Belly Dance Vol.3

Posted By MiOd On Saturday, August 31, 2013 0 comments

Track Listing
[01]. Wardeh - Nicolas el Dick
[02]. Bouyout el farah - Nicolas el Dick
[03]. Nada - Nicolas el Dick
[04]. Ourak el nakhil - Nicolas el Dick
[05]. Gara eh ya ozzalna - Farid el Atrache
[06]. Fok ghossek ya lemona - Farid el Atrache
[07]. Lakteb aa werak el chagar - Farid el Atrache
[08]. Kolli ma bchoufak - Mohamed Abdel Wahab
[09]. Aala Allah teoud - Farid el Atrache
[10]. Toomor aal ras wel eyn - Farid el Atrache
[11]. Hebbina - Farid el Atrache

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Rattan Mohan Sharma - Mahaganapati

Posted By MiOd On Saturday, August 31, 2013 0 comments
The patta shishya of Pandit Jasraj and a great exponent of his own right.
An example of his fine work is “Temple music of India”, Gayatri Mantra, Ram Dhun. etc.

1. Gham Ganapataye
2. Ekadantaya
3. Sankatahara
4. Ganesh Pancharatnam
5. Gajananam Bhoota
6. Chalisa

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Super Belly Dance with Farid El Atrache Vol.1 (Habbina)

Posted By MiOd On Friday, August 30, 2013 0 comments

Daniel Der Sahakian presents Super Belly Dance with Farid El Atrache Vol.1 (Habbina)



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Pt . Ashesh Bandopadhyay - Rare Sound Of Esraj

Posted By MiOd On Thursday, August 29, 2013 0 comments
Rare Sound Of Esraj Pandit Ashesh Bandopadhyay Information,Rare Sound Of Esraj Pandit Ashesh Bandopadhyay is a Hindustani album by singers Hindustani and others.Rare Sound Of Esraj Pandit Ashesh Bandopadhyay contains 1 songs Jaunpuri Gat Pt Ashesh Bandopadhyaya which are available for download or playing on for free in HD quality. The songs of Rare Sound Of Esraj Pandit Ashesh Bandopadhyay are Jaunpuri Gat Pt Ashesh Bandopadhyaya,Hindustani Songs,Download Rare Sound Of Esraj Pandit Ashesh Bandopadhyay,Rare Sound Of Esraj Pandit Ashesh Bandopadhyay Hindustani Songs,You can download all 1 songs of Rare Sound Of Esraj Pandit Ashesh Bandopadhyay album by Hindustani on or listen to all 1 songs of Rare Sound Of Esraj Pandit Ashesh Bandopadhyay album by Hindustani in HD quality online.

1. Jaunpuri (Gat) - 22m 02s - Pt . Ashesh Bandopadhyaya
2. Bihag (Alap & Gat) - Dhun Kaharwa - 14m 59s - Pandit Ashesh Bandopadhyay
3. Alap And Gat In Tritaal & Dhun In Kaharwa - 7m 19s - Pt . Ashesh Bandopadhyaya

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Belly Dance with Warda & Abdel Halim Hafiz

Posted By MiOd On Thursday, August 29, 2013 0 comments
Setrak And His Belly Dance Orchestra
Belly Dance with Warda & Abdel Halim Hafiz

Warda al Jazairia - The Rose of Algeria: She was born near Paris in Puteaux in July 1940. The youngest of five children. Her father, Mohammed Ftouki was one of the first Algerian immigrants to France, ran a hostel for migrant workers at Boulogne-Billancourt then became the owner of an Arabic music cabaret in the Quartier Latin called the Tam-Tam (named after the three initials of the three Maghreb countries, Tunisia, Algeria, and Morocco). She used to sneak out of her room every night and hide in one of the corners for two or three hours to listen to the band while they were playing or rehearsing in her father's night club below and then she would sing for her self the next morning. In those days Warda was unable to write any Arabic, she always had to ask her older brother to write out all her Arabic songs in the Latin alphabet. From time to time Warda's father was tolerant enough to allow his daughter's brief appearance on a stage of his club at the request of a friend. Warda's mother was a Lebanese born in Beirut in a Moslem family of good social position. She had taught Warda every Lebanese song of some importance. Thus the girl's liking for the Middle Eastern song had developed. She was only a little girl when she would sing songs by Abdelwahab or Farid Elatrash. Ahmad Tejani, a friend of Warda's father, was working for a famous record company, Pathè Marconi-EMI (now EMI France), which used to produce children's programs for North African Arabs in France on the Paris radio station. During one of his visits to the TAM TAM club he heard her singing and liked her voice so much that, shortly after, he presented her to the radio and she participated in the show with a song called "Song for the Mother". In 1958, as Paris was more and more concerned by the development of the Algerian War of Independence, the whole family had to seek refuge in Beirut where she went on singing militant songs. The whole family lived in a small apartment in Al Hamra Street in Beirut. When Warda started singing in Tanyos, a famous night club in Aley, she was only 17 and her national songs were hardly the style for night clubs. On one of the nights when she was performing Mohamed Abdul Wahab was among the audience. At the end of her performance he approached her and proposed that he compose for her, such a proposal she could not refuse. He was to become, throughout her career, her "godfather". His extremely demanding, almost tyrannical, working methods would change her forever. For the "Oustaz" (The Master) the only price of glory was hard work and dedication, and this was a challenge for Warda for she had to learn how to write Arabic and to erase her Algerian accent. In 1959, in Syria, the great composer, Riad al Soumbati heard her performing a nationalistic song called "Koulouna Jamila" during Damascus Festival and was seduced by her voice. He decided to invite her to Cairo where he was to compose many songs for her among them "Loubat el Ayyam" and "Nida el Dhamir". When she arrived in Cairo in 1960, Riad Sombati was willing to help her: he set two music poems by an Egyptian poet: "Ya huria ana bendahlek" (I am calling you, O Liberty), "Dalia Djamila", in honor of Palestine, and he also composed the musical part of a play "Alikhwa thalata Deir Yassine" (The three brothers from Deir Yassin). In 1961/1962 the Egyptian President, Gamal Abdel Nasser asked that she participate, as the representative of Algeria, in a song for the Arab world called "Al Watan Al Akbar". This song was composed by Mohamed Abdel Wahab and Warda had the chance to appear alongside other famous singers such as Abdel Halim Hafez, Sabah, Fayza Ahmed, Najat al Sagheera and Shadya. The film director Helmy Rafla heard Warda and put her forward for a major role in his film "Almaz Wa Abdu Al Hamoly". For this film both Mohamed Abdel Wahab and Farid el Atrache were to compose her songs. In 1962, Algeria became independent. In 1963, she flew there for the first time to marry a former high ranking officer in the National Liberation Army (ALN) she had met during her stay in Lebanon. Her husband asked her to give up singing to look after her family - which she did for ten years but was very, her career seemed to be definitively over. But in 1972, Houari Boumedienne, the President of Algeria, asked her to participate in the celebration of the 10th Anniversary of the Independence. She agreed, with the result that her marriage broke down. ElMassia Egyptian orchestra was sent to accompany her singing her comeback song: "Ad'uka ya amali", a poem by the Algerian poet Salah Kharfi, music by Baligh Hamdi. In December of the same year she left for Cairo where she became very rapidly one of the most famous Arab singers with "Elûyûn essûd", "Khallik Nena" and other songs in the same vein composed by Baligh Hamdi, whom she had just married. She began working with the most famous composers of the time, Riad al Soumbati, Baligh Hamdi (whom she was later to marry and who was to compose so many of her successful songs during ten years), Kamal al Tawel, Said Mekkawi and of course, the "Oustaz" Mohamed Abdel Wahab. She played a part in two films: "Sût elhob" (The voice of love) and "Hikaiti maa ezzaman" (My fate and me), in which she sang works by M. Abdelwahab, Kamal El Tawil, Mohammed Elmûgui and by her husband Baligh Hamdi. In recent years she has worked particularly closely with the composer Salah el Sharnoubi, the lyricist Omar Batiesha, the musician Tarek Akef and producer Mohsen Gaber (Alam El Fan), an association which led to three of her albums receiving the award of "Best Album of the Year" in 1991, 1992 and 1994. Warda al Jazairia - The Rose of Algeria - has always brought joy and pleasure, through her art, talent and magical voice, to her many fans and admirers across the Arab world and globally through more than 300 carefully chosen songs and with concerts booked all over the world.

