Music from everywhere

Breaking down musical barriers once more restrictive than prison walls, Rachid Taha is quite a force when it comes to world-beat crossover sounds.

A resident of France since relocating there as a child, Taha originally hails from the Algerian port city of Oran, the home of rai music. Rai currently takes on many forms, transformed by migrant workers moving abroad. But no one has stretched it further than Taha. More influenced, perhaps, by the rebellious nature of Algerian street-style chaabi (an earlier form of North African pop), Taha fused his native music with Western-style rock, punk and techno into a distinctive sound that has been his trademark for almost three decades.

Interest began when he landed a DJ slot in a small Parisian club called Les Refoules (The Repressed). There, he heated up the turntables by mashing up well-known Arabic classics with the likes of Led Zeppelin, Bo Diddley and Kraftwerk backbeats.

Taha formed his first band, Carte de Sejour (Residence Permit), in 1983. They sang about poor working conditions and the ill treatment of immigrants but got tongues wagging mostly with their Arabesque version of Charles Trenet's national treasure, "Douce France." Though leaving staunch patriots red-faced, it turned Taha into a genuine rebel with a cause.

Sensitive, though not afraid to employ hard-line polemic in his lyrics, he went solo in 1990.  With songs like "Voila Voila" denouncing the extreme right wing in France, and the powerful "H'Asbu-Hum" (Hold Them Accountable) tackling conflicts between East and West, Taha continues to look at the legacy of colonization and the consequences of the Algerian War of Independence. He once said he felt like a "permanent immigrant" - and still does.

"I am a permanent immigrant because of today's society in France," Taha tells The Prague Post. "Even with French identity papers, because of the way you look, you are constantly reminded that you are of Arabian origin."

Despite some signs of improvement a few years ago, Taha believes practices of exclusion remain rife. "We have unfortunately taken a step backward," he says. "Some political speeches have led to this step back. I think that some of these politicians are dangerous - they are to blame. They create tension between the people in the poor suburban parts of the cities."

But the finger-pointing can go both ways. "With a song like 'H'Asbu-Hum,' I'm talking about the Arabian countries," Taha says. "Most of them are dictatorial, and I hold them to account. They are not democratic, and, if we want to establish good and equal relations with the West, they should take steps toward democracy."  

For the past 22 years, British producer Steve Hillage (ex Gong) has been Taha's right-hand man, bringing out the best electronic elements on albums like Diwan (1998), Made In Medina (2000) and Tekitoi (2001).

As an indication of just how far Taha has come, performing with the likes of Brian Eno, Patti Smith and Robert Plant has become the norm. He had the most fun sharing the stage with former Clash guitarist Mick Jones for his famous Arabic version of "Rock el Casbah."  

"I did 'Rock el Casbah' because I like The Clash, and it was my tribute to Joe Strummer," Taha gleefully remarks. "It's extremely pleasant to play with Mick Jones, because he was one of my childhood idols. It's a dream come true!"

Taha's latest disc, Bonjour, has been called his "American album," not only because it was recorded in New York, but because Taha has turned to Elvis Presley, Johnny Cash and John Ford Westerns for inspiration. The album also marks his first outing with new producer Gaetan Roussel and his most commercial effort yet.

"I listen to a lot of American music," Taha admits. "We are all influenced by American culture, which is very present in our lives."

Asked if he's straying from his Arabic roots, Taha responds, "Absolutely not. Music is universal. The further you go with music, the closer it becomes to you. Music is a mix from all cultures, it comes from everywhere. "

In that vein, Bonjour includes a cut titled "It's An Arabian Song." "This is a humorous wink," Taha says. "A long time ago, I wrote a song called 'This Is a Rock Love Song,' which was also a humorous wink to The Sex Pistols."

Bonjour may be lightweight compared with Taha's past material. But the six-piece band he's bringing to Lucerna next week should guarantee a loud, raucous night of fun.

James Scanlon can be reached at
features@praguepost.com