One of those who modernized the raï with Messaoud Bellemou, in the 1960s, he began to use the accordion in place of the zamr, which allowed a rai performer to play and sing at the same time.
But since the accordion could not play quarter tones, Bouteldja transformed it by changing the length of the strips of metal inside, making it compatible with the traditional Algerian melodic system.
In 1968, his editor left for Paris, and Belkacem Bouteldja to honor his contract had an obligation to go back and forth to record three discs.
In late 1969 his encounter with Messaoud Bellemou upset the traditional raï; their 1974 record marked the effective birth of pop-raï.
Bouteldja withdrew for a while returning in 1985, for the first held Rai Festival in Oran, with representatives of the new wave such as Cheb Khaled, Hamid and many others.