Abdel Halim Hafez: Despite a fairly short career, singer/movie-actor Hafez was one of the most influential Egyptian stars of the 1950s and '60s. His mellow, resonant voice, subtle vocal style and notably clean intonation marked him out, along with a liking for long, seemingly endless musical phrases. When Mohamed Abdel Wahhaab switched from singing to composition, he pretty much stepped into his shoes. Born in 1929, Abdel Halim studied at Cairo's Institute of Arabic Music and the Higher Institute for Theatre Music, and began his career teaching and playing oboe before taking aim at vocal stardom. His first hit came in 1951, and he soon signed a contract with Abdel Wahhaab to sing his songs and appear in his films. During the 1960s, he started to sing colloquial poetry more colorful and meaningful and nearer to popular folk song than ordinary pop songs, and his work on these lines had a significant influence on popular song in general. He cofounded a film company and the Saut el-Fann record label in the early '60s, and remained a major star until he died in 1977 of Bilharzia, which he had caught as a child and which had begun to affect him intermittently from 1955 onward.


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Samir Siblini - Belly Dance & Takassim Nay

Posted By MiOd On Wednesday, August 28, 2013 0 comments
Daniel Der Sahakian presents Belly Dance & Takassim Nay with Samir Siblini

Track List
03 . ANABI

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Hossam Ramzy - Best of Abdul Halim Hafiz

Posted By MiOd On Tuesday, August 27, 2013 0 comments

Hossam Ramzy was born in Cairo, Egypt. His musical career began early, when at the age of three he was given his first drum, an Egyptian Tabla.....

Hossam's passion and huge talent for percussion was noted by his family, many of whom were themselves involved in the arts. Hossam was encouraged to master his craft and studied under leading Cairo music teachers. A move to Saudi Arabia led him to joining with many Bedouin tribes which gave the young Hossam a rich insight into the cultural origins of Middle Eastern music and became the inspiration for many of his later rhythmic directions. In the mid 1970's Hossam came to England, and enjoyed great success as a Jazz drummer working with many respected Jazz musicians like Andy Sheperd and Geoff Williams. But as he began looking for new dimensions of percussive sounds, he found himself turning full circle back to his first love, the Egyptian Drums, and the thrilling dance rhythms of the Middle East. Hossam then encorporated all his rhythmic experience into creating a new sound that is heard on hundreds of the world leading albums recorded today. The club dance scene of 2001 was taken by a storm with Hossam's No# 1 hit EDONY that has topped the dance charts worldwide.

The distinctive sound of his Arabian & North African string arrangements, his percussion and exciting rhythms on his albums caught the imagination of Peter Gabriel and Hossam was invited to perform on PASSION and later US, and has just completed the working on Peter's new unreleased album. Hossam has gone on to work with many top musicians including Joan Armatrading & Mary Wilson.

Hossam is known world wide for creating string arrangements and percussion and produced many songs for the world's leading artists such as: Yesim Salkim, Celick Erici, Cheb Khaled, Tarkan, Rachid Taha, Faudel, The Gypsy Kings and the list just goes on.

In 1994 Robert Plant and Jimmy Page (ex-Led Zeppelin) invited Hossam to bring together a band of Arabian musicians and work on their reunion album 'No Quarter - Unledded' for which he was rewarded a GOLD thena PLATINUM discs. This led to Hossam joining Page & Plant on their historic reunion 1995/96 world tour.

During this historic tour, the following headline appeared - "Hossam Ramzy, The fuel behind the Robert Plant & Jimmy Page's Unledded World Tour."

this is a beautiful CD- very exotic, and even though all songs are instrumental, even if you are not dancing to them, every song is rich, enchanting, and intricate enough to hold your attention... and they sound gorgeous when played out loud- their sound takes on a whole new dimension.. this makes for great ambience music- but is so much more than that. really, every song is quality, but my favorites especially are bahlam beek, khusara khusara, and asmar yasmarani, which have charming, infectious melodies. i even believe khusara khusara was sampled by jay-z in one of his songs, because the instant i heard the first few notes, it was unmistakeably familiar!! overall, this album is superb for creating an ethnic, middle eastern atmosphere, and of course, bellydancing :)

1. Bahlam Beek (I'm dreaming about you)
2. Oqbalak Yom Miladak (May you attain the same happiness)
3. Olulu (Please tell her the truth)
4. Ganalhawa (Love has come our way)
5. Khusara Khusara (What a loss)
6. Asmar Yasmarani (My beloved dark one)

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Hossam Ramzy and His Egyptian Ensemble - Best Of Om Kolthoum

Posted By MiOd On Tuesday, August 27, 2013 0 comments

Biography: Hossam Ramzy was born in Cairo, Egypt to a very prominent Egyptian family which emphasized education and art. Ramzy's musical career began at the age of three when he was given his first drum, an Egyptian traditional tabla. Hossam was encouraged by his artistic family to master his craft and studied under leading Cairo music teachers. When he moved to Saudi Arabia he joined several Bedouin tribes which gave him a rich insight into the cultural origins of Middle Eastern music and became the inspiration for many of his later rhythmic directions. In the mid-1970s Hossam moved to London, England and enjoyed a lot of success as a jazz drummer, working with many respected jazz musicians including Andy Sheppard and Geoff Williams. As he began looking for new dimensions of percussive sounds, he turned back to Egyptian Drums, and traditional dance rhythms of the Middle East. Hossam also creates many new sounds from the old traditional grooves and Arabian & North African samples and loops using his state-of-the-art digital studio in London. Hossam's No. 1 hit Edony that topped the dance charts worldwide in 2001. His percussion, North African string arrangements and exciting rhythms caught the attention of Peter Gabriel who invited Hossam to perform on Passion and later Us. Hossam collaborated on eleven albums with Peter Gabriel since 2001. Hossam worked with many musicians including Joan Armatrading and Mary Wilson. Hossam creates string arrangements and percussion, and produces many songs for world artists such as: Yesim Salkim, Celick Erici, Khaled, Tarkan, Rachid Taha, Faudel, The Gipsy Kings and Youssou N'dour.

Om Kolthoum was born in Egypt to a family of singers. At 5 her voice was talked about all over Egypt. Later Om Kolthoum sang a live concert every last Thursday of the month and all of Egypt gathered around their radios to hear her and be enchanted by her songs. All the top Egyptian composers have composed songs for her. She was called "Kawkab El Sharq" (the Shining Star of the Middle East).

Oum Kalthoum, c l'essence même de la musique orientale. Elle vous fait vibrer dès les premières paroles même si cette magnifique langue qu'est l'égyptien n'est pas toujours comprise. C'est la langue de l'amour, de l'espoir, de la déchirure parfois mais de la vie et Kalhoum la manie avec une grâce vocale inégalable qui fait briller mes yeux, reflet de cette star.

[01].Enta Omri - I (You are my Life)
[02].Enta Omri - II
[03].Enta Omri - III
[04].Ansak da Kalam (Forget you? What kind of talk is that?)
[05].Ana Fintizarak (While waiting for your return)
[06].Ghannili Sheway Sheway (Sing for me a little by little)
[07].Yamsahharny (I'm loosing my sleep over you)

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Ustad Alla Rakha & Ustad Zakir Hussain - Together

Posted By MiOd On Monday, August 26, 2013 0 comments
The classical tradition of 'Jugalbanbi', epitomising "Togetherness", reaches its peak when father and son: Ustad Allarakha & Ustad Zakir Hussain perform together. Their closeness and compatibility results in a unique synthesis, a fusion of souls, that adds a new dimension to virtuosity.
This album provides a rare chance for the Western listener a chance to know deeply the sound of the tabla, a traditional instrument from India that consists of two drums. Alla Rakha and Zakir Hussain are extremely skilled players, and have reached a full mastership of the this, playing a duet with various forms of rhytmic patterns. This is a valuable record for anyone who is interested in Indian music, as well as for tabla students.

Ustad Alla Rakha was born as Allarakha Khan on April 29, 1919 at Phagwal village, near Jammu, 80 km. from Lahore (Pakistan). He became fascinated with the sound and rhythm of the tabla at the age of 12, while staying with his uncle in Gurdaspur. The determined young lad ran away from home, became a disciple of and began studying tabla with Mian Kader Baksh of the Punjab Gharana. By doing this, he was initiated into the world of music. He studied voice and Raag Vidya under Ustad Ashiq Ali Khan of the Patiala Gharana. His regimen of practice and dedication were legendary: hours upon hours of hard, disciplined practice, that would later pay off.

