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v/a - give me love, songs of the broken hearted - baghdad - honest jons records - vinyl

New Copy

Genre: African

1. Mulla Abdussaheb - Ya Yumma Weya Baba
2. Sayed Abbood - Min Fergetak Lilyom
3. Dahi Ben Walid - Soubhanak Allah
4. Sultana Youssef - Khouthni Bthemmetak
5. Salim Daoud - Abuthiyya
6. Khedayer Bin Kessab - Taqsim
7. Mulla Seoud El Koweity - Anouh Ithal Hathy
8. Said El Kurdi - Kassem Miro
9. Siddiqa El Mullaya - Wehak El Kab Walkossein
10. Hdhairy Abou Aziz - Fahasboukom Hatha
11. Kemani Noubar - Taqsim
12. Badria Anwar - Lega Taresh Habibi
13. Said El Kurdi - Aman Aman Zakko
14. Siddiqa El Mullaya - Ma Tehenn Alayya
15. Sayed Abbood - Shlon Aslak
16. Kementchedji Alecco - Taqsim
17. Salim Daoud - Abney Eqdah (part 1)
18. Salim Daoud - Abney Eqdah (part 2)
19. Hdhairy Abou Aziz - Wenini
20. Sultana Youssef - Malek Ana
21. Badria Anwar - Ahis Ras Eddelil
22. Saleh Ibrahim - Taqsim

In the mid-1920s The Gramophone Company — soon before it became EMI — employed two or three Europeans to criss-cross Iraq. They logged regional demographics, assessed the German competition, and checked out the scores of record shops and hundreds of musical venues. This was the groundwork for three sessions, conducted in Baghdad in the second half of the decade, which produced nearly one thousand recordings. ‘Give Me Love’ is second in Honest Jon's series of albums exploring the 78s held in the EMI Archive at Hayes.

There is dance music featuring Arab folk singers from the countryside, backed by professional Jewish musicians in Iraqi styles popularly termed 'Egyptian', and perfected in nightclubs where the first duty of the secular women singers on this album was prostititution…
Also including some Arabic word-play, in a nod to the musical form of the Arabic mawwal, a Hebrew hymn is kick-started with a cry of 'Allah!', most likely from one of the Jewish performers. There are pieces from Bahrain and Kuwait; sometimes mixed together in one performance. There are beautiful high and lonesome Kurdish violin improvisations; and some unaccompanied circular breathing on a zourna so unearthly it seems to cross late Coltrane with Sun Ra.
As with the other titles in the series, the recordings have been startlingly restored at Abbey Road; and they are presented with full translations, rare photographs (in this case, several performers), and notes — including an extensive interview with a citizen of Baghdad throughout this period, who knew many of the musicians here personally.