Text Marsho D

In southwest Morocco, on the coast of the Atlantic Ocean, the city of Agadir hums – but not with the usual noise. As you walk down Rue de la Marrakech, past the sputter of motorbikes and market vendors’ calling out over each other, the sound sharpens. Its source is a small storefront tucked between a row of ATMs and an inconspicuous doctor’s office. The hum is music, softly blaring out of the windows of Records Zaman – a space whose name is a testament to both its historic roots and the vintage music preserved inside.

Every corner of the store is packed, wall to wall, with vinyl records, cassette tapes, and CDs – some aged and fraying at the edges, others still gleaming under the filtered light trickling through shaded windows. From Jimi Hendrix and Madonna to Oudaden – a traditional Amazigh band formed in nearby Ben Sergao in the 70’s – the collection spans continents and decades. With such a varied catalogue, it’s clear that this shop is a collector’s sanctuary, a living archive.

The evolution of Moroccan music spirals through time and across geographies, shaped by history and resistance. Guedra, named after a drum made from earthen pots and hides, emerged from the nomadic Tuareg tribes of the Sahara. Chaabi – meaning ‘popular’ or ‘of the people’ – echoes across Morocco, Algeria and Egypt, rooted in Andalusi poetic traditions and marked by reflections on love, labour, religion or even coffee. These verses are often accompanied by instruments like the mandol or tambour, weaving the intimacy of their lyrics into public performance.

Then there’s Gnawa – mystical, trance-inducing music brought to Morocco by West African Hausa and Fulani communities between the 16th and 17th centuries. With ceremonious traditions being deeply ingrained into the practice of this music, the ritual follows a routine of song, dance, burning incense and using specific colours and costumes.

But much of this sonic memory is hard to find today. Lost to the digital void, a rarity on major streaming platforms or forgotten in time. Without intentional preservation, these sounds are at risk of fading into obscurity. That’s where Records Zaman steps in.

First opened in 1967 by Mr. Ahmed Aqdim under the name ‘Sawt Al-Rashad’, the shop originally sold books and school supplies before shifting its focus to Moroccan and African music. It later became one of the first stores in Agadir to sell vinyl and cassettes. After Mr. Aqdim’s passing in 2017, his son Amine Aqdim took over the business and rebranded it as Records Zaman – expanding its merchandise to include turntables, T-shirts, VHS tapes, and more. With receipts dating back to the 70s, the store has existed as a destination for both local and international music enthusiasts for decades.

In addition to digitising and classifying Moroccan music, Amine Aqdim is also a DJ, regularly collaborating with the French collective Radio Flouka to spotlight the diversity of Moroccan music from the 1950s to the present day.

Your store is a treasure trove of records – if you could pick one record that defines your love for music, which would it be and why?

Amine Aqdim: Actually, there are many records that I like. Most collectors don’t have a specific album, but if I had to choose, it would be Dissidenten. The reason is because of how I discovered this album and where I found it. At first, I thought it was a house music record or something like that, but when I played it, I was surprised to hear the song “H’kmat Al-Aqdar” with the participation of the group and the Algerian artist Hamid Al- Baroudi, who covered this song. It was originally sung by the Moroccan group Lemchaheb.

If someone walked into your store knowing nothing about Moroccan music, which three records would you tell them to start with, and why?

AA: That happens every time Western people come to my store and ask me about Moroccan music. Personally, I like to show them records like Jebli et Beldi, Hassan El Boudri, and Morocofolies 96.

· Jebli et Beldi – Before I bought their tapes, I didn’t know anything about them. I initially bought their record because I loved the cover, but when I played it, I said

“wtf!” The rhythm and the accent were amazing – they mix funk, disco and jazz in a uniquely Moroccan way.

· Hassan El Boudri – He’s one of the legendary artists that was forgotten. He was known for playing with his feet, creating a kind of Moroccan blues. He was even featured in the Guinness Book of Records in 1997.

· Morocofolies 96 – This is one of the great releases in Morocco, created by Issam Chabaa. These records show the incredible diversity and innovation in Moroccan music.

I’ve been informed that your knowledge of 70s and 80s music runs deep. Both eastern and western music were evolving in unique ways during this time. How did Moroccan music absorb and reflect those influences?

AA: In the late 60s until the 90s, there were many Moroccan bands and artists who drew their inspiration from Western music. This was a fascinating period of musical evolution in Morocco, where traditional sounds began to blend with global influences.

During this era, Moroccan musicians were exposed to rock, funk, disco, and jazz coming from Europe and America, and they began incorporating these elements into their own musical traditions. Many bands formed in urban centres like Rabat, Casablanca and Agadir, experimenting with electric instruments and new recording techniques.

What made this period special was how Moroccan artists didn’t simply copy Western styles but transformed them through their own cultural lens. Some groups sang in Darija (Moroccan Arabic) while using psychedelic guitar effects or funk basslines. Others incorporated traditional instruments like bendir or oud alongside drum machines and synthesizers.

This creative fusion resulted in a unique sound that wasn’t quite Western nor traditionally Moroccan, but something entirely new. Key artists and bands from this era include Golden Hands, Les Variations, Fadoul, Vigon, Ouines, Attarazat Dahabiya, Hassan El Boudri, and Oussmane. Each of these acts brought their own interpretation to the fusion of Western and Moroccan sounds.

Unfortunately, many of these recordings received limited distribution at the time, which is why preserving and sharing this music is so important today. These recordings capture a moment in our musical heritage when Moroccan artists were experimenting and creating something truly original.

Are there any forgotten or underrated Moroccan artists from the past that you think deserve more recognition today?

AA: Abdo El Omari, Fadoul, Vigon, Ouines, Attarazat Dahabiya, Jebli et Beldi, Hassan Aguizul, Oussmane, Les Variation, Amarg Fusion, Laryach, Hassan El Boudri, Ithran, Les Freres Bouchnak.

These artists have created innovative melodies that blend elements of Moroccan heritage with other musical styles, but many remain forgotten, both in Morocco and internationally.

What was Agadir’s music scene like in the past compared to today? What sets Agadir apart from other cities in Morocco?

AA: In the late 60s, there were a lot of artists and Berber bands making great music in Souss. They mixed folk with different genres like reggae, funk, some groove, and rock music. There were a lot of events and many clubs where you could hear different styles of music.

But now, most of these artists have stopped making music for various reasons. If we compare it to today, a lot of things have changed, and things are now more commercial. What makes Agadir different compared to other cities is that you can hear many genres performed in Berber languages.

If you could go back in time and witness any concert, anywhere in the world, what would it be and why?

AA: One of the concerts I wished to attend was the Bouchnak brothers’ concert. They were popular for mixing many different Western genres with the Moroccan dialect and using some traditional musical styles.

Do you have any stories about customers you’ve met in the record store that you would like to share?

AA: One of the stories that I will never forget is when someone from Australia visited me and we talked about music. When he finished choosing some records, he saw a shirt and asked me where I got it from. It turned out that the shirt was his trademark. He was shocked and started laughing because he couldn’t believe that he’d find his own brand in my store on the other side of the globe.

What’s one piece of advice you would give to someone looking to truly understand the soul of Moroccan music?

AA: If you really want to understand the soul of Moroccan music, immerse yourself in its diversity. Don’t just listen, but experience it in its natural setting. Moroccan music is deeply tied to history and spirituality, and each region has its own heartbeat.