1. Jugalbandi - Taal Chartaal-Ki-Sawari
2. Jugalbandi - Taal Teentaal
3. Jugalbandi - Solo Taal Rupak

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L.Subramaniam - L.Subramaniam en Concert

Posted By MiOd On Monday, August 26, 2013 0 comments
One of the undisputed masters of Carnatic violin work, L. Subramaniam recorded this album live at a hotel in 1983. The album was originally released by Harmonia Mundi in 1985 and re-released by Ocora in 1989. The raga used in the concert was primarily "Raga Kalyani," though others were used in the customary South Indian concert ending. As in all South Indian classical concerts, there are three major portions of the concert: the Ragam, in which the raga is freely explored without rhythmic accompaniment (similar to the Hindusthani alap); the Tanam, where a small amount of rhythm is added; and the Pallavi, which itself has four main parts but is primarily the main exposition of the raga. The four major features of the Pallavi consist of the neraval (ornamentation on and experimentation with the pallavi proper); the tri-kalam, where the tempo of the pallavi line is varied to three stages; swara-kalpana (an improvised section along with the drummer); and the raga-malika ending (literally, garland of ragas -- multiple ragas are each given a short exposition, here "Raga Satyapriya," "Raga Desh," and "Raga Ramapriya," and then the pallavi is returned to). Subramaniam plays with a fair amount of virtuosity here, as can be expected, with good runs of powerful Carnatic playing abounding throughout the album. Fans of the Carnatic music styles would most likely be thrilled at the playing, as might fans of the Hindusthani tradition. Those unaccustomed to Indian classical music, though, might be put off by the extensive length of works in the genre.

[01]. Ragam
[02]. Tanam
[03]. Pallavi

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Miklos Rozsa - Ben-Hur

Posted By White Rose On Sunday, August 25, 2013 0 comments

Track List
Side One


Side Two


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Top Hits In James Last Style

Posted By White Rose On Sunday, August 25, 2013 0 comments

Track List
01 Cottonfields
02 Yellow River
03 La Golondrina
04 Cracklin' Rosie
05 Close To You
06 Montego Bay
07 Bridge Over Troubled Water
08 La Bamba
09 When I'm Dead And Gone
10 Blame It On The Pony Express

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Rabih Abou-Khalil - Tarab

Posted By White Rose On Saturday, August 24, 2013 0 comments

Track List
01. Bushman In The Desert
02. After Dinner
03. Awakening
04. Haneen Wa Hanaan
05. Lost Centuries
06. In Search Of The Well
07. Orange Fields
08. A Tooth Lost
09. Arabian Waltz

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Rabih Abou-Khalil - Yara

Posted By White Rose On Saturday, August 24, 2013 0 comments

Track List
01. Requiem
02. Imminent Journey
03. A Gracious Man
04. On A Bus
05. Grateful Parting
06. The Passage Of Life
07. Through The Window
08. Lithe Dream
09. Puppet Master
10. Bint El Bahr
11. The End Of Faith
12. The Knowledge Of A Child

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Rabih Abou-Khalil - Blue Camel

Posted By White Rose On Saturday, August 24, 2013 0 comments

Track List
01. Sahara
02. Tsarka
03. Ziriab
04. Blue Camel
05. On Time
06. A Night In The Mountains
07. Rabou-Abou-Kabou
08. Beirut

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Rabih Abou-Khalil - Morton's Foot

Posted By White Rose On Saturday, August 24, 2013 0 comments

Track List
01. Ma Muse M Abuse
02. Mortons Foot
03. Ritorno Del Languore
04. Lobotomie Mi Baba Lu
05. L Historie D Un Parapluie
06. O Papaia Balerina
07. Dr Gielers Wiener Schnitzel
08. Il Sospiro
09. Hopping Jack
10. Waltz For Dubbya
11. Return Of The Maltese Chicken

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Rabih Abou-Khalil - Nafas

Posted By White Rose On Saturday, August 24, 2013 0 comments

Track List
01. Awakening
02. Window
03. Graval Dance
04. The Return I
05. The Return II
06. Incantation
07. Waiting
08. Amal Hayati
09. Nafas
10. Nandi

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Mohamed Abdel Wahab - Balash Tebousni

Posted By White Rose On Saturday, August 24, 2013 0 comments

Track List
01.Ensa El Donya
02.Balash Tebousni

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Aziz Maraka - Master Copy

Posted By White Rose On Saturday, August 24, 2013 0 comments

Track List
01. Bent Ennas (Studio)
02. Al Atwa (Studio)
03. Ibki (Live)
04. Lesh Habibi (Live)
05. Laa (Live)
06. Amman - The Story (Live)
07. Bent Ennas (Live)
08. Bahki Lahali (Live)
09. Posessed (Live)

Bonus Track:
10. Night In Aqaba
11. Heyyeh
12. Jazz Funk Sha'abi

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Sabreena da Witch - A Woman Under The Influence

Posted By White Rose On Saturday, August 24, 2013 0 comments
Abeer Alzinaty, aka. Sabreena da Witch, is a self-proclaimed “growing diva and learning witch”. She grew up in the mixed Arab & Israeli town of Lyd, outside Jerusalem, and learned at an early age that the arts were the only way for her to fully and freely express herself. She began to sing and rap as a teenager but was prohibited by her family from performing publicly. She finally took to the stage for the first time when she was 24, after being featured in the documentary film, “Slingshot Hip Hop”. At the same time, she immigrated to the United States, where she continues to live and pursue her career as an R&B singer, while at the same time using music to educate audiences about issues of oppression and injustice, not only towards Palestinians but towards women and minorities all over the world.

Track List
01. Intro - Ben's Song
02. Helweh - Beautiful
03. Wen Ma Fi 7ada - Where No One Is
04. 7aki Niswan - Women Talk
05. Sajel - For The Record
06. Beit - Home - ft. Gabriel Teodros
07. Denya - The World
08. Moseeqa Samra - Black Music
09. Ta 3AL Nor2os - Let'sDance
10. Asameehon - Their Names
11. Mish Malak - Falling Angel
12. E7'Teyar - Choice
13. El Ba7ar - Yemanja
14. Ayam A7lam - Day Dream
15. Bara - Out You Go

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Halim El Roumi - Eradat Al Sha'ab

Posted By White Rose On Thursday, August 22, 2013 0 comments
Halim El Roumi

Born in Lebanon and grown up in Palestine, Halim El Roumi started his artistic life as an amateur in 1935 and then enrolled in the High Institute of Arabic Music in Egypt where he acquired his diploma in 1939. He worked in Egyptian radio station and Radio Orient until the year 1950 when he was offered a job in the Lebanese Radio Station as the head of the Music section, a job which he retained for 30 years. He helped in the development and restructuring of the Station especially through the establishment of its musical band. Halim El Roumi was the one who discovered Nuhad Hadad (Fairouz). He heard her singing in a school concert and offered her a job at the Lebanese Radio Station; that was in April 1950. He chose the name Fairouz for her and trained her until she was ready to present her first songs like "You left My Heart" (Tarakt Albi), "Love You No Matter What I See From You" (A7ibak Mahma Ashouf Minak)... He was fascinated with her voice and that was why he chose that name for her. Other than Fairouz, Halim El Roumi worked with several singers like Nasri Shamseddine, Mary Jubran, Wadih El Safi, Nour El Houda, Sabah, Souad Mohamad, Fayza Ahmed, Najat El Saghera... Besides the songs he presented in his own voice, he participated in few movies like "Moon 14" (Amar 14). Halim El Roumi passed away in 1983 at an early age of 63, after around 10 years of struggling with mellitus Diabetes; however, not until the last moment did that man surrender. He had a strong will and a deep faith and did not stop his life or quit his work; he kept on giving and producing until he died in the early 1980s.

Having a father like Halim El Roumi was not easy; on one hand he was tender, but on another hand he was so strict. So how would he be if his own daughter was thinking of becoming a singer and later on sang his own music. At first, Halim El Roumi objected his daughter's intention to become a singer, for two reasons: 1) he insisted that her education is much more important than singing and 2) he better how hard it was to be a singer. He even criticized her choice of the song she was presenting in Studio El Fan, "Ya Toyour", assuming that she was not able to perform such a hard song for Asmahan. However, as Majida mentions, he was thrilled when he heard her on TV and cried. Halim El Roumi was not easy at all with Majida when he composed the music of her song "Mothers' Melody" (Ounshoudat Al Ummahat); he worked with her on very professional bases and even was harder on her trying to teach her certain lesson, she says she is benefiting a lot from today. What did Majida inherit from Halim El Roumi? Probably, his strong will, faith, commitment, calmness, serious in work, perfectionism... Majida says that when she faces a obstacle she always remembers her father and all the pain, suffering, and problems he had been through and survived from.

What did Halim El Roumi leave for Majida? A rich archive of music and songs that Majida has been renovating and releasing in her own voice. Other than Ounshoudat Al Ummahat, Majida has presented "Scent" (3ter), "Don't Get Mad" (La Taghdabi), "Having Fun" (Salawna), "Lebanon, My Heart" (Lubnan Qalbi), "Listen to My Heart" (Isma3 Albi), "You Passed in My Imagination" (Marart Fi Khayali), "O' Darkened Eyelashs" (Ya Mka7al Rimshak), "My Blamer for Your Love" (Ya La'emi Fi Hawak), and "Mimi". Majida was the first singer in the Arab world to renew an old song in a wonderful, but yet touching, duet with the original voice; we are talking here about "Today, My lover is Back" (Al Yawm 3ada 7abibi), which joins the voice of Majida with the voice of her father, the late Halim El Roumi.

