The album explores the theme of love, almost uniformly, to the extent that any excerpt from any song could fit into another song on the album. The album stands out for its high level of sound engineering.
Most songs can be separated into their Western and Eastern components without significant impact, suggesting a forced integration by the music arrangers.
The Western rhythmic composition in Fahd's song "Alam Qalbi" was good in itself, but its continued use throughout the song was unsuitable, needing activation in many areas. Hani Farhat excelled in writing the string arrangement for the entire song. The melody, composed by Khaled Ezz and Amr Diab in the Kurd Nahawand mode, had one of the best melodic phrases in the album, though the lyrics by Walid Jalal, while lacking poetic imagery, were expressive.
Amr Mustafa and Amr Diab's melody in "Ana Aaish" was also in the Kurd Nahawand mode, with Hani Yakoub opting for an ancient Eastern accompaniment style literally following the vocal line. Despite the Western string introduction, a sudden rhythmic phrase seemed oddly out of place. The direct lyrics by Rabei El-Sioufi were expressive but straightforward.
Khaled Ezz's melody in "Qalli Al-Wadaa" was also in the Kurd Nahawand mode, transitioning to the Sabah scale in the phrase "from the wounded." The use of Sabah is overly automated, as it has cemented in minds that Sabah always equates sadness. Fahd excelled, selecting rhythmic phrases complemented by a distinctive guitar. As usual, Hani Farhat excelled in writing the string arrangement. I liked Bahaa Eldin Mohammed's logic in the verse "Qalli Al-Wadaa and I will tell him what?" Is it to be said at the parting?
Returning to the song by Fahd in "Ya Kenzi," he excelled in implementing the rhythmic phrase and added to it a line of brass instruments, demonstrating his use of advanced techniques. However, the guitar solo was illogical in the Kurd scale, since Rashid Al-Haris's melody was originally in the Bayati mode. Mohammad Refa'i's lyrics leaned towards detailed (evaluation), building the song on two names: Kenzi and Noor!
Fahd and Hani Farhat returned with the same tools in "You Can Speak." Fahd with his rhythms highlighted by sound engineer Yasser Anwar in the introduction, and Hani Farhat with his strings wailing in the background. Mohammad Refa'i's lyrics were characterized by their brevity without verbosity but were expressive.
The solo melody in Amr Diab's "Habibi Ya Amri" composed by Amr Diab is also one of the most beautiful melodic phrases on the album. Khaled Ezz continued the melody in the same vein with the song, on the path of longing, starting with the Hijaz genre, then shifting to the Bayati scale in the verse "Where am I going?" The Eastern musician Yahya El-Moghy succeeded, as stated on the cover, in maintaining the Eastern spirit when using the Samba rhythm and the unexpected inclusion of the qanun instrument. Bahaa Eldin Mohammed's lyrics were strikingly ambiguous in meaning.
The composer Khaled Ezz skillfully embodied the spirit of Hani El-Saghir's dreamy lyrics in the song "Hanayt." The Western rhythmic structure accompanying the melody was harmonious with Amr Shaker's arrangement, adding more spaciousness and dreaminess with a broad string line in the background. However, Shaker apparently did not notice that the qanun instrument responded to the song in a different mode, Hijaz, instead of the Hijaz Ajam scale. The jazz solo on the Fender Rhodes was purely Western in its approach to the Eastern scale, dragging us away without meaning! Hani El-Saghir's lyrics surpassed the limit of repetition in the words "Hanayt, longing, and miss."
The idea of Amin Buhjat Qamar's lyrics in the song "Kulhum" was good and expressive of the reality of lovers. The melody by Amr Mustafa in the Kurd scale was also good, and Hani Yakoub's distribution was suitable, although he leaned towards the rhythm and used it after we missed it for the length of the album.
