Tamer Hosny … When singing is the last of the singer’s interests

There is a well-known proverb that says, “He that chases two birds loses them together,” or in the well-known popular phrase, “The owner of Balin is a liar.” This proverb can be directly applied to the singer “Tamer Hosni”. chasing several artistic birds at once in an attempt to snipe any success and appear as a comprehensive artist.” He writes He composes and sings, composes the stories of his films and sets their soundtracks for them, and is involved in the direction of his films. latest movie “Bahebak” and then directing the official track for his new album “Ashanji”.

We do not deny Tamer Hosni any talent or attempt to experiment with any kind of arts, but he forgets that his stardom was achieved in one artistic field, namely singing, while acknowledging the success of some of his acting roles, but in the end he is counted on the category of singing and not acting.

After his last movie “Bahebak”, Tamer released his new album “Aashanji” completely, contrary to what is common these days to release songs individually and at separate intervals. The album came in nine songs and included a tenth song, “Habitha Ya Nas”, which was released in his last movie.


As soon as the song was released, the trends of the short video sites were occupied as a challenge among the listeners to pronounce the words of the song and its strange compositions, and Tamer filmed it as a video clip. Hamada Al-Sayed’s words imitate the satirical monologues of everything in life and their absurdity of combining the person and its opposite at the same time “Ashaanji – Karanji” “Farfoush – Qufoush” “Mazangi – Faslanji” and trying to deal with the world because in the end “there is no catalog or comprehensible” and he used words New and different structures caught the listener’s ear and made him try to memorize their difficult structures.

The melody of “Madih Mohsen” on Maqam Nahawand came out with various melodic ideas and coherent sentences in its locks. He excelled in diversifying the Sino-sense, which began with “Dunia, cattle, other than Akkas,” from which he came out with a new one. , other sense, “There is no catalog and no understanding.”

Amir Mahrous’s rhythmic dance arrangement with a very sarcastic keyboard break, accompanied by the accordionist “Mohamed Al-Ashi”, who also responded in a sarcastic way to the singing and camel locks.

“I don’t like this way”

Tamer Hussein’s words established the idea well in the intro and the syno, but he ended it abruptly with only one double, so you feel that the song came out incomplete, and the idea could have been expressed more, although I think the reason is that the words are written on the melody and not the other way around.

Tamer Ali melody very well on the maqam al-Nahawand from three ideas with a very coherent structure, as it started in an ascending manner from the madhhab to the vocal and then the single choble.

Distributor Yehia Youssef chose easy solutions in his vision of the distribution, starting with the solo violin playing the same phrase as the introduction to the melody of “Asayis and Othuk Kalam” with divided percussion and ornaments of the electric guitar. D” is a musical. interlude without variation, and we can say that it was more of a performance than a musical arrangement.

“Love it, people”

The song was released in the events of the film “Bahebak” in which the poet Mohamed Al-Qayati tried to express the idea of ​​love at first sight in simple, direct words. Bilal Sorour composed the Maqam al-Nahwand with relatively long melodic sentences similar to the zigzag of the song “God, Ya Nas” with the song “Talaat Daqat” by singer and composer “Abu”.

A simple Amadeo arrangement that mixes techno and deler. The strongest thing in it is just the musical interval.


A traditional idea, with a superficial formulation, about the betrayal of the beloved, in which the poet “Mohamed Atef” played on the word “Suhana”, which was outside the context of the idea.

Ahmed Zaim’s melody on the maqam “Al-Kurd” consists of two ideas, the first in the doctrine and the second in the Sino. The structure of the melody is very good, with sentences that respond to each other, especially in the doctrine. The adaptation of Wissam Abdel Moneim in a form of the RB, but the best of it is the cola sentence that started the song and accompanied the singing in some sentences, I don’t know why he didn’t use it in the musical interlude!

