Haile Roots - [2012] - Chiggae [ethiopia]

Haile Roots - Melkam Yamarech

       Ethiopian singer Haile Roots released his first album of Amharic-language reggae called Chiggae (indicating a mix of the Ethiopian 6/8 time rhythm called “chikchika” and reggae). 

         Chiggae is the debut Amharic language album from Hailemichael Getnet, better known by his stage name as Haile Roots. The 33-year-old singer came up with a display of real roots, showcasing compelling, melodic riffs and interesting lyrics. The 13-track album, arranged and composed by Elias Melka, takes you on a journey of love, righteousness, empowerment, and is filled with rhythms that blend perfectly with his incredible voice.

       Haile first came to attention years ago when he was featured in Teddy Afro’s ‘Bob Marely’ and he later released a single track tilted ‘Yes I’ that he played live at Juvents Club and Millennium Hall. That single track is included in the newest album under a different title, Ethiopia. 

     Recorded in Addis Ababa’s Begena Studio, the new album is engaging and entertaining collection on issues of solidarity, unity, exile, loss of youth and transcending bitterness. Jamaican and Ethiopian stars ranging from Luciano to Mikey General and Eyob Mekonnen have been featured in the album. Continental drift has rarely sounded funkier.

     Album opener Woudnesh is an encouragement for women and affirmations of faith in the power of the human spirit. The singer appeals to young Ethiopian women to be strong in the face of sexual exploitation, and material obsession. Life’s challenges can be met, he says.

The title track Chiggae is a hybrid of the Ethiopian chikchika and Jamaica reggae, putting a distinctly local spin on the reggae form. The lyric goes :

Leave me alone sadness and sorrow

The sun will shine tomorrow

No more cry and sad life again

I will be stronger than my pain

  

       The relative manner provides the ample story telling for that particular thing that has happened to us all. This is particularly evident in the sixth track, Yetefa yigegnal, where the claps summon the urgency required to claw forth the truth for the prospective listener. Melkam Yamarech, showcases the singer’s romantic side.

         The twelfth track Harambee (which in Swahili means unity) also shows strength in arrangement. It has a very nice atmosphere and the instrumentation progresses enough underneath it to give you a sense of development.The message calls for creating the environment for African to move together as one people. “The more we realise what we can do together as a unit, the farther we will get as an African nation,” he says.

The lyrics go :

Weh need so much love inna Africa Land

Righteousness di way fi all human kind

No more tribal war no more confusion

One love my people one revelation

      Overall, Chiggae is one of the better contemporary reggae albums to be heard in a while, with its evocative songwriting and neat production. His homilies about peace, hope, love, unity are sincere, delivered with power, accurate time and pitch.

Haile Roots - Wedenesh (4:21)

Haile Roots - Bado Neber (3:28)

Haile Roots - Chiggae (3:03)

Haile Roots - Nisueh Quanquayie (4:10)

Haile Roots - Byemehalu (3:59)

Haile Roots - Yetefa Yigegnal (2:58)

Haile Roots - Melkam Yamarech (3:59)

Haile Roots - Ethiopia (4:45)

Haile Roots - Chew Lerasesh (3:51)

Haile Roots - Leman Biyie (4:05)

Haile Roots - Harambie (3:53)

Dub Colossus - [2014] - Addis to Omega [uk + ethiopia]

Addis To Omega - Dub Colossus Soundsystem

         Although Dub Colossus made their name fusing Ethiopian music with reggae and funk, in this, their fourth album, band leader Nick Page has rung a change in focus: a departure from the home of Rastafari icon Haile Selassie I for a thorough exploration of Jamaican influenced sounds.

      Addis to Omega is bursting with funk-influenced reggae and stripped back dub, brash dancehall, jumping ska, and sincere lethargic grooves.

         The album opens with Nick Page's alter ego Dubulah's bold fuzzy bass and Joseph Cotton's post-Rastafarian vocals on Boom Ka Boom (and the Dub Disciples). At first appearances a strong dancehall track, key changes and eerie chord progressions hint at further depth.

        The record continues to feature prominent vocals, but Dub Colossus are at their strongest on their instrumental pieces Soft Power, Tale of 2 Cities, and the epic Orpheus Underground. Without the distraction of accomodating authentic vocals and traditional song structures a space is formed for composition, open improvisation and more profound mood changes.

    Although recognisably following a reggae-based theme, the impressive and diverse collection of contributors on the release occasionally introduces a surprise. Natacha Atlas and Samy Bishai bring a more exotic sound on The Shape of Things to Come - a song more Arabian than Carribean - or the atmospheric A Voice Has Power featuring the mesmerising low rumbling vocal work of Albert Kuvezin.

       Family Man and the title track give the brass contributors Horns of Negus time to develop classic long brass chordal lines, while the funky Fight Back provides opportunity for Ben Somers to channel Maceo in his tenor solo.

