Lebanese singer Wael Kfoury is steadily adding to his repertoire of popular songs with his 4th consecutive album since his 2003 that was entitled “3omry Kelo.” Kfoury remains so steady that even his music is remarkably distinguishable to him. I can easily be able to say, “This is such a Wael Kfoury song,” and I am positive whoever is familiar with the singer would understand what I mean.

Still, it seems to work really well for Kfoury as a Lebanese artist who was one of the first to emerge in the Lebanese ‘mainstream’ music many popular youngsters like Rayan, Iwan, and most recently Star Academy winner Joseph Attia have adopted. 
 This album is definitely not a risk as it will not be used to expand Kfoury’s fan base, but one that is well-crafted to keep the fans he already acquired throughout the entire decade he’s been in the spotlight.
The single “Mushtak Kteer” for instance has some resemblance to his 2003 hit “3omry Kelo,” when he sang “Rido ya hawa l3andi” with almost a similar tempo, tune, and melody to what Kfoury now sings “3yooni Dadib Ba3yoonak.”  There is distinction, however as strings, which have been used for the most part in the 2003 album, have been replaced with extensive usage of resonating keys.
Kfoury’s voice, although not used to its fullest capacity throughout the album and especially in the mawwal “Hdiye,” stands out evidently in “Mushta2 Kteer,” as he personifies a true belter with his high-pitched voice many younger Lebanese artists have been easily achieving. But along with “2iset 3ishaa2” Kfoury has proven he is still capable to compete with the new rising voices of Lebanon. With the finest lyrics when he sings, “2ossit 3ishaa2/ min doon fraa2/ lama tla2oo 7abooh la3yoon/ ma 3irfoo keef/ wala sa2aloo keef/ 3irfoo innon 7aboo bijnoon,” Kfoury was also able to remind his fans he never stopped possessing all the qualities of a true romantic.
Not always hitting the bull’s-eye though, where repetition lost this album the points it desperately needed. Both “Men 2albi 7abaitik” and “Mesh 2ader” have relatively similar lyrics, and even identical words. “Men 2albi 7abaitik” reads, “7abibi ma feeye sheelak min 3eenaye/ ba3dak 3ayesh feeye/ wo 7obak man 6awa,” while “Mesh 2ader” is, “Be3yoonak 7ases 7eneeye/ nassaytni kil shi/ gharamak 3ayesh feeye.”  Both segments could have been placed in one song without resulting in confusion.
Issues like these make me wonder, are older artists that are desperately striving to stay in the game, which is now mainly dominated by newcomers adopting innovative new ideas, have just given up trying? And why does it seem many artists, like Kfoury, are playing the ‘reputation card’ to explain the reason behind their releases of new albums that sound like broken records?
Although not the best vocal performance by Kfoury, but I do applaud his attempt at the song “Hidye,” a mawwal and maintenance of ‘old school’ Lebanese music. The lyrics tells a love story, Kfoury does not portray well with his voice, but does a good job ending when he sings, “Wo laken 2iza fishloo el tamaneeyat/ wo 3omri/ wo 3omri staslam lil 3uboodeeye/ bitrok minni 2ilik tlat kilmat/ 7ata el aah wel nahdaat/ men el 2alb lal 2alb el 7abbik hidye/ wo aa5 law feeye.”
Starting with the title of his album “Bi7en,” Kfoury ends on the same note with his song “Wen6afa El Meshwar,” initially with “Ana mish 2aader 7ennelik” to “Wa3dak 2elli akbar kizbi/ win6afa el naar…roo7 ya ghaddar.” This is the first time Kfoury sings about deception in this manner. His past singles embodied a deep hurt and sorrow as he sang about deception. Although there is some sense of hurt in Kfoury’s voice when he sings these two most recent songs, there is also a powerful feeling of spite in both. 

Now! Request songs in Wael Kfoury’s 2007 album “Bee7in” on Radio Sawt Beirut International

== - Dareen Awwad - ==