As all the other great talents in the Arab world, Halim El Roumi was not given what he deserved; his illness and early death closed the door in front of that great man to give more and present the best of him through the voice of his daughter. Majida has honored her father through singing his own songs as well as writing and presenting a special song (unrecorded) called "You Left Early" (Bakeer Falayet).

Track List
01.Eradat Al Sha'ab
02.Monajat Eliel
03.Ghalab Awjed A'leahe
04.Ba'ed Al Ghiab [Ma'ezoufa]

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Farah Siraj - Nomad

Posted By White Rose On Thursday, August 22, 2013 0 comments
Farah Siraj is a world music artist driven by her passion to explore and create. Farah grew up in the capital city of Jordan, Amman, surrounded with Middle Eastern music. Farah, considered a prodigy of the Middle East since an early age, released her first album at age seventeen. This album, funded by His Majesty King Abdullah II of Jordan, was recorded between Turkey and the United Kingdom featuring the Turkish Symphony Orchestra. King Abdullah and Queen Rania of Jordan are among the audiences that attend Farah's performances.

The Jordanian virtuoso earned her music degrees from Berklee College of Music in Boston and Trinity College of Music of London, where she received numerous international awards and global recognition. Farah possesses a unique musical style, blending her influences from all around the world, making her a cultural ambassadress of her country.

Farah's new album, NOMAD, includes original compositions mixing her musical influences, Middle Eastern folk, Flamenco fusion, Jazz, and Bossa, with lyrics in Spanish, English and Arabic. Recordings for this coming album took place in Spain, Jordan, USA, and the UK, involving over 40 talented musicians from all around the world.

Track List
01. For My Zizi
02. Min Ghairak
03. Pedazos De Mi Vida
04. Cuando Te Vea
05. Sigo Aqui
06. Dejame Entrar
07. If Only
08. Fall Again
09. Aires De Buleria
10. No Puedo Mas
11. Tal Vez
12. Prefiero Ser Yo
13. Pienso En Ti
14. Ramamimitumamatamitaow

Download HERE

Golden Era Of Bellydance Vol. 1.Tahiyya Karioka

Posted By White Rose On Wednesday, August 21, 2013 0 comments

Track List
01. Ha Akbalu Boukra
02. Zikrayat
03. Sahran Annil
04. Al Hobbi Kida
05. Al Atlal
06. Hassan Ya Ghoulli
07. Il Wardi Gamil
08. Arouh Limin
09. Mkhtarat Wahab
10. Nom Bitaeb Ayoun Habibi
11. Leyla
12. Min Al Aswan
13. Ahlam Atrash
14. Sahara City

Download HERE

Golden Era Of Bellydance Vol. 2 Samia Gamal

Posted By White Rose On Wednesday, August 21, 2013 0 comments

Track List
01. Layalil Ounsi
02. Ghouloubt Asaleh
03. Hayrana Leh
04. Sakin Fi Hayyil Sayyida
05. Hagartak
06. Isal Marra Alayya
07. Madam Tihibb
08. Ayni Bitriff
09. Samiat
10. Hediyyat Al Iyd
11. Ba'a Ayiz Tinsani
12. Leylit Eid
13. Raks Samia
14. Se'a Biqurb Il Habib

Download HERE

Sabah Fakhri - Isqi Alatchane

Posted By White Rose On Monday, August 19, 2013 0 comments

Elias Rahbani - L'Amoureux de Paris

Posted By White Rose On Saturday, August 17, 2013 0 comments

Track List
01. Paris Paris - Jessy J
02. Pour Toi Paris - Edgard Aoun
03. Prelude n''1 - Instrumental
04. Les Recoins De Paris - Jessy J
05. Comme La Rose - Edgard Aoun
06. L'amoureux De Paris - Instrumental
07. O Paris - Tina
08. Tango D'amour - Instrumental
09. Nuits De Paris(Duo) - Pascale Saker & Edgard Aoun
10. N'eteins Pas Le Solell - Jessy J
11. Disco Serenade - Instrumental
12. Je M'en Souviens Paris - Instrumental

Download HERE

Flamenco de Carlos Saura Vol. [1-2]

Posted By MiOd On Saturday, August 17, 2013 0 comments
Flamenco de Carlos Saura Vol. 1
The master filmmaker Carlos Saura with their production 'Flamenco' in 1995 could take form on the big screen a sample of the greatness of soul and flamenco art. With a luxurious list of the most acclaimed performers singing, playing and dancing the film is worthy of inclusion in any musical film library and recordings, of which this album is a reference, the first of two CDs released in 1995. Both CD are equally worthy of inclusion in the Parnassus of the flamenco creations. Indispensable in any flamenco discotheque.

1. El perol (tangos) –Paco de Lucía
2. Rizo de pámpano (soleá) –José Mercé
3. Seguirilla (siguiriyas) –Enrique Morente
4. Soleá de la Fernanda (soleá) –Fernanda de Utrera
5. A dibujar esa rosa (alegrías) –Rancapino y Chano Lobato
6. Borracha de aromas (bulerías) –Potito y Tomatito
7. Yo no sé cómo (bulerías) –Potito y Tomatito
y 8 bulerías más

Flamenco de Carlos Saura Vol. 2

[01]. La puerta del príncipe (alegrías) –Manolo Sanlúcar
[02]. Un cuento para mi niño (bulerías) –Lole y Manuel
[03]. A rezar una esperanza (taranta) –Carmen Linares y Rafael Riqueni
[04]. Hermosísima cubana (guajira) -Pepe de Lucía
[05]. Mi candil (tangos) –Juana la del Revuelo
+ 1 tango y 3 martinetes más
[06]. Soleá del Farruco (soleá) –Chocolate
[07]. Sentenciao estoy a muerte (petenera) –José Menese
[08]. El cante que más quiero (fandangos) –Antonio Toscano y Paco Toronjo
[09]. Villancicos de Gloria (villancicos) –La Macanita
[10]. Verde que te quiero verde (rumba) –Manzanita y Ketama

320 kbps including full scans


Fanfare Ciocarlia - Balkan Brass Battle

Posted By MiOd On Saturday, August 17, 2013 0 comments
I have been listening to Balkan Brass Band music for a few years and have albums from both Fanfare Ciocarlia and Boban & Marko Markovic. So when I found out that Asphalt Tango Records was putting them together for Balkan Brass Battle, I was curious to see first, how it would be organized and second, how it would sound. As you can imagine, when these bands get together with 25 musicians between them, the sound and energy they put out is amazing. Each has their own style and character, Fanfare Ciocarlia from Romania, and Boban & Marko Markovic from Serbia. So there are some obvious cultural differences.

It is these differences that provide the backdrop for the Battle between the two bands. It really is a fabulous idea, and a great way for fans of one band to learn about the music of the other. My only wish would be that this could have been a double album, because I would have liked to hear them play together more.

Of the twelve songs on the album, the two bands join together on four. The most interesting tracks, and where the Battle-Of-The-Bands is truly in play, are on the two tracks of the Jazz classic Caravan. Each band plays nearly the same arrangement of the tune, putting their own unique touches on it. The listener can make a direct comparison in this way, and make his own choice as to the winner. It's a great concept and I applaud Asphalt Tango for being so bold.

While one would not at first glance expect to hear American Jazz from a Balkan band, it should come as no surprise, given the global nature of the World Music scene today. Another example of this is when the combined band takes on the James Bond Theme, one of the best known movie themes. There are some great Trumpet and Sax solos, driving low brass, and great percussion.

Individually, the bands shine in their own styles. Boban & Marko Markovic start things off with Mirak Kolo, a piece that starts with some Jazz-Funk infused with Balkan rhythms to give a nice contrast.

Topdzijsko Kolo is a more traditional tune that is very fast and has some fantastic Trumpet playing, as well as blazing low brass and percussion.

Otpisani has a smooth high brass melody line over moving low brass. It has a lot of Jazz influence, and a different style of drumming. Some reverb added to the Trumpet solo gives this tune a unique character.

Fanfare Ciocarlia gets plenty of space here, too. Their first track, Suita a la Ciobanas, gets right into their traditional groove. Blazing fast high brass with jabbing vocals are what they do best. Midway through the song, they step it up a notch, suddenly increasing the tempo even more. It is amazing how they can keep everything so melodic at that speed, and they do it brilliantly.

