Blogtrotters

Showing posts with label traditional eritrean music. Show all posts
Showing posts with label traditional eritrean music. Show all posts

Monday, January 16, 2017

v.a. - Krar & Masinko [ethiopia]











Krar Collective




       The krar or kraar is a five- or six-stringed bowl-shaped lyre from Eritrea and Ethiopia. The instrument is tuned to a pentatonic scale. A modern krar may be amplified, much in the same way as an electric guitar or violin.


        A chordophone, the krar is usually decorated with wood, cloth and beads. Its five or six strings determine the available pitches. The instrument's tone depends on the musician's playing technique: bowing, strumming or plucking. If plucked, the instrument will produce a soft tone. Strumming, on the other hand, will yield a harmonious pulsation. The instrument is often played by musician-singers called azmari. It usually accompanies love songs and secular songs.











Masinko tutorial




        The masinko (also spelled mesenqo, mesenko, mesenko, mesinko, or mesinqo) is a single-stringed bowed lute commonly found in the musical traditions of Ethiopia and Eritrea. As with the krar, this instrument is used by Ethiopian minstrels called azmaris ("singer" in Amharic) . Although it functions in a purely accompaniment capacity in songs, the masinko requires considerable virtuosity, as azmaris accompany themselves while singing.


     The square- or diamond-shaped resonator is made of four small wooden boards glued together, then covered with a stretched parchment or rawhide. The single string is typically made of horse hair, and passes over a bridge. The instrument is tuned by means of a large tuning peg to fit the range of the singer's voice. It may be bowed by either the right or left hand, and the non-bow hand sits lightly on top of the upper part of the string.






01 - Derbe Zenebe - Esti leguaz (5:18)
02 - Maritu Legesse - Akale Webe (4:50)
03 - Gash Abera Mola - Yameral Agere (5:17)
04 - Samuel Kassa - Techno Be'Masinko (3:27)
05 - Gigi & Yeshi Demelash - Bati [Reggaetopia - single] (5:59)
06 - Mahmoud Ahmed & Gossaye Tesfaye - Adera (5:52)
07 - Eskedar Amsalu - Bayeshelegn (7:15)
08 - Rasselas - Tizita (ft. Bezuayehu Demissie) (4:11)
09 - Gigi - Tew Maneh (4:54)
10 - Gigi - Kiraren Bikagnew (5:37)
11 - Asnaketch Worku - Arada (3:01)
12 - Mary Armeday - Enem Lefelefkugn Melageruw Sema (3:39)
13 - Mahmoud Ahmed - Anchiye Hodiye (4:36)
14 - Endris - Masinko (2:36)





Monday, April 18, 2016

Abrar Osman - Shama Bel [2014] [eritrea]












Abrar Osman - ኣይውረድ  Aiwured




Abrar Osman - 01 - Shama Bel (6:55)
Abrar Osman - 02 - Mieti Kab Mieti (6:02)
Abrar Osman - 03 - Dig Eritrea (5:45)
Abrar Osman - 04 - Yikdenena (7:41)
Abrar Osman - 05 - Tsebah (6:57)
Abrar Osman - 06 - Ayiwred (8:42)
Abrar Osman - 07 - Halew (7:09)
Abrar Osman - 08 - Baskta Himboba (5:43)



Thursday, April 14, 2016

Mahamud Mohammed Aggar - Worshilalo [2015] [eritrea]












Mahmud Mohammed (Aggar)- ሜረላ - Meerela




Mahamud Mohammed Aggar - 01 - Wonaadilee (5:17)
Mahamud Mohammed Aggar - 02 - Worshilalo (4:29)
Mahamud Mohammed Aggar - 03 - Selamat (5:42)
Mahamud Mohammed Aggar - 04 - Baadusereme (3:36)
Mahamud Mohammed Aggar - 05 - Wolat Gebaayil (5:29)
Mahamud Mohammed Aggar - 06 - Siraaro (6:03)
Mahamud Mohammed Aggar - 07 - Meerela (5:04)
Mahamud Mohammed Aggar - 08 - Sukana Kisha (4:55)
Mahamud Mohammed Aggar - 09 - Kiroe (5:08)
Mahamud Mohammed Aggar - 10 - Anjaa (4:06)




Sunday, November 1, 2015

v.a. - Chants Et Danses D'erythrée - Songs And Dances Of Eritrea (vde 051) [1980] [eritrea]








Rare field recording of traditonnal music made in 1980 in Eritrea. Chants and instrumentals.




