Barbés is a piece of Africa stranded in the heart of Paris, at the foot of … Read Full Bio ↴Barbés is a piece of Africa stranded in the heart of Paris, at the foot of the Sacre Coeur. It is a neighborhood of couscous and chicken, of smoke-filled bars where dominos click on tabletops, of dish antennas transmitting floods of Middle Eastern music through TV sets. In Barbés, you could have met the late Cheikha Rimitti, the grand dame of raï, on the Rue Myrrha walking back to her hotel. Or a band hired to sing at a wedding stopping to pick up their musicians at a café- The Oasis, The Délice, or The Danton.
People from every corner of Africa have crowded into Barbés, a refuge for exiles that directed Larbi Dida's raï towards Fateh's shaabi, and that brushed Aziz's guimbri up against Youcef's bass. It is encounters such as these that led to the formation of the Orchestra National de Barbés. In English, the name means The National Barbés Orchestra, implying that Barbés is a nation unto itself. It is a sentiment that few who visit the neighborhood would dispute.
The story started in Belcourt, a working class section of Algiers, Algeria at the peak of the 1980 baby boom. Youcef Boukella's older brothers listened to rock and bossa nova, people watched Cairo film classics on TV and tuned to Kabyl folk music on the radio. Outside the Belcourt alleyways --pandemonium. Street peddlers, muezzins, Gnawa street performers, shaabi concerts, ghetto blasters playing reggae, funk and raï.
"My style of music goes back to my childhood in Belcourt," explains Youcef. In 1985 he was offered a slot playing bass for the first Arabic-language rock group, T34. But when Youcef heard what visiting jazz musician Jeff Gardner was packing, that's when he decided to pack himself up and leave home. Raï was all the rage when he arrived in Paris. He worked with Cheb Mami and Kabyl native Takfarinas at diaspora parties. Safy Boutella plunged him into the vortex of underground jazz. He honed his vision while waiting to record his first album "The Greeting of Peace". This was when his genius as a producer began to reveal itself (his production). Meanwhile, with former -Raïna Raï vocalist Larbi Dida, he recorded a four-title offering that foreshadowed his future approach.
Larbi Dida comes from the town of Sidi bel Abbes and is a founding member of Raïna Raï, the rock-raï group that shook up the Algerian rock scene by zeroing in on a roots-meets-electric sound. Recognized by the Algerian media as a historic breakthrough, this group was the first rock group to use raï in its repertoire. Ever since Larba Dida moved to Paris in 1989, his has been one of the great Arabic voices in the French capital.
Aziz Sehmaoui is another pillar upholding Youcef's vision. Raised in Marrakesh, this Sufi was nourished on a combination of Gnawa Arab-African beats and British-American pop performed in Morocco with various traditional and electric groups. (Association Ziriab, Lemchaheb and others). Like Youcef, Aziz attempts to weld the mystical power of healing rhythms with today's sounds. As the custodian of spiritual rigor and technique, he infuses the music with an aura of native authenticity molded by the luminous candor of his voice.
The band:
Medehi Askeur, Fateh Benlala, Ahmed Benshidhum, Yusef Bukella, Alain Debiossat, Jean-Baptiste Ferre, Fathellah Ghoggal, Olivier Louvel, Taufik Mimuni, Michel Petry, Asís Sahmaui, Kamel Tenfiche. Discography:
En Concert (Virgin 844 009 2, 1997)
Poulina (Virgin 847 553 2, 1999)
Alik (Wagram 3130492, 2008)
Rendez-Vous Barbes (Le Chant du Monde CMD 165, 2010)
People from every corner of Africa have crowded into Barbés, a refuge for exiles that directed Larbi Dida's raï towards Fateh's shaabi, and that brushed Aziz's guimbri up against Youcef's bass. It is encounters such as these that led to the formation of the Orchestra National de Barbés. In English, the name means The National Barbés Orchestra, implying that Barbés is a nation unto itself. It is a sentiment that few who visit the neighborhood would dispute.
The story started in Belcourt, a working class section of Algiers, Algeria at the peak of the 1980 baby boom. Youcef Boukella's older brothers listened to rock and bossa nova, people watched Cairo film classics on TV and tuned to Kabyl folk music on the radio. Outside the Belcourt alleyways --pandemonium. Street peddlers, muezzins, Gnawa street performers, shaabi concerts, ghetto blasters playing reggae, funk and raï.
