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The Weekend Australian - Review - - Music - Michael Rofe

IN the 20 or so years since he ap­peared on the scene in France, Rachid Taha has taken his themes of ex­ile, alien­ation and racism to a large in­ter­na­tional au­di­ence. Many have heard his mu­sic un­know­ingly. The growl­ing

Barra Barra ( Out­side) was rum­ble of his Scott ’ s

Black used to great ef­fect in Ri­d­ley Hawk Down. From his mu­si­cal be­gin­nings in Lyons with Carte de Se­jour ( res­i­dence

’ per­mit) in the 80s, Taha has mixed his Al­ge­rian her­itage with elec­tronic, dance mu­sic and grunge, cre­at­ing an inim­itable and po­tent sound. Two cover ver­sions of pop­u­lar songs of­fer ap­pro­pri­ate mu­si­cal book­ends to th­ese 15 tracks. In 1987 Carte de Se­jour re­leased a con­tro­ver­sial cover of

Trenet ’ s Charles 1943 wartime

Douce France . Banned, it was taken up as a cause cele­bre song against the racism then ap­pear­ing in France. His re­cent Ara­bi­cised

Clash ’ s ver­sion of the an­themic Rock the Cas­bah has re­ceived bene­dic­tion from for­mer Clash gui­tarist and co- au­thor Mick Jones. Some­times ir­rev­er­ent, Taha brings to­gether tra­di­tion with the swag­ger of rock.

The De­fin­i­tive Col­lec­tion Rachid Taha Wrasse/ Shock

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