In the title song a man who buys himself entrance into a society which refuses Him -Sidi can play the game, but he also sees behind false appearances. 'Gourara' uses the rhythms most typical for the ethnic groups living in the South of Algeria (Timimoune as they are called in Algeria, Gnaoui in Marocco); a 6/8 beat accompanied by North-African castanets. This is a party song with Hamid´s rock guitar riff hovering above it. 'Afro Bahia' follows the long travel of African Rhythms to Brazil. Hamid is never satisfied with one or two ideas in a song, his aim is multitude and variety. Rap accompanies the Afro Brazilian crossing of the Atlantic, the Makossa Dance Chorus bows to Manu Dibango. and with Hamid´s Arabian singing the North of Africa becomes part in the travel. Timbali drums at the end of the song show that the destination has been reached. 'Ghaddar' also demonstrates the multitude of references Hamid uses. 'Ghaddar' is literally a whale of a song: a giant whale hunted by harpooning ships, and was recorded by Hamid straight from the tv news. This really is the 'wailing' sound you can hear on the intro and between choruses, harmonising perfectly on the same pitch with the trumpet in the song. 'Ghaddar', however, is not about ecology as such, the whale´ s sampleis there to supports the atmosphere of a nocturnal Paris, where a lonely trumpet player, stumped where to head at 4 a.m., finds solace in his instrument. 'Ca Bouge' again takes us to Paris, to the red light district of Place Clichy, where an immigrant is yearning to be with the woman of his dreams. 'Barah' is a travelogue experienced through a photo-album, through which an old man is looking, from front to back. When he arrives at the front pages, he has reached his years as a young man: 'Why did she then walk out on me and never come back?' he wonders. Hamid recorded the song with a string section in Egypt. As an Algerian Hamid connects closely to the Maurean regions of Spain through history and the arts. How can one bring back and recall these rich sources of European culture to a young person today? Hamid melts the Arabian word for 'red', Hambra, with the similar sounding great architecture of the 'Alhambra' in Andalucia and weaves his story from there. 'Water' also reaches back far into history. The instrument heard in the song is an imzad, a forerunner of the European violin and traditionally, among nomad tribes like the Tuareg,one which only women are allowed to play. Hamid surrounds the Imzad with rap, djembe drums and jazzy grooves. With the Tuareg as an imaginary voice he discusses the topic that will concern a future world short of resources: water. 'Walah Walha' once more visits the Gnaoui music of Marocco and South of Algeria. 'Helena', the final song on SIDI is a final bow to all the ladies in the house.