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The deceased musician was born in Beirut. His grandfather from Kfaryasif in occupied Palestine, who left him “with the full will of the nations” in 1948 to meet his family, who was visiting the Lebanese capital, did not know that he would not return from there to his country.
Walid Atim was raised in an atmosphere that tends culturally to the West and politically to the East … The boy who will grow up on this path will be gray and abandoned, since his main concern in the years and in the last days of his life was to refute the conspiracies of the United States of America and Israel in the Arab world, focusing their eyes on the takfiri project. For the region and the character of the Syrian revolution in this direction. He loved evolutionary rock, blues rock, rock and roll, fusion, as well as blues and jazz, influenced by the English and American bands that made these currents in the 1960s, 1970s and 1980s and who accompanied Walid in his adolescence and youth.
He began his relationship with the guitar in the year 13, and began to follow musical lessons, which he soon left in favor of the self-taught man who led him to technical “perfection” and to play with great sensation, but lost something important that would hinder him later , reading the musical notes. He regretted this negligence, but reading music was a punishment for a young man who boils passion and energy, and patience is the least that can be available in this case.
He studied political science in the United States and lived for a long time in Britain. In Lebanon, he spent the period of the late 1970s and early 1980s, playing in the band of his friend Abboud Al Saadi, Force, and in recorded or live music projects within the musical activity that was taking place. held in the Ras Beirut area at that time. In addition to those who lived with them during those days was Ziyad Al-Rahbani (he later received it on two stations of the album “Monodoz” with Salma Mussafi) and his two closest friends to his heart, Mounir El-Khouly and Sami Shabshab, who They met him, after more than two decades, to complete his own project, that is, the album mentioned above. This work is a 12 song song composed by Walid in the eighties and nineties, and he added some new titles, and he worked especially with Munir El-Khouly to turn it, “After Halal Omar”, into a document that says: This music that we love, and here is our contribution. Ziad participated by playing one of the “Fender Roads” in one of the album’s stations, just like Sami in the guitar bus in another. Artur Satian (piano) and Jeremy Champaign (saxophone) also participated in the preparation, and Munir took over the preparation while playing most of the other instruments. Walid sang and played the guitar. This album was born in the wrong place at the wrong time. Had it been broadcast in the 1980s or shortly before, in Britain or the United States (and in light of generous production), it would have coincided with similar experiences in passion and dominance.
He was raised in an atmosphere culturally oriented to the west and politically to the east.
After the album was released, Walid Atim was active in live music, so he hosted some of the afternoons offered by Ziad Rahbani in Beirut pubs, and also participated in the jazz festival (Jazz Day in Beirut) with his band 5 and accompanied, played and hugged his daughter Sima, the young singer who absorbed the repertoire. Her father (and her mother, Stephanie Stefano) loved her and added new experiences in the same artistic context.
When we went to his only album, we made a mistake in writing his family’s name … wherever we found it, it was written in Latin letters that do not refer to a clear Arabic script. We did not want to disturb him by clarifying the matter. We knew he was a little upset, so we said it’s okay, we’ll correct the mistake and apologize when the next album is released … here we are, and the next album won’t be released.
