Artist.......: Khaled
Album........: Zandolive
Label........: n/a
Genre........: Ethnic
Catnr........: n/a
Source.......: DVBS
Rip.date.....: 2013-02-19
Str.date.....: 2009-00-00
Quality......: 193kbps/48.0kHz/Joint Stereo
Url..........: http://www.khaled-lesite.com/
track title time
1. Zandolive 62:49
* N Ti Sbabi
* LibertΘ
* Marsen
* Melha
* Wharam
* El Harba Wine
* N Ssi N Ssi Didi
* A∩cha
Runtime 62:49
Size 87.16
Release Notes:
Khaled is the poster boy for the modern form of Algerian desert blues known as
Ra∩. Certainly he's been its most successful modern exponent, the first to find
success on the international stage. Born Khalidu Hajji Brahim in Oran, the
traditional center of Ra∩, he was attracted to music from an early age,
especially to Ra∩, which was seen at the time of the music of outcasts, drunks,
and prostitutes, although he also loved James Brown and the Beatles. He taught
himself to play guitar, bass, harmonica, and accordion, releasing his debut
disc, "Trigh Lycee," when he was just 14. Leaving home, he began on the
peripatetic life of the musician, performing frequently at clubs, parties, and
weddings (the only places where Ra∩ was seen as an "acceptable" form of
entertainment). It was in the early '80s that Cheb (meaning "young") Khaled's
fortunes changed, when he met up with producer Rachid Baba Ahmed, who was
revolutionizing the Ra∩ form by introducing Western electric instruments and
studio techniques. Together, they changed the face of the music. Khaled was the
right voice at the right time and the addition of drum machines, synthesizers,
and guitars took the music to a new generation, even though much of it continued
to be censored by the Algerian government, which considered the style
subversive. A number of those early tracks can be found on Le Meilleur de Cheb
Khaled on Blue Silver.
By 1986, Khaled (who'd now dropped the Cheb) had been forced to move to Paris,
as violence in Algeria claimed lives and he'd been threatened several times
(producer Ahmed would, in fact, be murdered, as would several Ra∩ performers).
Arriving with a reputation, he attempted to take his music to a global level,
although his real debut, Kutche, did him no favors with its jazz-rock
arrangements. He fared much better with 1992's Khaled, with some tracks produced
by Michael Brook and others by Don Was. It yielded his first big hit, "Didi,"
and helped consolidate his reputation as Ra∩'s first superstar. That was firmly
cemented the following year with the Was-produced N'ssi N'ssi, which mixed funk,
rock, and an Egyptian orchestra behind Khaled's persuasive voice and winning
smile for a major commercial breakthrough in France, winning a European, as well
as North African, audience. In 1996, he hit again with Sahra, whose first
single, "A∩cha," written for his daughter, gave Khaled a French number one hit.
A mix of producers gave varying sounds, with French hip-hoppers Akhenton &
Imhotep proving the hardest on the track "Oran Marseille" with its rapid-fire
rap. There was even some reggae on "Mektoubi," which merged relatively
seamlessly with the North African sound. While well-received critically, it sold
little in the U.S. however, unlike France, where the album became Khaled's
biggest success. Perhaps the moment that justified his title of King of Ra∩,
however, came in 1999, when he headlined the 1-2-3 Soleils concert in Paris
(which led to the album of the same name), over Rachid Taha and Faudel. It was
the biggest Algerian show ever staged in France and left no doubt that Khaled
remained Ra∩'s hottest attraction. 2000 brought Kenza and a change of producer,
as former prog rocker Steve Hillage helped bring a more organic feel to the
proceedings. A smash in Europe, once again it did little business in the U.S.