world renowned Georgian jazz singer. In 1990, she enrolled at the Vocal Department of the Batumi Music Institute ZP, Paliashvili. After graduation she sang with several different groups & worked on a variety of musical projects. In 2002 Katamadze gave her first international tour in different countries across EU & the UK. She toured America in late 2005.

In 2006 her album White was released in Georgia, Russia, Finland, Sweden, Ukraine, France, Germany, UK, & Italy.  It received much acclaim & was very successful. She followed up White later that year with Black & then released this album, Blue, in 2008.

On Blue, the musicians are: Nino Katamadze (Нино Катамадзе) – vocals; Gocha Kacheishvili (Гоча Качеишвили) – electric & acoustic guitars; Ucha Gugunava (Уча Гугунава) – bass; & David Abuladze (Давид Абуладзе) – synthesizer & drums.

Nino Katamadze &Insight – Blue, Мистерия Звука ‎– MZ429-2/9, 2008. 

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Tracklist:

Calm

Corridor

Ieli

Land of Flowers

Once in the Street

Sea Shore

Violets

Olei

Dance under Umbrella

Rain

Enjoy,

NØ

Armenia

Anoush features Muradian Ensemble interpreting a nice selection of Armenian folk dances. Band leader Hratchja Muradian plays kamantcha, while the other group members play kanoun, doudouk, clarinet, zurna, oud, accordion, & dehol. Guest soloist Liudvig Garibian improves the musical quality of the wind instruments. The Muradian Ensemble are a great example of a traditional Armenian group, with an highly arranged & polished style, very compelling.

Muradian Ensemble: Tsogik Sarkisian – vocals & kanoun (sitar); Vaghenak Tatosian – vocals; Tikran Boghosian – clarinet, zurna & doudouk; Kevork Hairapetian – clarinet, doudouk, & zurna, Kegham Haroutionian – oud; Samuel Sarkisian – accordion; Gagik Sarkisian – dehol; & band leader Hratchja Muradian – kamantcha with special soloist Liudvig Garibian on doudouk & various woodwind instruments.

 Muradian Ensemble –Anoous: Armenian Dances, Van Geel Records 98/07, 1998.

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Tracklist –

Trabzoni Bar

Abarani Shoror

Bobok Dzjour Mi Era

Hoi Nare Nare

Gorani

Ine Votk

Hazjare

Tamzara

Giglalen Djourn E Galis

Yarkoshda

Mayroume

Tamri Shoror

Asmar Aghchik

Vay Mayrik

Mesjog Gur

Shoror

Ninam Ninam

Dzangjoulom

Enjoy the dance,

NØ

Turkey

Re-uploaded 06/30/2025.

3 Hür-El is an Anadolu rock band which was founded in 1970 by Onur, Haldun, & Feridun Hür-el, three Turkish brothers. The original name for the band was Yankılar but after realizing that there was another band named Yankılar, they changed their name to İstanbul Dörtlüsü (İstanbul Quartet). Later they performed under the names Trio İstanbul, Oğuzlar, Alizeler, Biraderler, & finally 3 Hür-El.

Feridun Hür-el was responsible for all the bands lyrics & compositions. His compositions involve a unique instrument, which is a double necked instrument: one neck is electric guitar;  the other one is a Turkish saz. The music is supported by Haldun on  hand made drum & percussion set & Onur on bass guitar.

Their sound combines Anatolian folk music style with western progressive rock, creating a one-of-a-kind original synthesis in both Turkish music & progressive rock history. 3 Hür-el throughout their career stayed true to their unique sound, never playing cover songs, neither on albums, nor on stage. Their creative approach to music helped them to gain nation-wide fame.

Hürel Arsivi, the bands second release, is an excellent album of Turkish psychedelic rock, a legendary sound.highly recommended for anyone interested in the Turkish psych/prog scene. It is probably their greatest effort, with incredible guitar/saz playing, amazing rhythms, & cool psych vocals.

 3 Hür-El - Hürel Arsivi, Diskotür, 1976. 

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Side A –

Kol Basti

Hoptrinom

Mutluluk Bizim Olsun

Canim Kurban

Gönül Sabreyleye Sabreyleye

Kücük Yaramaz

Side B –

Aglarsa Anam Aglar

Ömür Biter Yol Bitmez

Sevenler Aglarmis

Yara

Döner Dünya

Agit

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Rashit is a Turkish punk rock band founded in Istanbul in 1993 by Tolga Ozbey - guitar, Adem Kurt - vocals, Murat Yesil – bass, & Gokhan Tuncisler - drums. They are considered to be the first Turkish punk band. They were inspiration to many other Turkish punk bands during the late 1990s.

