rachid taha

Diwan 2

With his previous album, Tékitoi, providing some outstanding contemporary ideas in the realm of rai, Rachid Taha returns on Diwan 2 to more rootsy sounds, reminiscent (of course) of Diwan. The sound is derived from some of Taha's musical influences: largely from Algeria and the exile population in France, but with a couple of originals, some French influences, and a couple from

 Egypt. The album starts out with an old piece from Mohamed Mazouni and a much more relaxed tone than many of Taha's opening tracks on other albums. After a quick romp through a bit of music from Oran, he returns to a relaxed sound with "Agatha," a piece on racism and interracial adultery, before moving on to a form of slightly higher-energy chaabi, "Kifache Rah" (with some musical similarity to the massive hit "Ya Rayah"). The energy finally picks up to his usual levels with some ney, call and response, and thicker drums on "Josephine." "Gana El Hawa," as well as Umm Kulthum's classic "Ghanni Li Shwaya," provide an opportunity for the Cairo String Ensemble to come into their own as accompaniment (though indeed they are present on a number of tracks besides the Egyptian ones). Throughout the album, the mood is perhaps more relaxed, but also more somber than in many of his previous works. The energy never rises too high, and seems nearly suppressed when it does get closer to his standard levels. The focus is entirely on the structure of the music and the references to the past, both musical and historical. Still, an excellent album by any standard. It does seem like Taha is quietly unwound on this recording, trading anger for melancholy.

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Tékitoi (Who Are You?)

In a belated attempt to introduce Algerian rai star Rachid Taha's eighth

 album, 2004'sTekitoi, to a wider American audience, his label has re-released the album for the third

 time in under a year. The new edition translates the album and song titles into English (fair enough) and remixes the sound a bit to emphasize the dance beats and tough rock guitars over the traditional North African elements, which is not anywhere near as much of a travesty as it might sound to purists since producer Steve Hillage (Gong, etc.) had already smartly integrated the electronics into Taha's sound. So far, so good, but Who Are You?mystifyingly makes the mistake of dropping the last three songs ("Stenna," "Ya Rayah," and the Spanish-language "Voila Voila") from previous editions of the album; this is particularly frustrating since the traditional-sounding "Ya Rayah" (a tune popularized by the lateDahmane el Harrachi) and the nearly acid house dance groove of "Voila Voila" added much to the album's musical depth and sense of variety. There are still plenty of gems on this album -- like the slyly sarcastic reworking of the Clash's "Rock the Casbah" and the dub-like sonic depth of the Brian Eno co-write "Dima" -- but shortening the album by removing some of its best (albeit least representative) songs is no way to treat the audience that the label is trying to court.

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Made in Medina

Rachid Taha is not the first artist to blend Arab and Western musical styles, but he is certainly one of the most innovative. B

orn in Algeria, but residing in France since age ten, Taha fronted a highly political punk band in his teens, then made his mark as an equally radical DJ before launching a solo career. Made in Medina is the latest in his string of crossover creations. Recorded on three continents and four countries (U.S., U.K., France, and Morocco), utilizing musicians from equally far flung locales, and overseen by long-time producer Steve Hillage, the album is brimming with the exotic and the familiar. With lyrics in English, French, and, at one point, Berber, the sleeve notes provide English translations and explain the songs' core message and musical roots. Like a sumptuous banquet, Medinais a rich mix of dishes, one that will tempt even the most jaded palette. Inevitably, it will be branded world music, a label guaranteed to scare off much of Taha's prospective audience. There's crunching punk numbers, as hardcore as any anarcho-punk band's, but sliced with techno beats, sure to appeal to Prodigy fans. Spanish-flavored numbers are perfect for the salsa crowd, Afro-pop with a syncopated beat are sure to capture reggae fans, and there's even a space rock number for the ambient/prog rockers. With lyrical themes that run the gambit from alienation to the spiritual, Taha's appeal across genres is evident. And while it may sound like a shopping list for an international emporium, in fact,Medina has an extremely coherent sound, built on prominent, danceable rhythms, strong melodies, and powerful vocals, all shot through with a Middle Eastern flavor. A truly world sound.

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