Musique et danse d'Erythrée




v.a. - 01 - Le Peuple Erythreen Est Mur (3:52)
v.a. - 02 - La Flamme De La Lutte S'Etend (4:09)
v.a. - 03 - Apres La Retraite (4:56)
v.a. - 04 - Notre Mer Rouge (6:21)
v.a. - 05 - unknown (2:27)
v.a. - 06 - Laleye Lale Lalena (5:01)
v.a. - 07 - Erithrea Ba Bа (4:38)
v.a. - 08 - Ana Sefalelku (5:11)
v.a. - 09 - Notre Armee Populaire (4:47)
v.a. - 10 - Bedeho Mis Bele Dehrit Zeitemelse (3:41)



Friday, June 5, 2015

v.a. - Golagul - Chants d'amour et de resistance [eritrea] [1999]

      
   R   E   U   P   L   O   A   D   


                       Eritrea, ancient province Ethiopia became independent at the beginning of the 90's and has lived a painful history. But nothing has ever prevented the people of Eritrea from singing, and not even the numerous famines. 

               The People of the plain of Zula (Afar, Tigré and Saho) give rhythm to their everyday life in simple, repetitive singings. The leader, man or woman, throws a comment on rhythms (handclaps and kebero percussion), the others start again, insisting on the same rhythmic, as an obsessive loop. History the concern of protecting the culture and politics, stimulates more than a singer. " On one hand, he killed you, whereas on the other one he fed you " tells a Saho about Haile Sélassié.

            A kebero is a double-headed, conical hand drum used in the traditional music of Eritrea and Ethiopia. A piece of animal hide is stretched over each end, thus forming a membranophone. A large version of the instrument is also used in Orthodox Christian liturgical music, while smaller versions are used in secular celebrations.




01. Ana meto agébé [Tigré Tribe] 2:57
02. Ayrègèdè [Afar Tribe] 2:05
03. O'h yéharshema [Saho Tribe] 2:34
04. Haleto lale lalô [Saho Tribe] 2:19
05. Sêda [Afar Tribe] 3:05
06. Toriyota [Afar Tribe] 1:38
07. Erab Ghedam [Tigré Tribe] 3:48
08. Adate [Tigré Tribe] 2:59
09. Aran heutoukta [Saho Tribe] 6:41
10. Innyo soklié [Saho Tribe] 3:39
11. Kéké [Afar Tribe] 2:31
12. Sänädirlê [Saho Tribe] 2:24
13. Farum Ghedan [Saho Tribe] 6:46
14. Selâm [Tigré Tribe] 3:49
15. Yewêlâlè [Tigré Tribe] 2:17
16. Erytrea nèdègé [Saho Tribe] 4:24
17. Worada [Saho Tribe] 4:13
18. Lâleh [Afar Tribe] 2:47


Tuesday, May 5, 2015

Selam Seyoum - In Memory of Tekle Tesfazghi [1995] [eritrea]







       Selam Seyoum Woldemariam, also known as "Selamino", is an African musician who has turned out 250 (mostly locally produced) albums in his more than forty years as a professional musician. He has been called “The Jimi Hendrix of Ethiopia” and is a national legend.




In Memory Of Tekle Tesfazghi - Kemdilayey



Early life

             Selam Seyoum Woldemariam was born in Addis Abeba, Ethiopia, in 1954 to a director-teacher father, Seyoum Woldemariam Kidane, and an assistant teacher-housewife mother, Tsirha Nemariam. 

        The family moved to Asmara, Eritrea, in 1965 and stayed there throughout his childhood (c. 1965–1972). While in Addis Ababa, his father worked in a school run by American missionaries. They brought various records of spiritual songs; Woldemariam and his siblings studied some of the songs and sang them at the Mekane Yesus Church in Addis Ababa. The family owned an acoustic guitar, and while each of his siblings tried to learn, he was the most disciplined in his musical study. 







        During the mid-1960s, Woldemariam formed a church music quintet choir group in Asmara at "Geza Kenisha", which became popular and pulled hundreds of followers to the church where they performed. Later, they included a Swedish drummer but the sound eventually became too noisy for the elderly congregation and they had to discontinue playing. 

            Woldemariam returned to Addis Ababa in 1972 and finished high school. This was at the height of the Ethiopian Civil War and classes in most schools, including Addis Ababa University (AAU) were disrupted. Soon, all higher learning institutions were closed, while students and staff were forced to join the national campaign (Idget Behibret). With the AAU closed, Woldemariam could no longer continue his education.