Dances From the Monastery Hills keeps them in the traditional style, with leaping high brass lines, tight low brass and percussion to keep everything blazing along. I'm not sure how anyone could dance at this speed, but I'm sure there must be a way.

I Am Your Gummy Bear is their take on a well known song, breaking away from the fast tempo to give a new interpretation. Then they start singing the low brass part. You can tell they are having a lot of fun with it.

But when the band collaborate, that's when the full power of Balkan Brass is unleashed. On Devla right from the intro you can tell that it is going to be great. They play some wider harmonies as a larger ensemble, and do a splendid job of jazzing up the Balkan rhythms. The larger group also allows room for some higher Trumpet work. There is a great Trumpet solo as well.

Disco Dzumbus is the most danceable tune on the album, again meshing a Disco-era melody with Balkan rhythm. Nice high brass accompaniment over the melody at the end. It's a great idea, and makes for some enjoyable listening.

Asfalt Tango is a great song to end with. It is truly a showcase for what both bands can do. Fabulous Sax and Trumpet solos, strong low brass and percussion, some modern feel over the traditional rhythms.

So there you have it. If you are new to Balkan Brass Band music, this would certainly be a great introduction to the two top bands in the genre. As I mentioned earlier, I am a fan of both bands, and now that Balkan Brass Battle is available, and with their extensive touring schedule, this music is sure to be spread to World Music fans everywhere.

So, who won the Battle? I'll let you be the judge. Fanfare Ciocarlia excels at playing in a traditional style than nobody can duplicate. Markovic has a way of incorporating Jazz, Funk, and some modern rhythms with the traditional style. I like them both, and hope to see them performing side by side for years to come.

[01].Battle call
[02].Mrak Kolo
[03].Suita A La Ciobanas
[04].James Bond theme
[08].Topdzijsko Kolo
[09].Dances From the Monastery Hills
[10].Disco Dzumbus
[11].I Am Your Gummy Bear
[13].Asfalt Tango

MP3 VBR kbps including Front Cover


Cantes Inéditos - Fernanda y Bernarda de Utrera

Posted By MiOd On Saturday, August 17, 2013 0 comments
"To sing like Fernanda de Utrera is now impossible; her resounding voice, this supernatural strength that arises from the bottom of the earth and the emotion in her face, will depart when she does, never to return". Manolo Bohórquez, critic.

Fernanda de Utrera is a monument of flamenco, an institution; a great purebreed cantaora who is difficult to surpass, a model for the young cantaoras who want to express the jondura (depth, or solemnity) and emotions of flamenco. She has already picked up numerous prizes and awards while she is still alive, including the most important ones in the world of flamenco. Fernanda de Utrera has also been paid many tributes, the latest of which was a concert that took place in March 2002, in which artists from the top drawer like Calixto Sánchez, Carmen Linares, Diego Rubichi, Enrique Morente, Estrella Morente, José Menese, José Mercé, her sister Bernarda de Utrera, Inés de Utrera, Juan Carmona Habichuela, Moraíto Chico and Rafael Riqueni took part.

She is part of the Pinini flamenco family, which has produced great artists. Her artistic career has always been linked to her sister, Bernarda de Utrera, and to the tablaos, where she has worked for a large portion of her life. If there is one palo (form) in which she was particularly outstanding, it was singing soleares, which she did in a sublime manner. She was also exceptional at singing tangos, fandangos or the cantiñas of her grandfather El Pinini. Her renditions have always been laden with duende (a spirit that represents magic, inspiration, or a trance-like condition that has to do with the delivery or expression of flamenco art) and depth.

Tracklist & Lyrics
[02].Bulerías por soleá
[04].Bulerías por soleá

[08].Cantiñas del Pinini



qué grandes son mis fatigas
yo no encuentro quién me las compre
y el venderlas a mí me obliga

lio la Flor de Habana
la Flor de Habana
y otros primores
lo mismo al de Triana
al de Triana
que a los (???)

y el que camelo
echa por mis amores
humito al cielo

el querer quita el sentío
yo lo digo por experiencia
porque a mí me había sucedío

no me pagabas la casa
tú no me das de comer
me vienes con unos celos
mala puñalaíta te den

mira la niña como presume
delante del novio

el día que vengas tú
me lo tengo que poner
al ladito de Jesús

ay, que te quiero
sin interés
de ningún dinero

la Virgen se está peinando
entre cortina y cortina
los cabellos eran de oro
los peines de plata fina

contigo no voy a Utrera
porque tú eres muy borde
y me endiñabas en la carretera

un Mohamed de la Arabia
dale que dale, pidió mi mano
y yo le dije con rabia
es mi cariño para un gitano

y mi personita
no miente ni engaña
yo soy una gitanita
que canta cante de España

gitana, soy española
como un rayito de sol
y con mi bata de cola
por la tierra y por las olas
voy diciendo aquí
este son

llévame sobre tus brazos
sobre tus brazos morenos
por el camino adelante
hasta (aquel risco?) del cielo

no me eches
que yo me iré
que soy muy niña
y me puedo perder

esta noche mando yo
y mañana mande quien quiera
esta noche voy a poner
por las esquinas banderas

mula le gruñe
y el buey le bajea
mi niño Luis
dormido se queda

Bulerías por soleá

me vas a dejar
porque contenta tú no me ves
ojalá y fuera verdad

y a maldiciones tú me comes
te lo vengo conociendo
te lo estoy conociendo
por delante buena carita
y por detrás me andas vendiendo

quitando el sentido
la cuesta que no conozco
no la camino contigo

en misa y no le veo
por donde quiera que tú vas
te señalan con el dedo

¿no te acuerdas cuando entonces
salías descalcita a abrirme?
y ahora tú no me conoces

en hora en hora
me va gustando
más tu persona


desde que yo no te veo
te veo muy diferente
si es que piensas de fingir
una cosa que no sientes
pa que vamos a seguir

por muchas vueltas que le doy
lo nuestro ya no puede ser
al verte me he enamorado
y loca me voy a volver
de pensar que eres casado

tanto como te quería
y no se lo que me ha pasado
ya yo no quiero ni verte
y antes de volver a tu lado
yo le pido a Dios la muerte

dame ya lo que tú quieras
y si es veneno, me das veneno
yo lo que quiero era morirme
pa yo no estar más a tu vera
yo estoy sufriendo lo indecible

Bulerías por soleá

yo no lo hago por nadie
yo lo hago por mis niños
que los quiero más que a nadie

todavía reservo en mi cama
el hoyito que dejó
las horquillas de su pelo
y el peine que se peino

pido a Jesus mío
por las que pasó en el huerto
te quite de mi sentío

por la extremaunción
volvió la cara pa el Cristo
mirándole se murió

mira que bonita era
se parecía a mi Virgen
aquella que está en Utrera

a la isla camarones
y en el barrio de la Viña
muchachitas como flores


que dolor de cuerpo mío
desde que te estoy queriendo
me lo tienes consumío

qué dolor de mare mía
¿cuando voy a tener otra mare
como la que yo tenía?

la Virgen se está peinando
entre cortina y cortina
los cabellos son de oro
los peines de plata fina

de hora en hora
me va gustando
más tu persona

debajo de los laureles
tiene mi niña la cama
(y a las dos de la mañana?)
la luna sale y la llama

si te llevaras de mis consejos
no llorarías como tú lloras
ni te vieras deshauciaíto
como te estás viendo ahora

tengo una gran fantasía
como mi hermanita Fernanda
en España no la había

tengo un canasto
lleno de flores
hasta lo alto


no me des más mala vida
que yo a nadie le endiñaba
siquiera los buenos días

esto si que es padecer
como se parecía a ella
vivo yo con otra mujer

amarillo sale el sol
manifestando las duquelas
que tiene mi corazón

yo no tengo más sentimiento
que haberte comunicado
los secretos de mi cuerpo

tengo cuatro senderos para quererte
que me llevan camino de cualquier parte

en mi vida
en los cuatros senderos me veo perdida
en mi cielo
como en la noche negra que hay en tu pelo
qué pelo negro

se te tiene que acabar
la alegría y los dineros
la salud y la libertad

cuando se entere el sultán
de lo que han hecho las moras
que han dejado morería
para cantarle a la novia

ay, gitana, tú eres mora
mora de la morería

mal dolor te de que mueras
por tu culpa he aborrecido
a quién quería de veras

de las estijeras
venid a sentarse
a mi cabecera


cuando venías nunca tienes tú lugar
el lugar es el que a ti te sobra
como eres tan borde
te falta la voluntad

hasta que no te emborrachas
tú no venías en busca mía
ojalá y te emborracharas
a todas las horas del día

si supiera este flamenco
la lástima que yo le tengo
la penita que le tengo
como yo se lo que es querer
se lo que está padeciendo

