Hamid Al Shaeri with Amr Diab … Days of Mind

At the Jomtiyeh summit, Hamid al-Sha'ri was banned from working in Egypt for four years, as a result of legal problems with the Musicians Union. It was 1992. But the taxi driver continued to work and went to the movies in front of the movie "Nutcracker" (1995).

Back to music in 1996, Shaeri was able to make up for his absence from the scene by returning with the absolute star of Egypt, then Amr Diab. The result is one of Amr Diab's most important albums, and the first to put the "plateau" on the map of the world. We are talking about the album "Nour Al Ain", who distributed all his songs Hamid Al Shaeri.

With the song "Nour Al Ain", Hamid Algaitar and Accordion were used to create a new oriental atmosphere in the ear of Egypt, accompanied by a rhythm coming from Libya, namely Ghita Benghazi , the rhythm of the Libyan zafah, as "Capo" in a television show. Thus, Amr Diab launched this melody, to sweep the commercial market, not only in the Arab world, but all over the world, the song has spread widely.

We return to the beginning of the first meeting between the two men. Although Al-Shaeri and Diab appeared on the Egyptian scene at the same time, their first meeting did not take place in Egypt, but in Jordan in 1986, as part of the "Days of Mind" program with the advertiser Marwan Al-Sawaf. Diab was impressed by the poet's recent works, such as Habiba and Ya Samra, and agreed to work together on his return to Cairo.

With the album "Mayal" (1988). Although Fathi Salameh is one of the most famous songs of the album, "Miyal", "Na'qq Al Qamar" and "Kalamini", the presence of the poet in the cast was impressive with his work on half of the songs from the album, Of course, the song "repentance" composed by Amr Diab.

The set quickly recognized the importance of the kabo, meaning the importance of the musical identities created by the poet, and the collaboration continued in the album "Shoukna" (1989) and "Mukhtavish" (1990). Gradually, the poet venerated the path of success in front of Amr Diab, holding his hand and a magic recipe in the making of songs succeed each other in the Arab world, relying on the rhythms and the overlapping of the machines. in a simple and clear way: from "Shokna" and "I want to say" to "Mtkhavish" and "regret" These songs were engraved in the Arabic musical memory, because they were designed to live long. The summit of this cooperation was in "Makhkavish", which was distributed by the poet in its entirety.

Despite the absence of Hamid al-Shaeri during intermittent periods of work with Diab, he has always established control of the latter at the scene. The two men certainly needed one from the other: everyone was looking for success and precision in his work, introducing new elements, moving the listener, and experimenting with the melodies and the distribution. That's what appeared with the album "Our Days" and "Willemouni". Both songs included songs from Amr Diab's journey, including the song "Al Hayat", which is the only one in which Diab and El-Shaari participate.

The album "Noor Al Ain" won the Music Award, and Diab reaps the fruits of his work with Al Shaari: the success of the album "Oudouni" and the distribution of the main song in this release, as well as the use of different rhythms, ranging from East to Gulf Classic. It's a remarkable song that confirms Diab's position after the album "Nour Al Ain".

Early on, both sides realized that each cooperation had an end, that the poet had put all his potential in the service of Diab and that he had the most important credit of his career. At the beginning of the millennium, Amr Diab, with his talent and his desire to become the king of Egyptian pop, had to renew the blood of the poet to disappear from his experience and put an end to one of the chapters of the great duality of the history of this generation.