         Woldemariam later returned and graduated with a BA in History from AAU in 1988. He wrote his senior essay on Ethiopian music: "Origin and Development of Zemenawi Music in Ethiopia, 1896-1974”.


BSB Ibex and ROHA

       He joined The Black Soul Band (BSB) while they were on tour in Addis Ababa in 1973. Alemayehu Eshete and Slim Jones were the main vocalists of the group and together with Tesfaye Lemma of Orchestra Ethiopia, they travelled to various parts of Ethiopia. Towards mid-1974, Woldemariam and some other members of BSB joined the Venus club

        After working for a year or so at the Venus, Woldemariam replaced Zimbabwean Ibex Band guitar player Andrew Wilson at the Ras Hotel. During that time, Ibex was dominated by two foreign musicians: Ismail Jingo, vocalist and percussionist and Andrew Wilson, lead guitarist. At the time, most foreigners were leaving Ethiopia due to the revolution and Jingo and Wilson couldn’t stay. As a result, the band re-formed as Ibex (II) with the inclusion of some new members. 



        Mahmoud Ahmed was already in the group. The first recording the group did was his Ere Mela Mela album (LP) around 1975, which was later to become their first ever CD in Ethiopian history, released by a good friend, Francis Falceto on his Ethiopiques series. (Ethiopiques # 7). Ibex disbanded in 1979 as most of its members left for the Sudan, while Mahmoud left for the US. The remaining three members, Giovanni Rico, Fekadu Andemeskel and Selam Woldemariam, formed ROHA Band. The Ibex and ROHA Band dominated the music of the 1970s and 80s. They arranged and recorded well over 250 albums (2500 songs), accompanying various Ethiopian vocalists. From 1980 to 1990, The ROHA Band travelled extensively, throughout Europe, Middle East and the USA as well as to some parts of Africa. Mulatu Astatke joined the ROHA Band at the Paris and Spain summer shows in 1987.


Recent and current work


     During 2000, Woldemariam moved to the US, and started collaboration on the Power of The Trinity project with the Brooklyn-based Tomas Doncker Band. Besides co-writing and playing guitar on some tunes, Woldemariam is also involved as a production consultant. He has performed with the group at various venues. They will be performing together in a long-awaited show at the New York Summer stage in July and August. 

       Woldemariam is in the process of expanding his thesis paper on Ethiopian music and gathering together a book based on his over forty years of experience in music. He is also working on an instrumental album.






01 - Selam Seyoum - Tsibuk Zigebr (5:16)
02 - Selam Seyoum - Mistirawi Debdabe (4:38)
03 - Selam Seyoum - Nbaat Temeghibe (7:16)
04 - Selam Seyoum - Kokobey Kokobki (5:15)
05 - Selam Seyoum - Ningerom Nisdrana (4:27)
06 - Selam Seyoum - Fikrey Telemeni (4:42)
07 - Selam Seyoum - Kemdilayey (6:47)
08 - Selam Seyoum - Kewakhbti (5:26)
09 - Selam Seyoum - Shewit Hidmona (3:51)




Thursday, February 19, 2015

Fessehaye Negusse - Wedding songs [2000] - [eritrea]









01 - Fessehaye Negusse - Asheney Bele (7:34)
02 - Fessehaye Negusse - Anbesa Mesiekaley (6:03)
03 - Fessehaye Negusse - Awlo (9:02)
04 - Fessehaye Negusse - Embilta (4:23)
05 - Fessehaye Negusse - Hsab Lebey Semirately (6:15)
06 - Fessehaye Negusse - Eselle Eselle (7:41)
07 - Fessehaye Negusse - Enkua Te'alele (7:46)
08 - Fessehaye Negusse - Endahemenye (6:04)
09 - Fessehaye Negusse - Zeabeye Ab Maywesen (4:48)


Wednesday, January 28, 2015

Yemane Barya - The Legend [2cd] [2003] [eritrea]





Yemane Barya - track 1



Yemane Barya: The Eritrean Griot
by Asennai Musye



How do you write about passion, love, revolution, flawless poignancy, inexhaustible hope and painful yearning for freedom? How do you capture the heartbeats of millions and channel it through your soul and into the world? How do you become both timeliness and timelessness itself? As for the answers to these questions, I simply don’t know. The challenge I faced the moment I began writing this article, however, has more to do with this question: how do you write about the person who captured all of these complex elements during his short stay on this earth?