todo aquel que tiene duquelas
se le conoce en la cara
y a mí me estaban ahogando
y nadie me lo notaba

tú me habías sacaíto de mi trono
me habías tirado por los suelos
valiendo yo más que el oro

todo el que vive como yo
con la esperanza perdida
no es preciso que lo entierren
porque está enterrado en vida

yo olvidé a quien bien quería
pa mientras el mundo sea mundo
se me acabó mi alegría

que me quieras a la fuerza
y hágase tu voluntad
si es que te tiene a ti cuenta

en el corazón yo tengo
llevo yo un clavito clavao
tus malinas partidas
me lo habían remachao

yo soy guarda de tu (???)
pa que no digan tu gente
que estoy loquito chalao


más penitas pasar
no chanelas que yo puedo
dartelas a ti redoblas

tú pasas por mi vera
y tú no me dices adiós
ni las ánimas benditas
pasan la pena que yo

le dije siendo niña
le di palabra a un moreno
ahora que soy mayorcita
cumplirsela yo no puedo

y a la verita mía
flamenquito, yo te tuviera
pa to el resto de mi vida

los ojos de Juan son lirios
los de Francisco claveles
los de Antonio clavellinas
y azucenas los de Manuel

no me mires ni te rías
que los cargos yo me voy a hacer
de que no te había visto en mi vida

tiro piedras por las calles
a quien yo le de que perdone
tú me estabas volviendo loca
de puras cavilaciones

(siempre?) viene hasta la ría
por el recuerdo de él
(estaba?) loca en Punta Umbría
porque no viene Manuel

está loca por la pena
y es un sollozo su voz
se lo robó una sirena
y se quedó sin su amor

amores de marinero
se los lleva siempre el mar
(???) de marinero
no me quiero yo dejar

y así un día y otro día
los novios de Punta Umbría

yo soy aquel que cada noche te decía
yo soy aquel que por quererte ya no vive
el que te espera
el que te adora
el que quisiera ser el dueño de tu amor

yo estoy aquí, aquí para quererte

no me eches
que yo me iré
y en el camino
me puedo perder


de noche desde mi cama
hablo con mi Dios y le digo
que mentira me parece
lo que tú haces conmigo

ponte donde yo te vea
dale el alivio a mi cuerpo
aunque otra cosa no sea

un sabio me leyó el sino
al escucharlo temblé
qué cosas no me diría
que aborrecí tu querer

guerra, guerra, guerra
con esta bata de cola
tú vienes pidiendo guerra
y yo como buen vasallo
siento plaza en tu bandera

no te pongas colorá
coloraíta tú no te pongas
porque me haces prebelicar

conversaciones contigo
no lo admito ni las quiero
¿para qué mas desengaño
que lo que mis ojos vieron?

a la revolvé
que el cigarrito
a ti te se apague
y no lo puedas encender

yo no puedo vivir sin ti
yo me quiero morir
¿pa qué quiero vivir?


yo te tengo que poner
que con sólo que yo te mire
que tú me tienes que comprender

olé, la niña presume
delante del novio

a las dos salgo del colegio
y a las tres yo tengo que entrar
pa que el maestro no diga
que soy fulana de tal

a nadie quiero
mientras que viva
mi canastero



fatigas pasé por ti
las tornas habían cambiado
y tú las pasas por mí

me daba alegría el verte
y ya hasta me da lo mismo
de verte como no verte

por culpa de una sonrisa
mataste a unos ojos que había en barrera
y un toro de tu divisa
sembró de amapolas tu estampa torera

si lo salvas Padre mío
en silencio te juré
en tus manos lo confío
que eres el del Gran Poder

de nuevo por las arenas
vestido de luces
y yo en mi caudal de pena
muero entre cruces

por fuera como una rosa
por dentro zarzal de espinas
mi cara es de dolorosa
más nadie me lo imagina
no saben que su locura y su hermosura
sólo es el toro
y a solas me dejo el llanto
de tanto y tanto como le adoro
Marina, sin un te quiero
Marina, sin un te adoro
la sangre me lo imagina
que el hombre de mi corazón
que me llame sólo Marina


no me llames, que no voy
que la culpita tú la tienes
de lo que a mí me pasa hoy

por Dios y por amor de Dios
alíviame las que yo tengo
metiditas en mi corazón

Dios mío, dame paciencia
pa poderte yo olvidar
me falta la resistencia

cuando paso por tu puerta
me arrodillo y la venero
como si fuera una iglesia

castigo se merecía
la flamenquita que se pasa
hablando lo que (???)

de hora en hora
me va gustando
más tu persona


no me pongas esa cara
te vas a venir conmigo
por las buenas o por las malas

a ese horno encendío
no le eches más leña al fuego
que no te (???)

a la tierra yo me voy
sin yo contar lo que a mí me pasa
que en Utrera yo no veo
flamencos de confianza

paloma que vas volando
y en el pico llevas hilo
dámelo para coserme
mi corazón tengo herido

cuando se entere el sultán
de lo que han hecho las moras
que han dejado morería
para cantarle a la novia

ay, gitana, tú eres mora
mora de la morería

lo digo porque puedo
como mi sobrino (???)
no lo encuentro (???)

de hora en hora
me va gustando
más tu persona


sabes mejor que nadie que me fallaste
que lo que prometiste se te olvidó
sabes a ciencia cierta que me engañaste
aunque nadie te amara igual que yo
harta estoy de razones pa despreciarte
y sin embargo quiero que seas feliz
y allá en el otro mundo
en vez de infierno
encuentres gloria
y que una nube de tu memoria
me borre a mí

dile a quien te pregunte que no te quise
que tú a mí me olvidaras fue lo mejor
y allá en el otro mundo
en vez de infierno
tú encuentres gloria
y que una nube de mi memoria
te borre a ti

mal dolor te de que mueras
por tu culpa yo he aborrecido
a quien yo quería de veras

por ti no me habla nadie
por ti me van a dar a mí un día
una puñalá muy grande

(me cogí día y mañana?)
yo no me voy

te quiero
por que te quiero
sin interés
de ningún dinero

yo vengo de Utrera
yo vengo vendiendo
ollas y cazuelas

qué fatigas más grande
a la tumba me las llevo
y no se lo digo a nadie

yo no puedo vivir sin ti
yo me quiero morir
yo no quiero vivir

yo me voy con mi mare Manuela
a donde me quiera llevar


¿de quién son esos machos
con tanto orgullo?
son de Pedro La Cambra
van pa Bollullos

ay, ay, ay
yo me voy pa Utrera
a la verita de la (???)

mañana me voy pa Utrera

te quiero, te quiero,te quiero
sin interés de ningún dinero

te voy a querer
mientras que tenga
pan que comer


esta puesto por semanas
esta semanita me toca
de no mirarte a la cara

mi copla por los rosales
déjala que venga y vaya
que estoy llorando a canales
la pena de los Amaya

esto si que es padecer
porque se parece a ti
vivo yo con otra mujer

un novio le dio a una novia
agüita por una gatera
lo que yo no puedo decir
lo que el novio le dio a ella
porque yo no estaba allí

a Utrera yo no voy más
en Sevilla a mí me hacías
grandes duquelas de pasar

(???) pasaba la Juana
(y en el balcón por la mañana?)

a las dos salgo del colegio
y a las tres yo tengo que entrar
para que el maestro no me diga
que soy fulanita de tal

me tienes tan sujeta
que yo no podía salir
ni al umbralito de la puerta

paso por to
pero por eso
no paso yo


qué dolor de madre mía
¿cuando voy a tener otra madre
como la que yo tenía?

