Lebanon's Legendary Musician Elias Rahbani Dies Aged 83

Elias al-Rahbani. (AFP)
Elias al-Rahbani. (AFP)
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Lebanon's Legendary Musician Elias Rahbani Dies Aged 83

Elias al-Rahbani. (AFP)
Elias al-Rahbani. (AFP)

Elias al-Rahbani, Lebanon’s legendary composer and lyricist who wrote the music for some of the Arab world’s top performers, including Lebanon’s diva Fairouz, has died after battling COVID-19, his family said. He was 83.

Rahbani was hospitalized last week suffering low oxygen after he contracted the coronavirus and succumbed to COVID-19, the illness caused by the virus, on Monday.

Elias was the younger brother of Mansour and Assi Rahbani, the Arab world’s iconic musical duo known as the Rahbani Brothers, who wrote music and plays for Fairouz and other celebrities. Assi Rahbani, who was married to Fairouz, died in 1985, while Mansour passed away in 2009.

The three brothers were pioneers of a Lebanese golden age of music and culture, before the country was plunged into a lengthy civil war in the mid- 1970s. Many Lebanese still start their day listening to their songs and see them as uniting figures, beloved across the country’s divided political spectrum.

Born into a musical family in the town of Antelias, north of Beirut, Elias quickly forged a path for himself in the music industry. He often worked with his brothers but went on to compose his own songs for veteran Lebanese artists including Fairouz, Sabah, Melhem Barakat, Majida al-Roumi and others.

Elias Rahbani distinguished himself from his brothers, who were the industry's best-known duo, with his more modern styles and mix of Middle Eastern and Western music that won him international awards. He wrote some of Fairouz’ best hits, as well as the music and lyrics for many patriotic songs.

Rahbani composed hundreds of songs and music for the theater and the soundtracks to dozens of films and TV series, including “Habibati,” or my Love, “The Night Player.”

Elias leaves behind a wife, Nina, two sons, Ghassan and Jad and a sister, Elham.



Music Review: Gwen Stefani’s ‘Bouquet’ Is a Romantic Return to Mellow Rock — With an Ageless Voice

 Recording artist Gwen Stefani watches during the first half of an NFL football game between the Arizona Cardinals and the New York Jets , Sunday, Nov. 10, 2024, in Glendale, Ariz. (AP)
Recording artist Gwen Stefani watches during the first half of an NFL football game between the Arizona Cardinals and the New York Jets , Sunday, Nov. 10, 2024, in Glendale, Ariz. (AP)
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Music Review: Gwen Stefani’s ‘Bouquet’ Is a Romantic Return to Mellow Rock — With an Ageless Voice

 Recording artist Gwen Stefani watches during the first half of an NFL football game between the Arizona Cardinals and the New York Jets , Sunday, Nov. 10, 2024, in Glendale, Ariz. (AP)
Recording artist Gwen Stefani watches during the first half of an NFL football game between the Arizona Cardinals and the New York Jets , Sunday, Nov. 10, 2024, in Glendale, Ariz. (AP)

Words and phrases like "nostalgia" or "back to her roots" come to mind when listening to Gwen Stefani’s fifth studio album, "Bouquet" — and it is in no way negative.

Across 10-tracks, the powerhouse singer leans into the mellow rock of her youth — think Hall & Oates, Chicago, Fleetwood Mac — with dashes of country vibes here and there. Her voice is ageless, unaltered and distinctive, immediately recalling the early aughts when No Doubt still existed, and Stefani was still a bit of a ska girl.

Thematically, however, the songs are about a woman who’s been through the ringer — but life gave her a reprieve in her second act, and she found stability, lots of flowers and no mo’ drama. In that way, "Bouquet" is a not so furtive ode to husband Blake Shelton — who she met and fell in love with while they were both coaches on the singing reality competition show, "The Voice." At the time, they were both going through divorces to Gavin Rossdale and Miranda Lambert, respectively.

On "Bouquet," the Stefani-Shelton romance arrives through yacht rock sounds and flowery language in songs with titles like "Marigolds,Late to Bloom" and "Empty Vase." When the album reaches its end, it is with a duet with Shelton on "Purple Irises."

If the album tells a story of her relationship, it starts with the opener "Somebody Else's." Stefani starts off the proceedings by listing her previous romantic entanglement and bad choices. "I don’t know what a heart like mine/Was doin’ in a love like that, ah," she sings. "I don’t know what a woman like me/Was doin’ with a man like you, ooh."

It's a direct counter to the title track, where the focus appears to be back on Shelton: "We met when my heart was broken/Thank God that yours was, too," she shares. "So lucky that you were goin'/ Through what I was goin' through."

In "Late to Bloom," she decries the fact that they met so late in life.

A nice bass progression, a clever turn of the phrase and a great voice are what it takes to get this album going. Add a cohesive theme, a pleasant vibe and a charismatic star —- and that's coming up roses.