How do you write about Yemane Barya, the prolific Eritrean griot?

Addressing these questions will only create a series of articles I won’t dare venture into at the moment. Neither will I navigate this piece to capture all that is Yemane. I will, instead, bow out of the challenge and resort to writing not about the phenomenon but about some of the elements of the phenomenon we have come to know and love as Yemane Barya.

Love, depth, poignancy, inexhaustible hope, painful yearning for freedom are some of the most common residents of his soul. As gracious of a host he was to these residents, he was never hesitant to put these very residents to work. With the sighs of anguish of millions of Eritreans as his tank of oxygen, Yemane dove into the oceanic depths of his own soul to search for the words and the melodies that would capture it all. When he emerged, he shared his discovery not with a triumphant voice that boasts of his talent but of the strong, beautiful and painful familiarity he accrued from his journey inward. The familiarity about the reality looming outside and around. What one hears when Yemane oozes out of the speakers is the sound of sincere nativity that is birthed when the struggle of the human spirit impregnates a sincere voice.

        During an interview in the early 1990s, when a journalist asked him where he gets his heartfelt lyricism from, Yemane replied, “The source of my lyricism is based on the conversations I have with people. It’s from the depth of these conversations that I get and arrange it all. I could write something complex but if the common man cannot understand what you are saying, then it is almost as if you haven’t written it at all”. His understanding of the human nature, namely, the desire to be felt and spoken to directly, helped shape the heartfelt messages he conveyed through his music.

“Yemane eloquently captures tragedy. He has a voice that reflects the oppression and wrongdoings unleashed on the masses,” once remarked the legendary musician Berekhet Mengisteab who characterized Yemane’s passing as a loss of unimaginable proportions. Yes, Yemane was the people and the people are Yemane.

On January 21st, 1949, the revolution that dared to be broadcasted arrived as a bundle of joy to Mr. Gebremichael Bisirat and Mrs. Azeb Gebrehiwet. Yes, this date marked the birth of the Eritrean griot whose revolutionary and defiant music would force him to flee his beloved Asmara 26 years later. Yemane’s interest in poetry began to bubble into the surface when he was in 7th grade at Camboni School. Soon after, his interests expanded into music and theatre. As time progressed, Yemane found himself gravitating into the world of performing arts; to the dismay and relentless opposition of his parents. Completely overtaken by the passion that gave him the power to defy his parents insistence that he should solely focus on his studies at Kidisti Mariam, Yemane would eventually drop out of school when he was only in the 9th grade. Although Yemane was an excellent student, he simply could not resist his true calling. With his heartfelt approach to his passion for music and his knack for moving lyricism, Yemane soon began to grip the imagination of the youth in Asmera.

Yemane’s passion was growing against the backdrop of hectic political unrest in an Eritrea that was gripped by the feudalist system of Emperor Haile Selassie. Any vocal opposition against the regime’s annexation of Eritrea resulted in dire consequences and any Eritrean voice was closely monitored and heavily censored. It seemed inevitable then that the combination of youthful vigor and strong commitment to the rights of Eritreans would soon bring trouble to Yemane. The very first song Yemane wrote, entitled “Lula” landed him in prison. The song’s content -about a man whose soul mate was snatched by a cruel intruder- was considered to be a veiled political message addressing the annexation of Eritrea by Ethiopia. Here is a translated verse from the song “Lula”:

Harmoniously and in love/she once lived with me A certain someone has taken her/and trouble has befallen me He forcefully invaded her sending his subjects She was once with me but now he has taken her to his country How dare he snatch her away from me How cruel he is/to poke my eyes out like this

The practice of veiling a political message as a romantic song was and has been a common practice by some Eritrean singers. I believe this practice speaks for both the love many Eritreans have for their country and the level of danger they are willing to take to speak on behalf of the oppressed and the voiceless. Inevitably, fearing the consequences of the revolution they carried out with their musical talents, many singers have left their beloved nation and people for a life in exile.

The Eritrean judge, who was deeply concerned about the possibility that Yemane could face death for his lyrics, prolonged the case to buy time. Fortunately for Yemane and, in retrospect, for the people of Eritrea, his case was dismissed when Haile Selassie’s regime was unseated by Derg. Taking advantage of this chaotic time of transition, Yemane Barya did what he always wanted to do but couldn’t (for fear of endangering the lives of the people who bailed him out when he was jailed); and joined the Eritrean revolution. In 1975, Yemane joined the Eritrean Liberation Front (ELF) and underwent 3 months of military training. During his time, since there was no electricity in the base, Yemane was performing without a microphone. He later left for Sudan and then to Saudi Arabia; where he continued his revolution through his wonderful deeds and music.

