Customer Reviews

Made in Medina

5 star:		(10)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

This is a remarkably rich and varied record that resists hasty pigeon-holing. It's not just for the "World Music" shelf, that's for sure. Pressed, I'd file it under "Masterpieces".

I've had it since shortly after its release, listen to it often, and never tire of it. The cuts are loosely connected by the themes of voodoo and trance and there's an evident progression as they succeed one another. The opening songs ('Barra Barra', 'Foqt Foqt','Medina') appear to deal with urban angst and disillusionment and they are delivered with an irresistible rock bludgeoning. Gradually, more traditional North African elements assert themselves ('Qalantiqa' and 'En Retard') culminating in the literally breath-taking 'Garab' which the liner notes rightly calls "an invitation to enter into a trance ..." Lyrics are in Arabic and French with the exception of a few verses sung by Femi Kuti in 'Ala Jalkoum', but the liner notes include a few lines from each song in both French and English. The production by Steve Hillage is extraordinary, demonstrating as always in his work with Taha, enormous respect for both the power of the electric sounds and the discrete texture of the acoustic instruments. Those who are put off by Taha's somewhat gruff voice (see reviews of his previous solo record 'Diwân') will not find it changed and those who have acquired a taste for it will rejoice that it hasn't. I love this record.

THE perfect entry point for Algerian rock icon Rachid Taha's music has arrived with an exclamation mark. Made in Medina is the album to take the maverick Rachid beyond the circle of purists and into the mainstream light. There are new stakes on this effort and plenty of redefining moments to savour with Rachid focusing heavily on street edge rock and rai to structure this recent work.

Rachid has truly mastered the art of extensive music-making. In its entirety, Made in Medina spreads the music across a variety of fertile music grounds and styles. He summoned the recording smarts in Paris and London while finding spiritual sustenance and mystical presence in Morocco and New Orleans. In bridging the rituals of the Morocco gnawas and the Louisiana voodoo with the roots of North Africa, Rachid has shortened diverse creative distances and unravelled an infectious yet frenzied brew of music set to boost his culture-bending socio-political cause.

An awesome sound awaits to be soaked in from Rachid's fresh vision as he drives the album through climatic chords and emotive jolts. It's mind-boggling to find sneering punk aggression, traditional lute sounds, New Orleans "gris gris" grooves and simple Franco-Arabic songs blending into the mixture with little difficulty. It's the sort of faraway rock music that Robert Plant and Jimmy Page would love to emulate.

The album goes for the one, two punch in commanding, uncompromising fashion. The stomping Barra Barra (Outside) carpets any Western rock competition as it tears away with a bilious swipe against the generalising of chaos in society while deception is the core subject on Foqt Foqt (I'm Not Taken In), a pulsing Algerian rock number with all-female Moroccan group B'Net Marrakesh singing the chorus in Berber language. Rock as a medium is a lethal force in any language, and with the innovative Rachid, no sound is untouchable in his rebel-rousing world.

The album does work the average listener into a sweat with its ball of energy. From distant ambulance siren effects in immigrant Lyon neighbourhoods to a stirring tribute to Kahlil Gibran and a generous spread of North African folklore, there's little reason to put this evocative Rachid album off the daily home rotation. There are poignant moments to sustain a different level of intensity, too. The vocals of Femi Kuti, a high-profile guest on Ala Jalkoum (Because of You), complement this blues-based track on the quest for freedom and fulfilment. Amid the volatile stuff, there are breaks to invite the wide-eyed wonder of revelry as well.

For a spell, the man's unrest is eased with the celebration of bliss and solitude on Aie Aie Aie (Carefree), tied up neatly with a Led Zeppelin-ish rhythm. Rachid also proves he remembers the days of old with a nod to the sheiks of rai from the 1930s with the tender nuances on Ho Cherie Cherie (Oh Dearest Dearest), a beautiful tune coiled around the gorgeous strains of violins.

Rachid might be Algerian by birth, he's got a French passport but the universal context of his music brings a startling new dimension to the appeal of rock music outside the usual. From Algeria to Malaysia, this is provocative, edgy and passionate stuff more than capable of touching a nerve no matter what the language of choice. Listen without prejudice

This album has inspired me to seek out his first more traditional album. Though I too find all these songs infectious, I enjoy the traditional element more and sometimes find the harsh rock guitar overwhelming -- I guess it's that I enjoy the Algerian side of the music more than the driving guitar side. Still, these songs are excellent. I've listened to the CD about 10 times and am still not tired of it at all. It's even good to exercise to. If you like more mellow sounding North African music, try Radio Tarifa which to my taste is perhaps a tad better, but it's a close call.