"My style of music goes back to my childhood in Belcourt," explains Youcef. In 1985 he was offered a slot playing bass for the first Arabic-language rock group, T34. But when Youcef heard what visiting jazz musician Jeff Gardner was packing, that's when he decided to pack himself up and leave home. Raï was all the rage when he arrived in Paris. He worked with Cheb Mami and Kabyl native Takfarinas at diaspora parties. Safy Boutella plunged him into the vortex of underground jazz. He honed his vision while waiting to record his first album "The Greeting of Peace". This was when his genius as a producer began to reveal itself (his production). Meanwhile, with former -Raïna Raï vocalist Larbi Dida, he recorded a four-title offering that foreshadowed his future approach.
Larbi Dida comes from the town of Sidi bel Abbes and is a founding member of Raïna Raï, the rock-raï group that shook up the Algerian rock scene by zeroing in on a roots-meets-electric sound. Recognized by the Algerian media as a historic breakthrough, this group was the first rock group to use raï in its repertoire. Ever since Larba Dida moved to Paris in 1989, his has been one of the great Arabic voices in the French capital.
Aziz Sehmaoui is another pillar upholding Youcef's vision. Raised in Marrakesh, this Sufi was nourished on a combination of Gnawa Arab-African beats and British-American pop performed in Morocco with various traditional and electric groups. (Association Ziriab, Lemchaheb and others). Like Youcef, Aziz attempts to weld the mystical power of healing rhythms with today's sounds. As the custodian of spiritual rigor and technique, he infuses the music with an aura of native authenticity molded by the luminous candor of his voice.
The band:
Medehi Askeur, Fateh Benlala, Ahmed Benshidhum, Yusef Bukella, Alain Debiossat, Jean-Baptiste Ferre, Fathellah Ghoggal, Olivier Louvel, Taufik Mimuni, Michel Petry, Asís Sahmaui, Kamel Tenfiche. Discography:
En Concert (Virgin 844 009 2, 1997)
Poulina (Virgin 847 553 2, 1999)
Alik (Wagram 3130492, 2008)
Rendez-Vous Barbes (Le Chant du Monde CMD 165, 2010)
Ma Ychali
Orchestre National De Barbès Lyrics
We have lyrics for these tracks by Orchestre National De Barbès:
Alaoui Loukan ydirou 3lik bab hdid nkzah ou njik yalhbib Loukan ydi…
Dor biha Dour biha ya chibani dour biha Dour biha tekhdem 3lik wa…
Mimouna Ya Mimouna dhyaf rabbi idha kablou el oueldine ya khouya ya…
Mimouna (Live) Ya Mimouna dhyaf rabbi idha kablou el oueldine Ya khouya ya…
Salam 3ouhdhark asavoun ntnach ourthekid akadoumiw maghouzif la3me…
Savon 3ouhdhark asavoun ntnach ourthekid akadoumiw maghouzif la3me…
Savon (Live) 3ouhdhark asavoun ntnach Ourthekid akadoumiw Maghouzif la3me…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@sidahmed5884
1
ما يشالي في نهار الحرب غير من كان مقلضم
راكب على شولي مدّوب من خيل الصحراء
الا يعيط من غير هواه بز منه يتكلم
كيف من شعلت نار الزين في قلبه جمرة
أو غاني عواد خلايعي في الوتار يبرقم
أو مول النشوة سكران بكيوس الخمرة
أو صاحب ماية مول اقباح من رأسه ينظم
هيجوه بنات الغيوان في بساط الحضرة
هكذاك أناي مهما نشوف لعوارم ننظم
إلا يكون الساقي مشمور قايم بالصفرة
الحربة
ما سباني و خطف عقلي غير بوسالف مريم
عارمي ضي هلال الدارة في ليلة عشرة
قسم2
ما يخربوا ديوان العاشقين إلا العوارم
كيف خربت ديواني بجمالها ضي الزهرة
