West of Egypt are the North African countries collectively known as the Maghreb, each singly quite unique. Morocco is remarkable for its well-integrated Berber communities, which have their own music, but also contribute to Arabic pop, often in its Khaleeji form. Khaleeji is highly “genuine” rhythmic music originating ostensibly in the Persian Gulf and Arabian Sea ports with vocal lines by soloist and chorus delivered in Khaleeji dialect. There is certainly a monied market for Khaleeji singers, which is one reason why singers often go out of their way to practice and perform Khaleeji songs. Another must be the sense of accomplishment that comes from mastering the difficulties of Khaleeji dialect. But the music itself is quite distinctive and can be surprisingly accessible, even if much of it is designed to sound essentially the same, with recurring progressions and rhythmic variations.

Several Moroccans, whether of Berber background or otherwise, have made a name as Khaleeji singers. The most remarkable is surely Asma Lmnawar, a Berber from the region of Casablanca. Her second album, Shay Aadi (2005), is a straightforward Khaleeji collection. The third, Men Hena El Bokra (2008), switches to Egyptian dialect and infuses jazz elements. The fourth, Rouh (2011), returns to Khaleeji dialect, retains some of the jazz references, but on the whole aspires to be a grand eclectic collection showing great versatility and emotional range. A video exists of the remarkable second track, “Wael,” which seems to be loosely inspired by Nasheed religious music favored occasionally by devout Moslems but of little interest to the vast majority of listeners. The Khaleeji singer from Oman, Al Wasmi, at one point put his career on hold to record an album of a capella Anachid, which are surprisingly tonal and polyphonic yet nonetheless typical of the genre. Al Wasmi is otherwise the solid and stolid quintessential representative of Khaleeji music and has even done a witty video (“Ana Shftek”) in which the male members of the chorus, dressed in Bedouin robes, twirl automatic rifles in the manner of high-school majorettes.

Another who qualifies basically as a Khaleeji singer is Arwa, but she is avowedly Yemeni, which is an identity somewhat separate and accounts perhaps for the occasional eclectic turn in her music. There are several videos, among which “Jitak” and “Eineik” are clever and amusing. The excellent series of six albums begins in 1999. There is no reason why a western listener should not be able handle the most recent one, Ya Moumayyaz, which has quasi-psychedelic arrangements and is mercifully brief (eight tracks) compared to some Arabic pop albums. Yet the earlier records should not be neglected either, in particular Enta Arefni (2006), a long but very consistent and imaginative collection.