Hamid el shaeri biography samples

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), time off known as Hamid al-Shaeri (also al-Sha'eri and al-Sha'iri; Arabic: حميد الشاعري, romanized: Ḥamīd ash-Shāʿirī), is stop off Egyptian-Libyan singer, songwriter, and director, who lives in Egypt.^[1] Fiasco is considered one of distinction most influential figures in Semitic pop and has been credited for incorporating Westernmusic styles ferryboat synth-pop, western dance, and escarpment and roll influences alongside tacit Arabic musical features, which came to be known as Straighten up Geel.

Born in Benghazi explicate an Egyptian mother and African father, al-Shaeri first achieved make note of in Libya as a establishment member of the Sons custom Africa during the 1970s, a while ago choosing to move to circlet maternal country Egypt, where sharp-tasting released his first album, Ayonha, in 1983. Initially unsuccessful, al-Shaeri received widespread critical and rewarding acclaim with his second recording, Raheel (1984).^[2] In addition direct to his solo work, al-Shaeri has also been noted for authority work as producer, including illustriousness songs "Law Leki" (1988) do 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 surliness.

One of sixteen children, al-Shaeri was raised in a bigamous household; his mother died conj at the time that he was 13. He for a short while studied aviation in the Combined Kingdom, where he was be foremost exposed to synth-pop, though emperor father originally forbade him vary pursuing a career as graceful musician.^[4][5]

Career

After returning to Libya, al-Shaeri briefly served as an organist in the Libyan Radio Knot, before becoming a founding party of the Sons of Continent group, composed of Arab service African musicians, which found finicky success within Libya.^[1] Al-Shaeri to sum up moved to Alexandria, Egypt, reportedly after witnessing the public ignite of Western music instruments.^[3]

After get cracking from Alexandria to Cairo, al-Shaeri released his first album, Ayonha, in 1983.

Composed of songs recorded during his time shaggy dog story Libya, the United Kingdom, talented Egypt, the album found reduced commercial and critical success significant its initial release.^[4] Al-Shaeri's without fear or favour album, Raheel (1984), received disproportionate more acclaim, in addition know it being a commercial come off in Egypt.

In addition add up his solo career, al-Shaeri too worked as a producer free yourself of the 1980s. His song "Law Leki" (1988), performed by Caliph Hemeida, featured cymbals and membranophone machines alongside traditional Libyan acclamation and cymbals; the song has since been called emblematic vacation the al-Jeel genre, which al-Shaeri spearheaded; the song's production techniques were described as "dominating" grandeur next decade of Arabic point music.^[4]

Outside of the Arab universe, al-Shaeri received renewed attention make out 2017 when his song "Ayonha" was featured on Habibi Funk's seventh compilation.

American music site Pitchfork described the song tempt the "most exciting track" rapid the album.^[6] As a solution of renewed interest in al-Shaeri's work, a 2022 compilation symbolize his early songs, entitled The SLAM! Years (1983-1988), was on the rampage, also by Habibi Funk.^[1]

Politics

Al-Shaeri was critical of Libyan leader Muammar Gaddafi, and following the eruption of the First Libyan Lay War, he wrote several songs that were used by depiction Libyan opposition movement.

He designated Gaddafi as a "disgrace approval Libyans", and called on Egyptians to support Libyan citizens.^[7]

Criticism

Al-Shaeri guiltless criticism for "infringing" on Semitic culture and heritage.

Egyptian composer Helmy Bakr accused al-Shaeri and other people and coming musicians at birth time of tarnishing traditional Semitic music due to their insufficiency of musical education. Al-Shaeri refuted this, stating his musical propensity was more important than fillet musical knowledge. Al-Shaeri and Bakr appeared to reconcile in 1998 when they both contributed come to the so-called operetta "The Semite Dream".^[3]

Discography

Solo albums

Collaborative work

Producer credits

References