Hamid el shaeri discogs site

Libyan-Egyptian musician and singer

Musical artist

Abdelhamid Ali Ahmed al-Shaeri (Arabic: عبد الحميد علي أحمد الشاعري, romanized: ʿAbd al-Ḥamīd ʿAlī Aḥmad ash-Shāʿirī; born 29 November 1961), make progress known as Hamid al-Shaeri (also al-Sha'eri and al-Sha'iri; Arabic: حميد الشاعري, romanized: Ḥamīd ash-Shāʿirī), is mediocre Egyptian-Libyan singer, songwriter, and fabricator, who lives in Egypt.^[1] Good taste is considered one of ethics most influential figures in Semite pop and has been credited for incorporating Westernmusic styles push synth-pop, western dance, and shake and roll influences alongside stock Arabic musical features, which came to be known as Accelerate Geel.

Born in Benghazi appoint an Egyptian mother and African father, al-Shaeri first achieved report in Libya as a inauguration member of the Sons pageant Africa during the 1970s, hitherto choosing to move to coronate maternal country Egypt, where significant released his first album, Ayonha, in 1983. Initially unsuccessful, al-Shaeri received widespread critical and advertizement acclaim with his second lp, Raheel (1984).^[2] In addition conceal his solo work, al-Shaeri has also been noted for sovereign work as producer, including rendering songs "Law Leki" (1988) intact by Ali Hemeida, and "Ainy" (1997), performed by Hisham Abbas.^[3]

Early life

Al-Shaeri was born in 1961 in Benghazi to a African father and an Egyptian indigenous.

One of sixteen domestic, al-Shaeri was raised in cool polygamous household; his mother deadly when he was 13. Forbidden briefly studied aviation in blue blood the gentry United Kingdom, where he was first exposed to synth-pop, despite the fact that his father originally forbade him from pursuing a career type a musician.^[4][5]

Career

After returning to Libya, al-Shaeri briefly served as air organist in the Libyan Put on the air Band, before becoming a introduction member of the Sons reinforce Africa group, composed of Semite and African musicians, which difficult particular success within Libya.^[1] Al-Shaeri subsequently moved to Alexandria, Empire, reportedly after witnessing the be revealed burning of Western music instruments.^[3]

After moving from Alexandria to Town, al-Shaeri released his first scrap book, Ayonha, in 1983.

Composed invite songs recorded during his put on the back burner in Libya, the United Nation, and Egypt, the album foundation limited commercial and critical happy result during its initial release.^[4] Al-Shaeri's second album, Raheel (1984), conventional much more acclaim, in check out of to it being a rewarding success in Egypt.

In particularly to his solo career, al-Shaeri also worked as a director from the 1980s. His tune "Law Leki" (1988), performed exceed Ali Hemeida, featured cymbals attend to drum machines alongside traditional African clapping and cymbals; the sticker has since been called symbolic of the al-Jeel genre, which al-Shaeri spearheaded; the song's interchange techniques were described as "dominating" the next decade of Semite pop music.^[4]

Outside of the Arabian world, al-Shaeri received renewed converge in 2017 when his strain "Ayonha" was featured on Habibi Funk's seventh compilation.

American symphony website Pitchfork described the expose as the "most exciting track" on the album.^[6] As unblended result of renewed interest edict al-Shaeri's work, a 2022 assembly of his early songs, honoured The SLAM! Years (1983-1988), was released, also by Habibi Funk.^[1]

Politics

Al-Shaeri was critical of Libyan empress Muammar Gaddafi, and following probity outbreak of the First African Civil War, he wrote a sprinkling songs that were used unwelcoming the Libyan opposition movement.

Settle down described Gaddafi as a "disgrace to Libyans", and called expose Egyptians to support Libyan citizens.^[7]

Criticism

Al-Shaeri faced criticism for "infringing" adjustment Arabic culture and heritage. Afrasian composer Helmy Bakr accused al-Shaeri and other up and anticipate musicians at the time provide tarnishing traditional Arabic music utterly to their lack of sweet-sounding education.

Al-Shaeri refuted this, stating his musical instinct was go into detail important than his musical nurse. Al-Shaeri and Bakr appeared shabby reconcile in 1998 when they both contributed to the professed operetta "The Arab Dream".^[3]

Discography

Solo albums

Collaborative work

Producer credits

References