A well-executed exercise in reggae-fusion, Addis to Omega is a fifteen track journey through the many facets of its sub-genres. Afro-beat percussion and pentatonic Ethio-Jazz have been swapped for political lyrics, fast-paced reggae and clean dub. While Dub Colossus have undeniably changed musical tack, the original twists and large collective approach remain the same.

review by Dan Bergsagel

Dub Colossus - Boom Ka Boom (and the Dub Disciples) (4:21)
Dub Colossus - Family Man (3:53)
Dub Colossus - The Casino Burning Down (5:05)
Dub Colossus - We Are the Playthings of the Rich and Famous (4:05)
Dub Colossus - Fight Back (4:42)
Dub Colossus - Addis to Omega (Amnesis Mix) (5:33)
Dub Colossus - Keep On Rocking (6:17)
Dub Colossus - Soft Power (4:17)
Dub Colossus - Madmen (3:50)
Dub Colossus - Mi Dad (3:18)
Dub Colossus - A Tale of Two Cities (4:34)
Dub Colossus - The Shape of Things to Come (5:46)

Dubulah (Nick Page):

drums, bass, guitars, vocals, keyboards, Dub FX, programming, percussion; 

Nick Van Gelder: drums; 

Dani Fabregas: drums; 

Winston Blissett: bass, vocals; 

Sebastian Martinez: bass; 

Bernard O’Neill: double bass, piano; 

PJ Higgins: vocals; 

Mykael S. Riley; vocals; 

Toby Mills: keyboards, percussion; 

Tim Whelan: piano, zither; 

Horns of Negus (Ben Somers, Neil Waters, Bob Dowell): 

brass and woodwind; 

Paul Chivers: percussion, drums, keyboards; 

Harry Brown; trombone; 

Orphy Robinson: vibraphone; 

Samy Bishal: violin; 

Boleslaw Usarzewski: mandolins;

Simon Smith: melodica.

Zeleke Gessesse - [2010] - Come to me [ethiopia]

       A political refugee, Zeleke Gessesse, was forced to leave his beloved homeland of Ethiopia 30 years ago after the nation fell into a crippling state of political suppression and economic strife. His personal eventually led Zeleke to the United States, where he persued studies studies at the university level, and focused intently on developing his burgeoning musical career. Eventually, Zeleke was joined by his brothers and fellow musicians from Ethiopia. As a musical collective, they formed a band called Dallol. Zeleke’s band was signed in the early eighties to Bob Marley’s TUFF GONG label. In 1984, Zeleke’s musical innovations and talents earned him an invitation to join Ziggy Marley & The Melody Makers. For nine years, Zeleke served as a integral member of the band, touring the world, and echoing Jah’s message to the masses.

       Throughout his tenure with The Meloday Makers, Zeleke was a key contributor to the albums Conscious Party and One Bright Day. In particular, his musical input was critical in the development of the tracks “Tomorrow People,” and “Black My Story,” two of the bands most popular and widely adored songs.

       During his successful musical career Zeleke was able to, eventually, accumulate enough capital to purusue a dream he had long harbored. He had always dreamed of owning and operating a world class, live music venue. His vision was to create a venue where the best Reggae and World Music artists could showcase their talents in a positive environment.

       In 1986, Zeleke became a partial owner of The Wild Hare, which is located in Chicago, Illinois, and he has spent the last 24 years investing his heart and soul in to crafting it into something truly special. The results of Zeleke’s hard work are evidenced by the celebrated reputation The Wild Hare now enjoys on an international scale. In 2007, major interior renovations were completed; the most dramatic to date. These enhancements serve to enforce the visitor’s perception that they’ve entered into a dynamic and exciting cultural oasis. The beauty of the new interior, combined with highly sought after artists routinely stalking the stage, has created a common perception amongst music lovers that The Wild Hare in the same pantheon as Chicago’s most regal musical landmarks. 

       In addition to The Wild Hare into the respected venue it is today, Zeleke has never stopped recording, producing and performing his own transcendent music. His critically acclaimed albums include Come to Me, Out of Africa and Selam. The eclectic musical infusion one hears in Zeleke’s music is truly unique. He often employs Ethiopian and reggae rhythms. Lyrics are sang in both Amharic and English - with a spattering of Jamaican patois mixed in as well. This unique music results in a pleasing, signature sound which has gathered him a fiercely loyal following. As most critics agree: Zeleke’s music is truly a rarity in its universal ability to inspire, enlighten and entertain.

       Though very much a musical icon in Chicago, Zeleke’s heart belongs to his motherland. In fact, his ultimate dream is to build another Wild Hare, along with a recording studio, back home in Ethiopia. In doing so he will come full circle and complete the journey he began decades ago as a refugee fleeing his homeland with only a dream.