Yemane’s inexhaustible kindness, generosity and love for his people is not something that is merely to be pointed out with simple references to his powerful music. He was a man who walked his talk. While in Sudan, he aided hundreds of Eritrean refugees cross over into Saudi, Europe, the US etc. where they were able to make better lives for themselves. “His generosity knew no boundaries!” says his mother Mrs. Azeb Gebrehiwet, recalling the time when she visited him in Sudan. “He had a sack full of sugar outside his door and a tea kettle with some cups. All who came to his house didn’t have to be asked if they would like some tea, they felt so much at home that they would simply go ahead and make tea as much as they please.” Concerned that her son’s generosity was bordering foolishness during such a difficult time when sugar was as scarce and as expensive of a commodity as everything else was , his mother thoughtfully advised Yemane’s wife to at least put the sugar inside the house. His wife replied matter of factly, “Aye adey! He will simply buy another sack and put it out there again.” Yemane was not a man of wealth, but he shared the little he had with his people. There are several Eritreans who would recount about how Yemane personally helped them get to where they are now. Yemane knew all it took to help his fellow men was nothing more than the will to do so.

Even after independence, Yemane never ceased to be the man who stood for the voiceless and the poor. His sister, Ms. Asefash G/Michael recalls the time when Yemane, disturbed by the economic hardships the poor faced, asked, “When will this people see a better time?”. Curious, she inquired why he asked such a question. He replied, “How great it would be if the poor and the wealthy could exchange places only for one day! Each would see and understand the other’s reality. It breaks my heart when the poor and the wealthy pass away without tasting each other’s poverty and wealth.”

While the Sudanese, recognizing the extent of his love for his people, affectionately called him “The Ambassador”, Abo dikha or “The Father of the poor ones” was the title his fellow countrymen gave him. After the Eritrean independence afforded him the opportunity to finally return to his beloved Eritrea, Yemane continued his philanthropic deeds by engaging in countless shows to fundraise for the Eritrean tegadeltis who lost their limbs during the revolution. Off the stage, he was the father figure for many mentally challenged youth who were treated as outcasts by many members of the society. When this powerful griot and champion of love finally left his earthly existence in 1997, the heavy grief felt by the thousands who came to bid him farewell was further accented by the heart shuttering cries of the poor and forgotten who called Yemane, their father.

On the same day of his death, Yemane Barya was slated to start recording a compilation album with some other notable artists. In addition to planning the remixing of his music in various languages, he was also preparing to tour abroad. It is painful to lose someone as inspirational and talented as Yemane was, but the lives of revolutionaries are hardly lengthy. I suspect there’s a lesson in this fact that just may be as powerful as the lesson in the purpose they serve. When he departed, the man who lent the veins of his heart to Eritrea so that she can strum on them as if they were the strings of kirar was only forty eight years old. Yemane was a half-century old revolution that lives on even today.

I was playing the legend’s tunes as I began to write this piece. Although appreciative of the acoustic clarity affording me the opportunity to appreciate the sounds of the artist who inspires me beyond description, there was something constraining and unholy about putting Yemane’s music in my plastic, artificial and distanced ipod. It almost felt as if I was defiling his timeless and pure voice, and I somehow drifted into the past when I used to listen to Yemane’s purposely unmarked tapes.

During the Derg’s era, it was dangerous to get caught with his tape in hand. However, something in his music and his words awoke a certain rebellion spirit, no matter how timid, quiet and tamed. His tapes were dubbed and passed among my friends so many times that the string would often break. I knew that my mother would go crazy if she found out what happened to those tapes, so I used to glue those strings back up using her nail polish. It was quite amusing to witness her become puzzled about how fast the beat went from a single tempo to derb, skipping all of the noticeable substance in between. Anyway, I was lucky enough to appreciate Yemane Barya’s music the way I did and the way I still do. I could hear what he is saying and what he meant because it is sang in the language I know very well. Nonetheless, I couldn’t help but ask myself a question I already knew the answer to: why do the young Eritreans in the Diaspora whose Tigrigna vocabulary doesn’t go past the basics, love Yemane Barya’s music? The answer is obvious, he speaks to and with their souls. No translation is needed. His voice tells it all and wordlessly they nod back saying, we get you Yemane.