This was my first CD by Taha and am already a fan. The melodies are so infectious that soon you will find yourself humming them all the time without even knowing a word they mean. The middle eastern rhythms mixed with night club beats make it impossible to resist singing along or staying still. The tracks have intensity of rock music with rhythm of eastern melodies.

i thought this was pretty amazing. i love music that breaks down the barriers between folkloric and western dance styles, which is why i'm a big six degrees records fan. anyway, i thought every track on this album was sucessful and infectious. i was grooving to track two's electric guitar stylings, and every track just got better and better, from both a dance standpoint and one of purely appreciating how taha has melded traditional rai with other styles. if you're looking for a more genteel kind of fusion , this isnt it.

I, like many others, bought this cd after hearing Barra Barra on Blackhawn Down. I was pleasingly surprised to find that the rest of the cd is nearly as engaging. Garab is similar, with rhythmic lyrics and rock beats, and ala jalkoum is a ballad equally as entertaining. For people who like world music, particularly world flavour blended with western rhythmic beats and an edgy essence, this is a cd to add to their collection. Best songs: Barra Barra, Ala Jalkoum, En Retard, Garab.

To be honest, the presence of Steve Hillage scared the sh@t out of me - ya know, all this ageing r'n'r stars trying to cash on ethnic dance scene... But that is not the case here!!! After the first track you feel almost authentic. Sincere but sophisticated, energetic but trance-like journey through contemporary music on a Cairo taxi. If you intend to buy just one ethnic record this month - let it be "Made in Medina". Just remember - Rachid Taha is not exploiting his roots - he just plays different music.

Anyone can see from the wild swing of the ratings for this CD that Taha leaves no one indifferent. 'Made in Medina' might not please some who enjoyed 'Diwan' principally for its folkloric aspects or those who are disoriented by the unexpected. Personally I loved 'Diwan' and was almost afraid to buy to 'Made in Medina' How could anything be as good? In fact I find it an enormous step forward and a major work of which I never tire. It is much unquestionably much harder than 'Diwan' but it is at the same time more delicate and more personal. I love the way the tracks progress from crushing anthems of urban life deep into more ancient rhythms. If all artists restricted themselves to "what works", any albums after the first would be superfluous. To me the most impressive thing about Taha's work is that it has never been the same twice. In addition, in my eyes, it has gotten progressively richer. Not many artists with a long career behind them get _better_ or release their most challenging (and to my mind their most accomplished) work after a couple of decades.

What words can be used to express my feelings about Rachid Taha's "Made in Medina" ? Inovative, Brilliant, Genius, Amazing, Out of this world, Perceptive, a Production Masterpiece, a Masterpiece in general. Listening to 'Made in Medina' is like having a sonic orgasm; his voice screams passion and his music refuses to be denied.

Many consiter him just another RAI artist, but I dont think it is fair to just lable him as such. This CD hits levels of orginality that hasnt been seen since albums by artists such as Kate Bush, Dead Can Dance, or Ekova. Sure, the Genres are different, but the inovative touch isn't. Good music is good music.

Yes, the music is definately Middle Eastern, but it fuses a touches of Rock, Electronics, Pop; a natural power driven collection of songs.
I think one of the key assets to his songs that just make it what they are is the raw nature of his voice in General. There is something in his voice that distinguishes him from the rest of the RAI singers. Sure you might confuse one Middle Eastern singer with another as they all have that same tone and sound to their voice, but when you hear Rachid, there is no doubt about who he is. Truely, an orgional.

Though every song is amazing in their own right, my personal favourites are the tribal driven "Gareb", the rocked out north african "Barra Barra" (Some might know it from Black Hawk Down), and the passionate "Ala Jalkoum".
"En Retard", "Aie Aie Aie" and "Medina" are some other songs I really like as follows.

In conclusion, this collection that is "Made in Medina" will delight and regain your faith that music still, and can be original and not everything has been done yet.

It's grerat, mate! A child of the Clash with one foot in South Londoninium and the other in Algeria, MOre please!