Tolga was inspired by The Clash, Sex Pistols, Dead Kennedys, & Dirty Rotten Imbeciles during his early years. Tolga had numerous involvements in many temporary underground groups during this period. One of his groups named Sert Itham was set to record a split demo with Japanese punk group Argue Damnation but after a long hung-over night Tolga could not make it to the Post Office the next day & missed out sending the song. He stated that he still keeps the record as a remembrance.

After a couple of demo tapes, Rashit had a split 7” with another Turkish band Ask It Why entitled Kadiköy’den Hareketler. Rashit also recorded a split tape with English punk band Active Minds.

Due to continuous personal conflicts among members the group broke up in 1998, Tolga joined yet another punk group as a bass player. Up to this time, most releases were just gigs recorded unprofessionally, almost always copied with a regular cassette player at home & distributed personally by the band members.

In 1999 Tolga formed Rashit once again with the new members Oğuz Taktak - vocals & Atilla Kircelli – guitar, with Tolga playing bass once more. The same year their first full length album Telaşa Mahal Yok was released by Kod Muzik. Throughout 1999 & 2000 the band tours & played live concerts. Them activities went on hold for around a year while Tolga went to New York. When Tolga got back the group reformed with new recruits Orkun Tunc - drums & Bülent Kabas – bass which gave Tolga the opportunity to return to guitar. In 2001 Rashit relased another 7” Taksim’de Bangyjumping through Dutch Kroket Records. Due to financial issues with Kod Muzik, Rashid signed a contract with Ada Muzik in 2002.

Now with a new label & a solid line-up, the group went on to release two more albums. Adam Olmak İstemiyorum was released through Ada Muzik & then Herşeyin Bir Bedeli Var was picked up by Sony Music. These two albums helped Rashit gain recognition both locally & internationally.

On Adam Olmak İstemiyorum, Rashit are: Oguz Taktak – vocals; Tolga Ozbey & Levent Ozer – guitars; Bülent Kabas – bass; & Orkun Tunc – drums. This CD version has two bonus tracks not available on the cassette.

 Rashit - Adam Olmakİstemiyorum (You Do not Want to Be a Man), Ada Muzik 234, 2003. 

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Tracklist –

Kısır Döngü

Ağlama Değmez Hayat

Çok Mu Zor?

Küreselleşme Dehşeti

Gerçeğe Hazır Mısın

Aç Gözlerini

Sakın İnanma

Sansür

2001 Yazı

Taksim

Kalp Hastası

Özgür Basın

Yumurta

Nakavt

bonus tracks –

100% Maço

Öldüren Eğlence

Enjoy,

NØ

 

Lebanon

Re-uploaded June 6, 2025.

Rabih Abou-Khalil (ربيع أبو خليل‎) was born on August 17, 1957 in Lebanon. He is a world-class oud player & composer. Since early childhood he has worked at perfecting his skills on the the oud, the fretless stringed instrument, similar to the European lute that is so prominent in much of Arabic music. He studied in the Beirut Music Conservatory under the tutelage of oud virtuoso Georges Farah.

Arabian Waltz is at or near the pinnacle of Rabih Abou-Khalil's achievements as a composer & arranger who has combined traditional Arabic music with many of the tenets of jazz. It is a sublime fusion of jazz, Middle Eastern traditional music, & Western classical. In addition to Abou-Khalil on oud, Michel Godard on the tuba & the serpent (the tuba's antique kinsman), & Nabil Khaiat on frame drums, the album also features the Balanescu String Quartet instead of the usual trumpet or sax. Without surrendering jazziness at all, the presence of the strings makes possible a wondrous atmosphere, almost as if one is listening to the soundtrack of a classy movie set in Beirut or Damascus during the '40s.

Rabih Abou-Khalil –Arabian Waltz, Enja ENJ 90592, 1996.

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Arabian Waltz

Dreams of a Dying City

Ornette Never Sleeps

Georgina

No Visa

The Pain After

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Marcel Khalife (مرسيل خليفة‎) was born June 10, 1950, in Amchit, Mount Lebanon Governorate, Lebanon, a small coastal village north of Beirut.

He is a Lebanese composer, singer, & oud player. From 1970 to 1975, he taught at the Music conservatory in Beirut. In 1976, he formed Al Mayadeen Ensemble. They became famous for songs like “Ummi” (My Mother), “Rita w'al-Bunduqiya” (Rita & the Rifle), & “Jawaz al-Safar” (Passport), based on Mahmoud Darwish’s poetry.