May our powerful griot rest in peace. May we recognize, nurture and love our future griots; the griots who speak for the voiceless, for the downtrodden, for those deprived of justice and their God given rights!

Legends are destined, not made. Purpose is sought after, not relayed.

Rest in peace Yemane Barya.



   cd  1   

01 - Yemane Barya - Elamana (7:39)
02 - Yemane Barya - Dekesmara (6:20)
03 - Yemane Barya - Meriruna Sidet (7:18)
04 - Yemane Barya - Bukhriie Ayney (6:33)
05 - Yemane Barya - Melekhti Harbegna (13:45)
06 - Yemane Barya - Ketekelyu Emababa (8:16)
07 - Yemane Barya - Men Kewdadera (22:05)



   cd  2   

01 - Yemane Barya - Girma Zasela (5:44)
02 - Yemane Barya - Wegiha (6:50)
03 - Yemane Barya - Hadish Miraf (7:43)
04 - Yemane Barya - Tsnaat (8:03)
05 - Yemane Barya - Ztsenheyu sdet (6:51)
06 - Yemane Barya - Damika werhi (8:14)
07 - Yemane Barya - Ethiopia (6:33)
08 - Yemane Barya - Ekieloye (6:20)



Tuesday, December 2, 2014

Haile Gebru [eritrea]






Eritrean legend Haile Gebru





01 - Haile Gebru - Track 4 (3:05)
02 - Haile Gebru - Track 5 (3:03)
03 - Haile Gebru - Track 6 (3:26)
04 - Haile Gebru - Track 7 (3:14)
05 - Haile Gebru - Track 8 (3:03)
06 - Haile Gebru - Track 9 (3:53)
 07 - Haile Gebru - Track 10 (3:19)
 08 - Haile Gebru - Track 11 (2:24)
 09 - Haile Gebru - Track 12 (1:06)
10 - Haile Gebru - Track 13 (4:59)
11 - Haile Gebru - Track 14 (3:15)
12 - Haile Gebru - Track 15 (4:24)
13 - Haile Gebru - Track 16 (3:49)
14 - Haile Gebru - Track 17 (3:25)
15 - Haile Gebru - Track 18 (3:44)
16 - Haile Gebru - Track 19 (3:44)
17 - Haile Gebru - Track 20 (4:28)


Thursday, November 13, 2014

v.a. - State of Eritrea - Natasha Stallard Transmissions 004 [2013] [eritrea]




       "Last August, I spent a week or so in Eritrea during the country's annual cultural festival. I was alone and documented a lot—buidings, food, the names of internet cafés, among other things. Hunting for music, I spent a lot of time in a small music shop opposite the Asmara post office. I was looking for RnB, but fell in love with the cover artwork of the EPLF (Eritrean People’s Liberation Front) cassette tapes instead. Recorded in the ‘70s and ‘80s, the songs were sung, performed, recorded and distributed among the various EPLF contingents during their 21 year struggle against the Ethiopian occupation and its infamous Derg, before winning independence in 1991.

       The silky voiced Tefono and female freedom fighter Abrehet Ankere were among the most popular singers as well as the much-loved Wedi Tikul,. The songs are still listened to today—mostly on cassette tape—and even the saddest lyrics move along happily with a popcorn kind of rhythm."

NJ Stallard





tracklist :

01 - Kede'At Deki Hager — Fihira
02 — Ayresanayon 77 — Tefono
03 — Wahiz Gu'zo — Zemach
04 — Ab Bebeynu Ewan (Fechew version) — Wedi Tukul
05 — Sahil ilen tebegisen — Nighsti Nigo
06 — Keyih Nebri — Tefono
07 — Halaw Wesen — Gual Ankere
08 — Afriqawit Vietnam — Tefono
09 — Zimtse Yimtsa Werari — Fihira




42:45     72 mb



Wednesday, September 17, 2014

Dashim Mesgina - [2003] - Seketket [eritrea]





Dashim Mesgina - Aiamenkun






01. Dashim Mesgina - Seketket (13:26)
02. Dashim Mesgina - Wesen (5:33)
03. Dashim Mesgina - Aiamenkun (6:48)
04. Dashim Mesgina - Kemzi Kemay (13:43)
05. Dashim Mesgina - Ambesa Eritrea (6:30)
06. Dashim Mesgina - Nesara Gedli (5:34)