Raï: the best of the original North African Grooves

Raï: Original North African Grooves is a compilation that claims to contain all of the best original Raï songs of the 80’s and 90’s.  Raï, translated as opinion, is a genre of music that developed around the 30’s in Algeria by the Bedouin tribes and is often compared with early Rock and Roll because of its socially subversive lyrics that often deliberately defy the strict sexual repression imposed by Islamic fundamentalist belief.  Indeed, it has been a vocal chord of the Algerian and North African poor and youth, lauding life, resisting oppression, and evoking the urge to dance even though such movements are an egregious offence to traditional Muslim beliefs. Raï reached its zenith in popularity during the 80’s and 90’s, and artists, including the ones presented on this compilation, began to modernize the music with all kinds of electrical instruments.  Raï: Original North African Grooves certainly exhibits Raï’s modernization and its funky beats cure the sedentary and communicate unhindered freedom and celebratory sentiments even in the wake of a more compromising life situation.

            Even when listening to the Raï compilation, unable to understand Arabic or French, it is clear that there is an unbridled energy that is in constant motion; the frenzy is contagious and music is absolutely unstoppable.  From the very beginning, Cheb Khaled’s urgent exhalations against a hyperactive drum and synthesizer duet command the ears to listen. the body to move, and the spirit to liven instantly. From that moment the intensity seldom slows for a break. There seems to be a particularly distinct North African sound that is especially apparent in the percussion and in the manner that each artists sings, but other styles not indigenous are fused into the Raï music.  For instance, Rasto’s Le Couchemard, is sung in the former colonizer’s tongue and combines reggae and hip hop, and Chaba Fadela’s duet with Cheb Sahroui uses funk inspired guitar riffs and quirky synthetic sounds to accompany what sounds like a possibly liberated romantic discourse.  Malik’s Lila is most daring for its electric guitar power chords, vibrant male-female exchange, and outlandish drum patterns.  In addition to these songs rich in diverse influences and instruments are also a few more traditionally minded songs that use percussion, drums, and one other wind instrument, like Cheikha Rimitti’s Chab Rassi and Cheikh Djelloul Remch’s Harfek, to name a few.  These pieces, though unadorned with all the technology of synthesizers and electric instruments, exhibit a similar intensity and extroverted attitude that the more modern songs express.  Although I am new to the Raï scene, I am almost certain that this album has provided a comprehensive introduction with many opportunities to explore into multiple further directions involving this movement.  My only complaint is that I would have liked to hear more female artists on this album, as I assume their contributions to the life span of Raï are invaluable and thus due more exposure.