Since Arabic singing is traditionally an improvisatory art in which the singer responds to the audience's reactions, including requests to repeat certain passages, the live recordings generally provide the most complete and satisfying realizations of her songs. Most of her work is known primarily through live recordings, and in fact only a small number of her songs appear to be readily available in studio versions, though a studio version was recorded and broadcast before her live debut of most songs, starting in the mid-1950's. Not all of her authorized recordings are currently in print. Oum Kalthoum's recording career began in the 1920's and ended in the '70's. Maybe you have begun to nod your head when you see it, but nevertheless have little or no idea what her music sounds like. She is mentioned in the WIRE from time to time, but you aren't likely to find much more there beyond vague allusions to Oum Kalthoum, "the legendary Egyptian singer," accompanied by speculations that she smoked a lot of hashish. Performers as diverse as Bob Dylan, Diamanda Galas, and Michael Doucet (of Beausoleil) have expressed admiration for her music. Some of you may have noticed the name Oum Kalthoum, in one of its many possible transliterations from the Arabic, haunting the periphery of your musical awareness.
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