Repetition as a form of Change, to paraquote the Oblique Strategy card. the passages come cascading and recascading in an Escher waterfall - with the nuanced and perfect variations only the Masters can muster. And unlike when people yell for Lynyrd Skynyrd at everyone from Tears for Fears to Tull in the States, the people at these shows get into this ebb and flow sort of dance with the performers, instinctively finding the appropriate lull at the end of one segment to get their desired feedback instantly at the start of another. Almost like calling out for requests at a rock show, but instead of the Bud (or bud) fueled "Freebird!" the crowd know when to shout out what part of the song they want next. with the vocal weaving a mindmelting improvisational variation on how she sang it 21 seconds or minutes ago. Look out for the audience calling out for the ensemble and The Lady to repeat passages, which they obligingly do. When they react, you know she is not disappointing them in the slightest. The Beatles went to Japan and had the kids going bonkers singing along to every song at their shows, even though the vast preponderance of them spoke no Liverpudlian whatsoever. Oum Kalsoum is the mirror equivalent, going from Cairo to Cleveland, of that scenario. If back during her lifetime Billie Holiday had ever played in Egypt, the audience there - most not speaking English - would have gone home having understood exactly what the songs were about. And in no way do you have to speak the language to take the ride. This is music that distorts the (always-tenuous) temporal plane and takes you on a journey to places you'd never imagine you'd go. What amazes is that the songs are so long, but you get so wrapped up in what she and the band are doing that it goes by in what seems like the time it takes for your average three-minute single to play. this band makes Prog Rock seem brief by comparison. And you thought "Close to the Edge" by Yes went on for a while. This is utterly hypnotic, headshaking stuff here, with songs that sometimes go on for an hour. but it's still the P and there's no faking it. It's not funk in the traditional acid-jazz or American soul or hip-hop kind of way. The music is so ecstatic and unique, with the woman who is considered by many the greatest female Arabic singer ever to live embroidering her one-of-a-kind, microtonal stylings over the phattest orchestra this side of the Giza Plateau. Her impeccable pronunciation and vocal control are what makes her a great singer.This stuff is so badass. It's not so much the musical singing as much as it is her incredible grasp of Islamic cantillation and Arabic diction. Kinda like how Japanese people won't say 'No' outright, but kind of tip toe around it. I honestly think it's a cultural difference. I'm not trying to put down the op of that comment, but actually trying to explain why people are sometimes confused when talking to people from that part of the world.
When you translate a thought like that into a much more straight forward language like English, it leaves us native speakers scratching our heads. I think because Arabic is a lot more floral/ornate than English (if that makes any sense?). I mean, in that context what does powerful even mean? My dad's levantine- people from that part of the world make seemingly weird claims like that sometimes. I don't think that was meant to be taken literally. Take a look through some of our "Best Of" yearly lists, containing the best artists and tracks from previous years, curated and sorted just for you.
OUM KALTHOUM ALBUM GUITARS ON FRONT ARCHIVE
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