El Lyla Dya - Mohamed Mounir | الليلة ديا - محمد منير

علاء عبد الخالق \ الجمال

"هي البت بتاعت الكُشك؟
بيني و بينَك .. تستاهل
هيّ حلوة ... 

الراجل بيحب، و بنته بتحب، و أنا طالعة أدبّ و نازلة أدبّ " ..

هوا عن هوا يفرق .. اضحك الصورة تطلع حلوة

مدونة تراثنا للفن الأصيل
www.Torasna.blogspot.com

كلمات: سمير محبوب | الحان: محمد الموجى
 من اغانى فيلم "نهاية حب" عام 1957

الكلمات
اسمر اسمر طيب ماله
والله سماره سر جماله
ما دام حبيبنا وحيناسبنا ماله
ماله ماله ماله ماله الاسمر اسمر
مافيش فى الدنيا سماره ولا حتى رقته
خلاص انا قلبى اختاره وده بختى وقسمتو
ما دام حبيبنا وحيناسبنا ماله
ماله ماله ماله ماله الاسمر اسمر
لاقيت القلب نداله والقلب بيعبده
حلف له بضى جماله يرضيه ويسعده
ما دام حبيبنا وحيناسبنا ماله
ماله ماله ماله ماله الاسمر اسمر
ان عابوا عليا غرامه خليهم يسألوا
عن قلبى وعن احلامه
ده هنايا فى اوله
ما دام حبيبنا وحيناسبنا ماله
ماله ماله ماله ماله الاسمر اسمر

ماله الاسمر / اسمر اسمر (حفل) - صباح

علاء عبد الخالق طعمه

wrong eyed girl .mp3

Cinematic country‑rock anthem wrapped in hunting realism and the quiet grit of sunrise. You’re describing mornings in the stand, tracking that buck as the first light hits the fields, nights spent beneath the stars, solitude without the buckle‑bunny drama. Musically, this lends itself beautifully to an earthy Southern groove: steady drums echoing heartbeat anticipation, thumping bass evoking boot steps in mud, electric slide guitar that glows like dawn over the tree line, and a vocal delivery full of grounded pride

Pearl River Reflections

where we began, where we end is an album about a love that was real, consuming, and never meant to survive the world it existed in.

This record tells the story of a relationship that lived outside the lines. Not reckless. Not casual. But something that formed quietly in stolen time, shared routines, and a depth of connection that felt stronger because it had nowhere safe to exist. A bond built in the margins. In parking lots, late nights, borrowed hours. In spaces where everything feels more intense because it has to remain hidden.

The songs trace the arc from ignition to erosion. The rush of being seen in a way you hadn’t been before. The intimacy that grows when two people choose each other privately, even as the outside world insists they shouldn’t. What begins as warmth and certainty slowly bends under pressure, unspoken rules, looming consequences, the constant awareness of expectations that never needed to be spoken aloud.

This album isn’t about choosing different futures. It’s about being denied the chance to choose at all. About loving someone fully while knowing the life you’re building together exists on borrowed time. About staying longer than you should in something fragile because it feels truer than anything else you’ve known.

There’s no moralizing here. No defense. Just honesty. The ache doesn’t come from deception, but from inevitability. From watching something genuine collapse under the weight of obligation, reputation, and rules that leave no room for human connection.

Musically, the album mirrors that tension. Intimate, restrained, and deliberate. Songs breathe and circle rather than resolve, reflecting a relationship that kept looping back on itself, never allowed to move forward. Silence matters as much as sound. Repetition becomes confession. Nothing rushes toward closure because closure was never an option.

By the end, there’s no catharsis. Just recognition. The understanding that some loves don’t fail because they weren’t strong enough, but because the world had no place for them to exist.

where we began, where we end is not an argument.
It’s a record of something real that happened in the shadows.
A document of what it feels like to build something meaningful in a space that was never meant to hold it, and to live with the quiet aftermath of letting it go.

moments of gold, shadows of grey

الكافير 2 -  من فيلم "الكافير" -  محمد منير

كلمات : عبد الوهاب محمد - ألحان : حلمي بكر

علاء عبد الخالق \ الجمال

Alaa Abdel Khalek