جاية كيف يجي ملك بين الجيوش محزم
تابعاته في خلافه باشات قياد و وزرة
منين شافت في و بقيت غير مبهوض نخمم
حين سمعت طنين الخلخال و الدمليج فخرة
ضيف ربي قلت لها يا صبيغة السالف لدهم
زوّلي نقابك غير نشوف في جمالك نبرا
خاف ربي مالك جايزة بالعيون تقسم
كل من شفتي فيه انقاس عمره ما يبرا
الحربة
ما سباني و خطف عقلي غير بوسالف مريم
عارمي ضي هلال الدارة في ليلة عشرة
قسم 3
اش هذا على خدك كأنه ورد مبسم
أو جلنار جعلتيه في خدك يرى
جاوبيني بجواب علاش تايهة ما تتكلم
دايزة تتعامي في كم من مرة
او عادة في الزين إلا يتيه بالباطل يحكم
بعدما يحكم بالتيهان و يزيد الهجرة
جاوبتني درة البهاء قالت لي راك مغشم
و الغشيم بحالك في بلادنا ما له هدرة
سير تمشي في حالك لا تعود في خطابك نادم
آش جابك لبنات الناس لو ما شي حقرة
الحربة
ما سباني و خطف عقلي غير بوسالف مريم
عارمي ضي هلال الدارة في ليلة عشرة
قسم4
ما عرفتي الأحكام و راك غير جيتي تتهزطم
صاحب الخفة راه يطيح في مول البقرة
أو ما أنا بسلامة لامتي و ناسي و بني عم
كل تايك منهم يلقة من قرانك عشرة
عيد لي كان أنت كنت ولد البلاد مرسم
أو طالب براني سير للجامع تقرأ
قلت لها ما نعرف في بلادكم وين نزطم
غير وعدي لاقاني بيك يا اسود الظفرة
لاه ما شفتي حالي من قبيل و أنا نذمم
كيف نعمل واش المعمول ما بيدي قدرة
الحربة
ما سباني و خطف عقلي غير بوسالف مريم
عارمي ضي هلال الدارة في ليلة عشرة
قسم5
قالت غزالي من نهوى الباهية زينة الاسم
شوف في زيني و ازهى يا عاشق المحاسن بالنظرة
آش راى من لا يتسلى معاك في رياض منعم
و الجداول تجري بمياه و غصانه خضراء
قلت يا سعداتي اليوم جات عندي للمرسم
كل ما قالوا لي نعطيه في حل البشرة
خذ يا راوي عني جبت ليك ياقوت منظم
صول بيه و غني قدام لأشياخ الكبرة
خذ لك هذا الماية في قباح من شغل معلم
ما يصيغ مثلها الا المصمودي بحرة
ما يهمه قومان الجاحدين غير خليهم في الهم
فاش جاوك لو كان يجيوا بمحلة كسرى
و السلام نهيبه للماهرين و العاقل يفهم
قال محمد بن عمر طاع لارباب الشعراء
الحربة
ما سباني و خطف عقلي غير بوسالف مريم
عارمي ضي هلال الدارة في ليلة عشرة
@ouferali
@ouferali L'histoire remonte au début des années 1980 dans le quartier de Belcourt à Alger. Youcef Boukella écoute du rock et de la bossa nova avec ses grands frères. Devenu bassiste, il joue dans le premier groupe de rock algérien, T 34, dès l'année 1985. Il embarque ensuite dans les valises d'un musicien américain, Jeff Gardner pour Paris. Il se retrouve au milieu de la tourmente raï du moment.
@cristineisabelgoncalves5729
Très bon sons, super voix....qqun aurait une tradition du texte?!
@dzairdje4617
Pour mes amis marocains, s’il vous plaît écoutez et taisez-vous, pour l’instant les algériens sont trop loins essayez de travailler et régalez nous entre temps chut
@kamaridir9870
Barak lah oufik had lagharba pois
@youssefiabenabdellah9422
On effet ,les marocains se régalent fort bien vu que ce magnifique poeme est originaire du poète Marocain "AL Maghroui "de Fes..
Et j adore la version de O .N de BERBES ❤
@dzairdje4617
@@youssefiabenabdellah9422 on a dis chut bordel !
@youssefiabenabdellah9422
@@dzairdje4617 Chuuuut à vous..!!! Qui préférez ne jamais voir la réalité en face..?! Faites vos recherches avant de commenter sans arguments.. Et aussi, soyez poli ,honnête et loyal svp !!!
@jadrachid395
يوسف بوكله عازف ايقاع مع الشاب مامي هو اللي كون هذه الفرقه تحيا الجزائر
@moorycamaro7212
مع المغربي عزيز السحماوي
@hakimken102
@@moorycamaro7212 aziz samhaoui est venue beaucoup plus tard , arrêtez avec vos conneries ya lemrareka , Youcef est encore en vie pour vous le confirmer