Three times (1996, 1999, & 2003), he faced criminal prosecution for his song “I am Joseph, O Father”, also written by the Palestinian poet Mahmoud Darwish. Khalife was accused of insulting religious values by including a two-line verse from a chapter of the Qur'an.

Khalifa recorded the song in his 1995 album The Arabic Coffee Pot that was based on a 1992 poem of the prominent Palestinian poet. The poem adapted this verse from the story of Yousef (Joseph) in the Qur'an: "O my father, I saw eleven stars and the sun and the moon bowing before me in homage." It tells the story of how Joseph's brothers were jealous of him because he was handsome & kind. His brothers then sold him into slavery. The story was a reflection of the suffering of the Palestinian people.

In 1999, the case was brought to a court by the newly appointed investigating judge, Abdel Rahman Shihab, who reproached Marcel of "insulting religious values by using a verse from the chapter of Joseph from the Qur'an in a song." Marcel faced six months to three years imprisonment for publicly insulting religion (article 474 of the Lebanon's penal code, six months to three years in prison) & blasphemy (article 473 of the penal code, one month to one year in prison). That same year, Marcel was awarded the Palestine Award for Music. In turn, he contributed the financial portion of the award to the National Conservatory of Music at Birzeit University in Palestine.

Senior Sunni Muslim clerics in Lebanon ruled that singing verses from the Qur'an was "absolutely banned & not accepted." The highest Sunni Muslim religious authority in Lebanon, Grand Mufti Sheikh Muhamed Rashid Qabbani, has maintained repeatedly that Khalifa is guilty of blasphemy for singing a verse from the Qur'an. Sheikh Qabbani said : "There is a limit to freedom of expression. One limit is that it should not infringe on people's religious beliefs."

Demonstrations of solidarity came from many sides: intellectuals; human rights organizations; & everyday people. A meeting was held in Beirut where 2000 people sang altogether the song in trial. Marcel Khalife even received the support of Sheikh Mohammed Hussein Fadlallah, a Shi'ite theologist. The famous Lebanese writer Elias Khoury harshly criticized the trial, as did Mahmoud Darwish, who said “Fundamentalism is in the process of stifling culture and creation in the Arab world, I say it is shameful. I am ashamed. We should all be ashamed. If Marcel Khalife is found guilty, it will be an insult to culture.”

In 2003, Ghada Abu Karrum, the judge for the case, rejected the demand of the prosecutor, & found Marcel innocent of the charge of degrading Islam. As stated in the judgment :

“Although, in the first place, it is not for this court in any circumstance to indulge in discussing whether the action of the defendant mentioned above constitutes a deviation from Islamic tradition and its prohibitions, it is necessary to note that human societies have always known – since the advent of religions until this day – forms of behavior that touched the various aspects of life while not always observing all religious rules or abiding by them without that necessarily forming a desecration of the religious sanctity of the texts from which these rules have emerged.”

“Hence, it is clear from listening to the tape and CD at hand that the defendant has chanted the poem in gravity and composure that reveal a deep perception of the humanism expressed in the poem ornamented with the holy phrase. [He is] committed in his expression – in form and content – to a performance that bears no infringement on the holiness of the Qur'anic text, or offense to it or its content, nor reveal any intent to incite disparagement of it explicitly or implicitly, neither by words, meaning, nor music.”

In 2005, Khalife was named UNESCO Artist for Peace.

On Jadal Oud Duo, the musicians are: oud duo Marcel Khalife & Charbel Rouhana; Abboud El Saadi – bass; & Ali El Khatib – tambourine.

 Marcel Khalife – Jadal Oud Duo, Nagam Records NR 1009 2xCD, 1995. 

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Tracklist –

CD 1 –

1st Movement

2nd Movement

CD 2 –

3rd Movement

4th Movement

Enjoy,

NØ

Syria

Omar Souleyman is a musician from Ra's al-'Ayn, Syria, in the northeastern region of Syria, born in 1966. He began his career in 1994, working with a number of musicians with whom he still performs. There are purportedly more than five hundred studio & live albums that have been released under his name. An estimated eighty percent of those releases are recordings made at weddings that were then presented to the married couple. Later many of these were copied & sold at local Syrian kiosks.

Omar Souleyman qualifies as a cultural phenomenon. Highway to Hassake was his first Western release. The album was compiled by Sublime Frequencies' Mark Gergis from cassettes recorded between 1996 & 2006. Most tracks were recorded for release straight from the mixing board at live events, making for often less-than-ideal sound quality. However, the performances are generally spirited enough to make up for the sonic flaws.