que yo no puedo con más
que las carnes de mi cuerpo
a pedazos se me van

Cantiñas del Pinini

¿como quieres que yo vaya
al jardín de la alegría?
se marchitaban las flores
cuando ven la pena mía

la fuente vieja
se ha alborotao
porque el Pinini
se ha emborrachao

tu cabello y el mío
se han enredado
como la zarzamora
por los vallados

la Simoncita
tiene un Simón
la Simoncita
ya se casó

fragata real corsaria
con su hermoso bergantín
como te arrimes a la proa
abajito has de venir

esta gitanana
cuando fue a Utrera
por las esquinas
puso banderas


mamaíta de mi alma
si tú me vivieras
tú saldrías descalcita a abrirme
y a mí me recogieras

yo sembré en una maceta
la semilla del encanto
me salió la violeta

a lo que has dado lugar
que yo me coma la lengua
en contra de mi voluntad

cuando paso por tu vera
??? tu gente
que estoy loquito chalao

tú no me pagas la casa
tú no me das de comer
tú vienes con unos celos
mala puñalá te den

tu cariño gitano
mira lo que yo estoy sufriendo
y en vez causarte pena
tú de mí te estabas riendo
no encontrará quien lo quiera
como yo lo estoy quieriendo

quisiera ser pajarito
y volar los elementos
y pararme en tus sentidos
y ver si tu pensamiento
primo mío de mi alma
igualabas con el mío

yo no te pido ná
quiero que tú me cameles
de tu propia voluntad

más que Jesús en el huerto
yo estoy pasando
estas son las ganancias
que estoy sacando

a mí me gusta escuchar
las campanitas de las monjas
cuando me voy a acostar

pensamiento mío
no me abandones
no culpes a nadie, pensamiento
de mis errores

porque un martillo mi sien
está golpeando
porque ya no me quieres, pensamiento
me estás engañando

al salir yo de la mina
se me perdió mi pañuelo
quién se lo vino a encontrar
este gitano que quiero
y no me lo quiso dar


una noche de copla y vino
la mora puso banderas
y por Cádiz vestida de blanco
aquella noche moruna
que la luna no le viera

caudales no le faltaban
ni lujo ni fantasía
pero la mora lloraba
pensaba en la morería

puerto bonito de Tánger
puerto me vio marchar
en un barquito de espuma
por la inmensidad del mar
puerto moro de Tánger
que no lo veo más

una penita muy grande
mis fatigas son muy grandes
a la tierra me las llevo
y no se lo digo a nadie

con Dios
vaya usted con Dios
si a ti nadie te ha querido
como te he querido yo

este verano en la playa
yo me tengo que poner morena
los niños de los gitanos
envidia a mí no me tengan

si usted trae dinero
todita la casa es suya
pero si no lo trae
no hay posada ninguna

y a bendita mare, victoria
gloria al recien nacido
la gloria

mi saeta el cantar
al cristo de los gitanos
siempre con sangre en la mano
hasta llegar a la cruz

pensamiento mío
no me abandones
y no culpes a nadie, pensamiento
de mis errores

hoy llevo
cinco días sin verlo
y es que yo no aguanto
ni un momento más

porque la sangre se me para
el pulso no lo siento
la vida se me va

ten cuidado
no juegues con mi amor
ten cuidado
no digas tú que a mí me has dejado
tengo una vida entera por delante

me has dejado
hacer lo que yo quiera
me has dejado
y ahora ya lo ves que no hay manera
de que yo vuelva a olvidarme del pasado

ten cuidado
no quieras engañar
que es un pecado
ten cuidado
no quieras engañar
que me has olvidado
ten cuidado

no quiero gente a mi vera
dejarme sola, dejarme
que yo tengo muchas penas
y no se lo digo a nadie


tiene mi Cuba un son y una cantina
hecho de caña y ron y agua marina
el cantinero es un buen gitano
una historia de amor se volvió malo

cantinero de Cuba
sólo bebe aguardiente
para olvidar

hoy me quiero emborrachar
necesito ser amada
para volver al pasado
que no lo puedo olvidar


hasta que no te emborrachas
tú no vienes en busca mía
ojalá te emborracharas
a todas las horas del día

parece mentira que te hayas criado en tan buenos pañales
parece mentira que seas tan pobre con tantos caudales
gitano, tengo mis dudas
de que seas de sangre azul
porque en el reino de Judas
ya no lo hay más falso que tú

quiso Dios con su poder
unir cuatro rayitos de sol
y hacer con ellos una mujer

antes de llegar a la mina
se me perdió mi pañuelo
¿quién se lo vino a encontrar?
un gitano que yo quiero
¿por qué no me lo quiere dar?


soplaba la silla
donde te ibas tú a sentar
me voy a morir con la pena
de no ver tu voluntad

castigo se merecía
la flamenca que a un flamenco
le niega los buenos días

por el hablar de la gente
yo había olvidaíto a quien bien quería
pa mientras viva en este mundo
se me acabó mi alegría

que quería tu gente
pa entrar tú en mi familia
cosa que no te (he pedido?)


(Dios mío yo?) las campanas
yo las oigo y las entiendo
y voy vestida de novia
con un anillo en el dedo
porque contigo me caso
en la iglesia del recuerdo

y de luto ya vestida
y aunque cien años viviera
mientes como hay Dios

en el cristal de mi copa
tu cara se reflejó
y aquel poco de licor
que yo me llevé a la boca
de veneno me sirvió

contigo no voy a Utrera
porque tú eres muy borde
me endiñas en la carretera


un favor te voy a pedir
que tú te quites de la puerta
cuando me veas venir

¿qué es lo que quieres de mí?
que hasta el agüita que yo bebo
te la tengo yo que pedir

porque me dicen a mí
me preguntan a mí
que si te camelo
yo digo que si

se nos rompió el amor de tanto usarlo
de tanto abrazo loco sin medida
de darnos de momento paso a paso
se nos quedó en las manos un buen día

se nos rompió el amor, aquello tan gracioso
nunca podrá existir tanta belleza
las cosas tan gitanas duraban poco
jamás duró una flor dos primaveras

me alimenté de ti por mucho tiempo
nos devoramos vivos como fieras
jamás pensamos nunca en el invierno
pero el invierno llega aunque tú no quieras

y una mañana gris al despertarnos
sentimos un ruido muy frio y seco
cerramos nuestros ojos y pensamos
se nos rompió el amor de tanto usarlo

Ape (EAC Rip): 410 MB | MP3 - 320 kbs: 280 MB | (book+ 2 CD's)

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3

OR MP3 320 kbps
Part 1 | Part 2

Hiba Tawaji - La Bidayi Wala Nihayi

Posted By White Rose On Friday, August 16, 2013 0 comments

Track List
01.La Bedayi Wala Nehayi
03.La Tkelli Innak Mechtakli
04.Zat Ellafti
05.Machyi W Ma Baaref La Weyn
06.Kell Shabi Fallou
09.Khayfi Koul
10.Bel Omr Elli Baki
12.Ftahli El Bab

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Abdel Halim Hafez - 20th Anniversary Memorial Edition

Posted By White Rose On Friday, August 16, 2013 0 comments

Track List
Disc 1

01.Khalik Ma'aya
02.Tayer Ya Hamam
03.Markeb Al Oshak
04.Ya Naker El Ma'arouf
05.Ma Tesadaknish
06.Fat El Rabie
07.Al Aseel

Disc 2

01.Kariat El Fengan

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Trevor Jones - Cleopatra

Posted By White Rose On Friday, August 16, 2013 0 comments

Track List
01. Cleopatra
02. Egypt Is Yours for Only One Day
03. Tombs of Kings
04. Rome Decrees
05. Roman Forum
06. Eye of Horus
07. Temple of the Isis
08. Prayer to Isis
09. To Speed You on Your Way
10. In the Eyes Fo the Gods We Are One

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The Best Arabian Instrumentals Album In The World.... Ever

Posted By White Rose On Friday, August 16, 2013 0 comments

Track List
01.Leila - Franck Pourcel
02.Zomoroda - Franck Pourcel
03.Habib El Omr - Franck Pourcel
04.Nougoum El Leil - Franck Pourcel
05.Beloved - Elias Rahbani
06.Habbeytak Bessahf - Claude Ciari
07.Ragsat Sour - Ghassan El Rahbani
08.Aziza - Petey Pablo
09.Return To Paradise - Ron Goodwin
10.Happiest Days - Elias Rahbani
11.Dakkeyt - Petey Pablo
12.Egyptian Symphony - Hughes De Courson
13.Sunrise Over The Cedars - Ron Goodwin
14.Bint El Balad - Claude Ciari

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Bulerias de Oro

Posted By MiOd On Thursday, August 15, 2013 0 comments

Flamenco album released in Spain in 1993 by Hispavox on original sound recording made in 1976 with a collection of 12 gold 'bulerías'. 'Bulería' is one of the greatest 'palos' (styles) of classic flamenco, fundamentally important in the gypsy singing area of Jerez de la Frontera (Spain).