“We have immunity”

The idea of ​​the song is good from Ahmed Al-Maliki, but it is flawed by the unbalanced wording in some of his fragments and his choice of difficult rhyme that made him locked in certain vocabulary “the courage of the immunity of a watch ” .” Bilal Surur melody on the maqam of the Kurds and was affected by the unbalanced wording in some of the fragments, so that the melody’s endings came out very weak, and that the best thing in it remained the Sino sentence “and God compensates”

From the very first entry of the tabla at the beginning of the song, you see the style of the distributor Toma and the rhythm of the distributor, who never deviates from it, with his usual charm with a completely incomprehensible musical interlude.

“Why Tal”

Many incoherent words of the poet “Hala al-Zayyat”, who let her pen loose to write superficial words, some of which were repeated and did not hint at a coherent idea, although the general idea was very simple, which to “exaggerated spin of the loved ones”, but some incomprehensible fragments came, such as “The place of all eyes” Nasiyah,” which was written just to fit the rhyme, or “Oh, night too, beauty has its origin , and its beauty is unreasonable. ” Or what she meant in the only refrain in the song, “As long as his eyes look good – there’s no need for me to have two days.” Moreover, she covered the choblet with different rhymes. She does not respond to the doctrine or the Seneo, as if the pen is the one that writes without the control of its owner.

Mahmoud Khayami’s melody for Maqam al-Nahwand consists of two ideas with very dreamy phrases that do not fit the nature of the song’s vocabulary: “Bini in the day of Harouh was kidnapped and aware of my soul, why is it a guard” and “My fear is that my mind is with him.”

The distributor “Nabulsi” chose to cast the dreamy melody in the “EDM” form, with some accompanying sound effects, which were not in favor of the song, and the best of the distribution is Ahmed Hussein’s guitar.

“The Sweetest Words”

Tamer Hosny participated in writing the words with Karim Hakim, and you feel no imprint of either of them in the words, where the exaggerated and sometimes illogical flirting of the beloved.

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The song was composed on Maqam Al-Nahawand, and Tamer Hosni took part in it, and it is easy to find his mark in some of the sentences he copied from his previous works in the Sino song.

Bronze arrangement Putting the song in an electro-pop form, relying entirely on technology and packing in as many sound effects as possible.

“Let history be recorded”

The song was played on Eve, “Record, history, this is a record, and let us live a single life.” The rest of the song was not exploited and the rest of the song came in very few words, and the strangest thing is that the duo “Tamer Hosni and Alim” took part in writing it, with the weight that the Eve ” Record Ya History” won. Tamer Hosni admired and formulated the rest of the words on it.

In the same vein, Tamer Hosni participated in the melody of the song together with Moody Mounir. The melody for Maqam Nahawand consists of three disjointed sentences without any link between them, the first “record, history” and then “we owed it ” and then the last sentence in the only coupe that makes you feel like you entered another song.

This disjointed melody influenced the Nabulsi distribution, which came out in the form of “Tamarind Laban Fish” by merging various forms “Electro – Greek – Hawaiian.”

“Like these days”

Tamer Hosny’s name appears for the first time solo on the words and melody in the album. The idea is traditional with repeated vocabulary that is nothing new. The song’s melody is based on Maqam Nahawand with simple sentences and a familiar sequence that alludes to the imprint of Tamer Hosni, the composer.

Nabulsi’s arrangement is simple, throwing the song into an EDM format with flashy phrases and strings, but the best thing about it is the very melodious oud phrase.

Amal Maher exposes the beneficiaries

Since the emergence of Tamer Hosni, who has a different identity than the rest of his generation, quickly put himself in competition with the top Egyptian pop stars. Kabir on his choices in the last album we did not notice a distinctive imprint except in two songs at most. As for the rest, it seems that he did not find enough time to focus on the quality of the words or the variety of melodies. It seems that he should focus more on the singing field, the only thing he is good at, but it seems that singing has become at the bottom of his interests.

  • Mohammed Attia

    Music critic specializing in Eastern music. Books on many sites like Kasra, Al Mawlid, Al Mansa and Illuminations

    Bronze author with more than 100+ articles

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