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But in a country like Algeria – torn between religious fundamentalism, social traditions and the glare of modernity – having fun can all too often be in itself a political act and a singer of rai can, without intention, be considered a political animal, suitable for brutal and senseless elimination. Considering the horror of Hasni’s death, it is extraordinary that rai continues to be performed and recorded in Algeria. New stars like Cheb Hassan, who performs in a suave tuxedo to rapturous ALGERIA | Rai At least Khaled has returned with an excellent new disc and, judging from the compilations of older material appearing, Algeria is starting to do some soul-searching and rediscovering its past.

The three nabobs put on an unforgettable show, backed by an orchestra of more than forty musicians, including a 28-piece Egyptian string section, all under the musical direction of (Taha’s producer) Steve Hillage. The trumpeter Messaoud is one of rai’s pioneers, having updated it from folk to pop form in the 1960s. c Le Père du Rai World Circuit, UK As an example of Messaoud, this album should be included in any self-respecting rai collection, though its fine moments are sadly accompanied by a rather flat production.

A live album bought time, but with Tékitoi he completely nailed the sound in his head, including a cover of “Rock The Casbah”, by one of his inspirations, The Clash, that turns the song upside down with frantic percussion and Arabic lyrics. Quite how far he can take his particular fusion remains to be seen, but he remains an important force in French and Algerian music. Many people back in Algeria who had followed and idolized Khaled throughout the 1980s felt that he lost touch after his departure for France and seemed intent on fuelling his rapid rise to international fame with rehashed versions of old worn-out standards rather than producing a new and exciting material.