Âita With Guinbri Really Shouldn't Work, But Tagada...

Well whaddya know? The Stash yields another Tagada tape! This dates from around 1992, when Mohamed Louz was still a member of the group. (For some historical info on the group, see our previous Tagada post.)

I wrote previously that Tagada's folk-revival approach was rooted in the âita. This album stretches things a bit, while maintaining a core texture of viola driving the melody, male group or antiphonal vocals and a bendir-driven percussion section.

"Lalla Lgada" leads things off in a typical âita mode, though with what sounds like scissors hearkening back to the âbidat errma. The strange "Ach Ngoul Lik" leads off with a pentatonic viola solo somewhat evoking the amarg tradition of the Soussi rwayes, but then the rhythm enters, featuring a Gnawa guinbri (and some faint qraqeb, I think). It sounds sort of Nass el Ghiwan-ish, except for the continued presence of the viola, which pulls the sound in a different direction. "Âyyitini" goes full Soussi, adding a banjo or lotar and naqqus for that rwayes vibe, though the singing is in Arabic, not Tachelhit.

Finally "Hada Hali" returns viola and bendir to the center of the texture with a real deep âita feel - angular bendir-s, alternating solo vocals evoking shikha song, sliding eventually into trance-based and trance-evoking lyrics, idiomatic viola riffing recalling the sweaty middle-of-the-night when the âita groove gets so heavy and REAL that it crosses over into that zone where all one can do is call prayers upon the Prophet and the saints, hope for deliverance and submit to the groove. At this point in the song, Tagada incorporate the guinbri and qraqeb again. This sounds nothing like Gnawa music, though, resembling much more the saken trance songs of the âita tradition. But with Gnawa signifiers added for intensification? Mixing these elements together is a weird, improbable idea, to which I'm sort of opposed on principle, and yet somehow... it kind of works! Well played, Tagada, well played!



Tagada (تگدة) Edition Hassania cassette EH 1462
01 Lalla Lgada (لالة الگادة)
02 Ach Ngoul Lik (اش نگول ليك)
03 Âyyitini (عيتني)
04 Hada Hali (هذا حالي)

Get it all here.

Old School Âbidat Errma

Here's some raw, old-school âbidat errma. Unlike the tapes I posted last week, which featured young lads riding the revival in the early 2000's, this much older recording features some real oldsters! I hear some metal percussion here, but it doesn't sound like scissors to me - I can't hear the distinctive opening and closing sound. On the other hand, the j-card does feature a gentleman playing the scissors (lower right corner).

Some of these songs are also performed as part of the âita repertiore. You can hear a longer version of Âda ya L-Khayl performed by the incomparable Fatna Bent El Houcine & Ouled Ben Aguida here.


01)
02) Al-Âloua

03)
04)
05) Al-Ghaba
06) Âda ya L-Khayl

Grab it all here.

I Got A Fever, And The Only Prescription is More Scissors! - Âbidat Errma

Âbidat Errma - a traditional rural genre, found around the region of Khouribga. Similar in some respects to âita - some of its poetry is very old, often features a series of different lead singers over the course of a performance, singers also dance. Unlike âita, it is a male genre and traditionally features only percussion - bendir-s, ta'rija-s and, distinctively, a sawed-off pair of scissors beaten with a metal rod.

I gotta say, I love the scissors! What a great musical instrument - unlike some Moroccan metal percussion instruments (e.g., the naqqus or qarqaba), with the scissors (mqess) one can modulate the timbre by opening and closing the shears! Here's some old-school âbidat errma - check 4:45 forward for some good scissors action:



In the early years of the last decade, âbidat errma experienced a new popularity. I'm not sure how that happened - it may have been due to television exposure featuring some young performers. Here's a recent clip from Moroccan TV, featuring some of the entertaining, pantomime dancing that makes âbidat errma so well-loved.



Whatever the reason may have been, young groups of âbidat errma performers began to proliferate. Here's a tape from around 2004 out of Beni Mellal (on the label Ain Asserdoun Disque!) from a group called Noujoum Al-Asala Al-Âmriya:

Track 8 (of 8)
 
Get it all here.

As I complained in a previous post, despite the renewed popularity of âbidat errma, it seems that it has quickly been subsumed into another flavor of chaâbi by the incorporation of viola (and sometimes other full-band instruments like guitar and keyboard), at least in recordings.  It makes for a pretty fun flavor of chaâbi - you still get a lot of call-response vocal, a battery of bendir-s and ta'rija-s, and of course the iconic scissors. But I was sad last summer to find not a single cassette of âbidat errma without a viola there to chaâbi-fy the mix.

For good measure, here's a chaâbi-fied âbidat errma tape from the group Majmuât Essayada. I think I got this back in 2006.  It is indeed good fun, and features the perennial fave "Baghi Naâmmer Eddar". Still, I don't think it needs the viola to make it rock.

Majmuât Essayada - Nashat Errma (Edition Safi 0502)
01 Baghi Naâmmer Eddar - Essahra Bladna
02 Âlash Tsalou
03 L-Bnat Berhou
04 Hadi âla Loulid

05 Wah A Baba - Wahya Loulad - Snah Esserbat

Get it here.