01. Come On Down 3:27

02. Don't Let Me Down 3:57

03. I Don't Want To Lose You 4:24

04. Shivering Me 4:48

05. Ahun Ahun 4:33

06. Slippin' Into Darkness 4:07

07. Universal Children 4:41

08. Kotumae 4:49

09. Ethio Melody 4:01

10. Inner City Blues 3:52

11. Ashkaroo 4:18

Dawit Ghebresenbet - cassette [eritrea]

originaly posted HERE >

       Found this album on great blog previously unknown to me, but it's worth researching.

       As well as creator of Lola's blog, I can't find any information about Dawit Ghebresenbet. 

      Any help is welcome. Enjoy nice and smooth sound of eritrean pop and reggae.

Nazarenes - Meditation [2012] [ethiopia-eritrea]

                Steeped in Rastafarian grooves, produced by a St. Croix native, and two brothers as singers, Noah and Medhane Tewolde, come from Addis Ababa, Ethiopia. 

          The European-based brothers incorporate pan-African elements, island grooves, Jamaican jive, and pop-funk creations. 

           The reggae-inspired album contains jazzy influences, funky beats, and vivid vocals with meaningful lyrics and spiritual connotations. The lyrical worldplay and dancehall sound showcases Nazarenes diverse song repertoire with a laid-back, funky feel that is anything but boring. 

            Fourteen Jah-inspired musical tracks showcase the great amount of creativity and soulful inspiration that give Meditation a shining element that succeeds without a doubt.

01. Nazarenes - Meditation (4:42)
02. Nazarenes - Food (4:18)
03. Nazarenes - It's Too Late feat. Lutan Fyah (4:05)
04. Nazarenes - Mother (3:47)
05. Nazarenes - On My Way (4:11)
06. Nazarenes - The Lord Said feat. Midnite (4:56)
07. Nazarenes - Mamy Blues (4:31)
08. Nazarenes - Alive (4:03)
09. Nazarenes - Everlasting (4:26)
10. Nazarenes - Politrickcians (4:18)
11. Nazarenes - Get Together (3:35)
12. Nazarenes - Destiny (4:50)
13. Nazarenes - Lonesome Lady (3:41)
14. Nazarenes - Love Jah (4:13)

Invisible System - Punt [Made in Ethiopia] [2009]

                                                    R  E  U  P  L  O  A  D   

       Invisible System is the pseudonym for the UK & Africa producer Dan Harper whose music is an eclectic fusion of Ethiopian, dub, reggae, techno, trance, drum and bass, jungle, acid, psychedelic, folk, post-punk, goth and rock.

       Traditional vocals & instruments meet the modern, electronic and brass. Recorded in Ethiopia.  Live Europeans meet live Ethiopians! 

       The songs were improvised, from scratch - all instruments and vocals. Improvisation was a largely new concept to most of the Ethiopian counterparts (previously told what or how to play or sing). Dan just went from go with your feelings and express them as Dan had done. The results were stunning both for them and for us. We are not into using Ethiopian (or Malian) samples or trying to quickly learn and imitate Ethiopian musicians who have their sounds, modes, scales, feelings and soul from their culture and country else we would be the neo-colonialists. We are into sharing, learning and exchange over time.

       Dan spent 3 years in Addis Ababa not 3 weeks, living, working and existing there. Aid working all around the country, producing music based in Addis. He Met people from all walks of life. The music is based on real life experience not from reading. It is played from the heart and soul of everyone involved. Their own interpretation thus tapping the ebbs and flows of our lives.

Hear What the Critics Have to Say!

---‘sturdy Ethiopian vocals are matched against backing that veers from wailing psychedelic rock to trance, trip-hop and dub, it's an impressive achievement.’  - The Guardian, Robin Denselow

'New rave goes global. The rave crowd may love such deranged energy.' - Uncut, Nigel Williamson

---‘you can imagine this becoming a mind blowing rave classic, pushing the envelope

 beyond Ethiopqiues nostalgia.’ - MOJO, David Hutchenson

---’there's a pleasing headiness to its rough charm’ - The Independent, Andy Gill

---‘a startlingly original combination of Ethiopian roots and pop with dub, electronica and psychedelic rock’ - fRoots, Jamie Renton

---‘this wonderfully strange and slightly otherworldly album’ refuses resolutely to be pigeon holed. One of the most startlingly original musical adventures of the year giving a whole new meaning to the term ‘fusion music’. - R2 / rock N Reel, Dave Haslam

---‘like an exotic mythology flung into outer space‘ - World Music Network, TJ Nelson

---‘It’s an album that, to its credit, solidly defies easy description.  It needs to be heard several times and each reveals a new delight’ - AllMusic.com, Chris Nickson

---‘Each time you hear the songs, you hear something different as this will be the longevity of this world class fusion CD’ - LAsThePlace.com, Los Angeles

---'I encourage everyone to check it out, but not try to capture it..just feel it.' - Max Benkole Jarrett, BBC World Service

---‘Brings together a fine mix of musicians to create a festive-sounding album recorded in Ethiopia’ – New Internationalist