The CD brings together a cast of great flamenco singers of the era, among which the voices of Antonio Mairena, Manolo Caracol, Terremoto de Jerez, Pericón de Cádiz or singers sisters Fernanda, Bernarda and Pepa de Utrera. ”

[01]. Fiesta en Cádiz (Pericón de Cádiz, Chato de la Isla y Manuel Soto el Sordera)
[02]. No quiero 'na' contigo (Manolo Caracol)
[03]. En esta esquina me paro (Manuel Soto el Sordera)
[04]. Deja que pasen tres días (Manolo Vargas)
[05]. Remedio 'pa toos' los males (Antonio Mairena)
[06]. Fiesta en Utrera (Perrate, Fernanda, Bernarda y Pepa de Utrera)
[07]. En la calle Nueva (Terremoto de Jerez)
[08]. Virgen de la Merced (Aurelio Sellés)
[09]. Como cantó Pastora (Gabriel Moreno)
[10]. Cuando se entere el sultán (Fernanda de Utrera)
[11]. Levántate, Filomena (Pericón de Cádiz)
[12]. Fiesta en le Barrio Santiago (Terremoto, Romerito, El Borrico, El Diamante Negro, El Sordera y El Sernita)

320 kbps including scans


Balkan Fever London (Mind The Brass)

Posted By MiOd On Thursday, August 15, 2013 0 comments
Balkan Fever London is a celebration of the vibrant and innovative scene that is what has become of the Balkan movement after an extended stay in the UK... it has captured musical imaginations and been given a number of different makeovers revealing the many different influences of the artists involved: from ska to dubstep, latin to jazz, from Spain to Wales and with moods ranging from the sublime to the comedic, there's something for everyone in this compilation. Each track captures the energy of the live performance, the cohesive togetherness of the band with the highlights of some great virtuoso moments.

Gypsy Hill feat. Besh o droM - Balaka - Orkestra del Sol - On Giants ShouldersThe She?Koyokh Klezmer Ensemble - Bendi Glendi - The Baghdaddies ?ShriAlejandro Toledo & The Magic Tombolinos - Los Peces - GhettoPlotz ? BabyschlepDeath Ray Trebuchay - Number 6 - Koby Israelite - Band of GypsiesMax Pashm - Fight On The Streets - The Ukrainians - Vykhid (Exodus)Sam and the Womp - Bom Bom - Dr. Cat & Dj Pony - Ali BabaChancery Blame & The Gadjo Club - Unzer Toirele - GhettoPlotz ? Babyschlep

[01]. Gypsy Hill - Balaka (feat. Besh O Drom)
[02]. Orkestra Del Sol - On Giants Shoulders
[03]. The She'Koyokh Klezmer Ensemble - Bendi Glendi
[04]. Alejandro Toledo & The Magic Tombolino - Los Peces
[05]. The Baghdaddies - Shri
[06]. Death Ray Trebuchay - Number 6
[07]. Koby Israelite - Band of Gypsies
[08]. Max Pashm - Fight On the Streets
[09]. The Ukrainians - Vykhid (Exodus)
[10]. Sam And The Womp - Bom Bom
[11]. Ghetto Plotz - Babyschlep
[12]. Chancery Blame & The Gadjo Club - Unzer Toirele
[13]. Dr. Cat & DJ Pony (feat. Deladap!) - Ali Baba

320 kbps including Front Cover


Al Ála Al-Andalusíyya

Posted By MiOd On Thursday, August 15, 2013 0 comments
Al Ala al-Andalusiyya is the name given in Morocco to the music of the Arab-Andalusian Nubas. An "al ala" orchestra is one that is specialised in the classical Moroccan tradition of music from Moorish Andalusia - Al Andalus.
This brilliant recording by Omar Metioui and his group, released by PNEUMA in its "Al-Andalus Collection", represents a step forward in the diffusion of this exquisite and diverse court music.
Of particular note are the Twishya, instrumental introductions created in Medieval Islamic Spain and preserved with loving care in oral tradition until our times.

Al Ála Al-Andalusiyya
Música Andalusí
Núba (secular poetry from Medieval Islamic Spain)
Ensemble Omar Metioui - Omar Metioui, dir.
Conducted by Omar Metioui
Sufi-andalusi music
Al-Hiyáz Al-Mashriqí Nouba
'Iráq Al-'Ayam Nouba

    I. Núba Al-Hiyáz Al-Mashriqí

  1. Bugya Núba Al-Hiyáz Al-Mashriqí
  2. Twíshya 1 Al-Hiyáz Al-Mashriqí
  3. Inshád 1, Tawíl Ala Ya Nadíman
  4. Twíshya 2 Al-Hiyáz Al-Mashriqí
  5. Twíshya 3 Al-Hiyáz Al-Mashriqí
  6. Twíshya 4 Al-Hiyáz Al-Mashriqí
  7. Inshád 2, Inqiláb ar-Ramal Yá Gazálan bi-l-Himá
  8. Twíshya 5 Ál-Hiyáz Al-Mashriqí
  9. Twíshya 6 Al-Hiyáz Al-Mashriqí
  10. Inshád 3, Tawíl Alá Yá Munshida Hamdán
  11. Twíshya 7 Al-Hiyáz Al-Mashriqí
  12. II. Núba 'Iráq Al-'Ayam

  13. Bugya / Twíshya Núba 'Iráq Al-'Ayam
  14. Inshád 4, Mutaqárib Ra'aytu l-Hilála
    Mízán (Fase ritmica) Btáyhí
  15. San'a, Futintu Min Nazra
  16. Taqsím 'Úd ''Iráq Al-'Ayam
  17. San'a
    1. Ya Qawmí Hayarní
    2. Qalbí Man Yurídak
  18. Muwwál, Tih Dalálan (Altanerí muestra)
  19. San'a
    1. Sakirná Wa Táb Shurbuná
    2. Yá Warda z-Zawán
    3. Qadru 1-Kalám
Playing time: 61'34"

Performer: Ensemble Omar Metioui - Omar Metioui, dir.
[Omar Metioui (dir., Ud, voice), Ahmed al Gazi (rabab), Hajjaj Mohammed (Ud 'Arbi), Abdeslam Nayti (Quaun), Mohamed Agdour (Darbuga), Abedelhamid Al-Haddad (voice), Mohamed Aroussi (violin, voice), Abdeslam El Amrani Boukhobza (Tar, voice), Abderraja Aroussi (viola), Abdlouahid Acha (Nay), Hasan Ajyar (voice), Said Belcadi (voice)]

Ape (EAC Rip): 360 MB | MP3 - 320 kbs: 140 MB | Front Cover

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Gypsy Music of the Balkans

Posted By MiOd On Thursday, August 15, 2013 0 comments
Gypsy Music of the Balkans - Langa, Sarr-e-Roma, Zoran Predin & Šukar…

Wild and fiery Balkan 7/8 rhythms as well as heart-rending ballads and everything in between! Played by some of the best-known Balkan Gypsy Bands.

ARC has put out a series of gypsy recordings from throughout the expanses of Eastern Europe (and Western Europe as well, really). In and of itself then, this one shouldn't be much different than the plethora of albums on the market. However, this album of music from the Balkans provides a series of surprises, not holding to the stereotypical and traditional bands and their styles. Certainly there are hints of the fiery Eastern European groups and their ilk (Taraf de Haidouks, Fanfare Ciocarlia, etc), but the music here goes beyond that. The album opens with Sarajevo's Sarr-e-Roma and a song with a sultry, slinky vocal laid over the top of an ultra-high-tempo bounce and vocal accentuations that almost push it into the Eastern European dancehall form. A few songs later, Sarr-e-Roma returns with a deep and mournful piece of music almost in the realm of flamenco. Speaking of flamenco, Langa, from Northern Slovenia, plays some excellent romping music reminiscent of the "flamenco" from Southern France (as popularized by the Gipsy Kings). More relaxed and traditional pieces come from the likes of Vlatko Stefanovski and Ezerki (hailed in the Croatian press as the Macedonian analog of the Chieftains or the Buena Vista Social Club). Before the album is over, Sarr-e-Roma returns with some rock-influenced sounds, Langa commandeers a dulcimer for a more contemplative number, and the ebb and flow of energy between the contemporary iconoclasts and the somber clarinet of Vlatko repeats a couple of additional times. The album goes beyond what many would think of as traditional gypsy music, incorporating more modern sounds but also keeping an eye on those a little truer to the original forms (largely from Macedonia). For a quick and basic overview of Balkan gypsy music, this is really a fine choice. ~ Adam Greenberg, All Music Guide

(01) [Sarr-e-Roma] Tuda sreca
(02) [Vlatko Stefanovski] Demko, Demile
(03) [Langa] Ruoma grastenca
(04) [Sarr-e-Roma] Kameno srce
(05) [Zoran Predin & Sukar] Mentol bonbon
(06) [Ezerki & 7-8] Proseta se Jovka Kumanovka
(07) [Sarr-e-Roma] Padajte snjegovi
(08) [Vlatko Stefanovski] Piravelo mile
(09) [Langa] Zaigrajte mi cigani
(10) [Sarr-e-Roma] Povratak
(11) [Langa] Ederlezi avela
(12) [Vlatko Stefanovski] Hajri mate dike daje
(13) [Langa] Cori Romni
(14) [Sarr-e-Roma] Zivote moj
(15) [Langa] Le, le, lej

Ape (EAC Rip): 370 MB | MP3 - 320 kbs: 140 MB | Scans

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Part 1 | Part 2

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