Souleyman is a charismatic performer. His rich, flexible voice dives into the frantic numbers (mostly in dabke style, typical Syrian party music), classical Arabic mawal-style vocalizations & ever so soulful in ataba songs (a mournful song style). Among his other influences are Iraqi choubi & Turkish pop music. Omar is also surrounded by highly talented musicians, including oud players Hamid Souleyman & Ali Shakir, & keyboardist Rizan Sa'id, whose lightning-fast solos can put Rick Wakeman to shame.

This amalgamation is the sound of Syria. The music often has an overdriven sound consisting of phase-shifted Arabic keyboard solos & frantic rhythms. Oud, reeds, baglama saz, accompanying vocals, & percussion fill out the sound. Mahmoud Harbi, a long-time collaborator is the man responsible for much of the poetry sung by Souleyman. Omar Souleyman is a man of striking musical integrity. His style is his own, he is a singular original.

.

Omar Souleyman - Highway to Hassake / Folk and Pop Sounds of Syria 2xLP, 

Sublime Frequencies SF031, 2009. 

Side A –

Leh Jani

Dabke 2001

Atabat (2)

Side B –

Alkhatiba Zaffouha

Jani

Jalsat Atabat

Side C –

Jani (2)

Alshikhani

Don’t Wear Black, Green Suits You Better

Bashar Ya Habib Al Shaab

Side D –

Arabic Dabke

Toul Al Zeenah

Atabat

Enjoy,

NØ

Iraq

 

Kadim Al Sahir ( كاظم الساهر ) was born on September 12, 1957 in Mosul, Iraq. His mother is from Najaf & his father, though he grew up in Alhurrya City in Baghdad, was from Samarra (a member of the Albu Daraj). Although most of his family was opposed to Kadim becoming a musician because they had no faith in his being successful, instead wanting him to become a doctor or a lawyer, he got full support from his mother, who recognized his talent. His brother once took him to a local cafe, full of out of work musicians & warned him that Kadim would end up the same as them.

Now Kadim is hailed as a true star of Arabic music. He is a successful singer, composer, & poet. He has been dubbed as the ‘Robbie Williams of the Middle East’ & ‘Iraq’s Diplomatic Ambassador to the World’.

 Kadim Al Sahir - ElRasem Belkalimat, Rotana Music, 2009. 

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Tracklist –

Habibati

El Mahakama

Ween Elbab

600 Bosa

Mo Tabe'ei

Esket

El Jarida

Nemt We Helemt

El Rasem Belkalimat

Enjoy,

NØ

Kuwait

Re-uploaded by request 01/13/2024.

 

Nawal Thaher Al-Zaid was born November 18, 1966 in Kuwait City,Kuwait. She is a Kuwaiti Khaliji singer & musical icon. She is known as Shaikhat Al Tarab (The Queen of Classic Music) & Qaitharat Al Khaleej (Harp of Khaliji Song).

Nawal studied at the Music Institute in Kuwait where she met the Kuwaiti composer Rashid Al-Khadr. Al-Khadr composed many of her initial songs & famed poet Abdullatif Al-Banay composed lyrics for her.

Her first album came out at the end of 1984.  This is also the same year she appeared publicly for the first time, at the age of 17. It was a concert in the Bahrain. She was in a state of anxiety because it was her first experience in facing the public, but she mounted the stage & performed a collection of songs with confidence. She received a standing ovation. From that first experience she has solidly built her career. She has released 16 albums to date.

On Nawal 2009, composer Mish’al El Orouj returns with the song “Mou Liya” (Oroujo composed some of Nawal’s best-known songs: “El Shoung Jabek”; “Bi Yahsedouni Aleih”; & “Tammen Galbak”. Also composing songs for the album is Walid Saad. Most of the tunes were arranged by Bahraini arranger Sirouz, with Kahled Ez & Hani Farhat on the songs “Hathi Jedida”, “Wein Antehi” & “Khed’a”, & İsmail Tunçbilek on “Mou Liya”. While this release has plenty of songs for those who like the more polished Nawal sound, there is still plenty of songs aimed at those who like the rougher, more old school Nawal style.

 Nawal - Nawal 2009, Rotana Music, 2009.

Tracklist -

Dhagat Aleik (It Annoys You)

Meshtag Galol (I Hear That You Miss Me)

Sam (Tell Me Whatever You Want)

Leih Saket (Why So Quiet?)

Hathi Jedida (That's A New One)

Mou Liya (At All)

May Eini (The Apple Of My Eye)

Sah (Right?)

Ghab Nourek (Your Light Faded)

Khed'a (A Joke)

Aghla Hob (Precious Love)

Has Be Ghalteto (He Recognized His Mistake)

Min Allemek (Who Taught You)

Eyoun El Nas (People's Eyes)

Wein Antehi (Were Do I End?)

Enjoy,

NØ