Boudjemâa El-Ankiss - Anaya Bejfak Lahn-El-Djazair (Algeria Chaabi Mondol Anaya bedjfak) скачать в хорошем качестве

Boudjemâa El-Ankiss - Anaya Bejfak Lahn-El-Djazair (Algeria Chaabi Mondol Anaya bedjfak)

Label: Lahn-El-Djazair – LED 10063 Vinyl, 7", 45 RPM Country: France Boudjemaâ El Ankis (born Casbah of Algiers, 17 June 1927 – died Algiers, 2 September 2015), also known as Mohammed Boudjemaâ, was an Algerian performer of chaâbi music, who also played the mondol. He was known in Algeria for his more than 300 songs and for being imprisoned by the French from 1957-1960, for his protest of their occupation of Algeria. He became a "pioneer" of Algerian music while working with lyricist Mahbou Bati and inspired a new generation of chaabi musicians. Djasr Kasentina, Algeria singer-songwriter Chaabi Boudjemâa El Ankis (Arabic: بوجمعة العنقيس), Boudjemâa Mohamed Arezki, born June 17, 1927 in Algiers, in a family from Azeffoun in the wilaya of Tizi Ouzou and died September 2, 2015 in Algiers , is an Algerian singer-songwriter of chaâbi music. He is the interpreter, among others, of Rah El Ghali Rah Bio Mohamed Boudjemâa Arezki was born on June 17, 1927 at 1 impasse du Palmier, Bir-Djebbah in the Kasbah of Algiers. His family is from the village of Ait Arhouna, in the commune of Azeffoun. As a child, living in the Bir Djebbah district of the Casbah, where many Chaabi singers have lived, the first singer he wanted to imitate was Tino Rossi. Around the age of 10 to 12, he and his family moved to the neighborhood of Notre-Dame d'Afrique. It was then that Bologhine1 started playing the guitar. He obtained his primary school certificate in 1939 and began working with his uncle, owner of a creamery, before joining Sid Ahmed Serri, at the court registry in Algiers. From 1939 to 1945, Mohamed Boudjemaâ who already dreams of becoming El Ankis (little El Anka) who was also from a village near that of the young singer. He tries his hand at the mandolin and then the guitar. But it was not until 1957 that he learned Arabic, Chouiter and Mohamed Kébaili, whose troupe worked under the aegis of the PPA at the end of the 1930s, helped him meet Cheikh Saïd El Meddah, In 1942, performed Ala Rssoul El Hadi Sali Ya Achiq, a classic poem of the genre. The melhoun also inspired him In a troupe created in 1945, Boudjemâa evolves between El Anka and Mrizek, the two sacred monsters of the time. He began with a medh repertoire comprising essentially the quacidate, Chouf li Ouyoubek ya Rassi, Ya Ighafel, Ya Khalek lachia, Zaoubnafi H'inak and El Bar, by various poets of the genre. However, an important part of the repertoire of El-Ankis was transmitted to him at the beginning of the Second World War by Cheikh Said El Meddah. Intoxicated by success, he began to do his own work of musical arrangement and, in the mid-1950s, he launched into the ditty, an experience which was cut short by the fact that the Philips house, whose artistic director was Boualem Titiche, refuses him his works. In 1945, he clandestinely carried out Messalist propaganda at weddings and other parties. From 1956 to 1962, he stopped singing as a nationalist act under the order of the FLN. He was tortured twice by the specialized services of the colonial army, in 1957 and in 1960. His release from prison coincided with a return to art. Djana El Intissar, of which he is a lyricist and composer, evoking the demonstrations of December 11, 1961, is a hymn to independence. To target Algerian youth, Boudjemaâ El Ankis called on Mahboub Bati and, in 1963, the "war" broke out: instead of the neighborhood chaâbi, Mahboub Bati put Boudjemaâ El Ankis in the spotlight with new songs written in the Algerian language. The market and the airwaves are bombarded with sixty hits in the vein of Tchaourou 'Alia, Rah El Ghali Rah, Ah ya intiyya. The secret of success: the use of popular Algerian language, new musical compositions and rhythm. The niche will be exploited by younger singers such as Amar Ezzahi, El Hachemi Guerouabi, Hassen Saïd and Amar El Achab. Boudjemâa was one of the greatest interpreters of the chaâbi of the past century thanks to his very emotional and touching way of singing. Boudjemâa is a great friend of Amar Ezzahi, of whom he is the Sheikh (Amimer having been launched by Boudj by early 1960s Chaabists.) He died at 88 at, Aïn Naâdja in Djasr Kasentina (Gué de Constantine), suburbs of Algiers. he's buried in El Kettar with various chaabi players Anya Bejfak El Kaoui El Meknin Ezin Meknasia Nousik Ya Hbibi Ya El Ghafel Ya Woulfi Mohamed Boudjema El Ankis Boudjema Elankis Boudejema L'Ankiss, Boudjema Dit L'Aankis, Boudjema Dit L'Ankis, Boudjema El Ankis, Boudjema El Ankiss, Boudjema L'Ankiss, Boudjema Mohamed, Boudjemaa El Ankis, Boudjemaa El Ankiss, Boudjemaa El Onkis, Boudjemaa El-Ankis, Boudjemaa El-Ankiss, Boudjemaa Elankis, Boudjemaa L'Ankis, Boudjemaâ El Ankis, Boudjemaâ L'Ankis, Boudjemma El Ankis, Boudjemâ El-Ankiss, Boudjemâa El Ankis, Boudjemâa El-Ankiss, Boujemaa L'Ankiss, Cheikh Boujemaa, El Ankis, الشيخ بوجمعة, بوجمعة, بوجمعة العنقيس, بوجمى العنقيس