Feedel Band - various songs [usa+eth]

        Feedel Band is a Washington DC based Ethio-Jazz Band and has been performing as a self contained unit, as well as supporting Ethiopian artists like Tilahun Gessesse, (The king of Ethiopian pop music), very recently with Aster Aweke (The queen of Ethiopian soul music) on her current “Ewedihalehu” or "I love you" US tour.

       Feedel band’s is founded in 2010 by Araya Woldemichael, and weeks later, his current band members joined him and together they have formed the first native Ethiopian group in north America as an Ethio -jazz music-oriented band that starred Moges Habte on Sax, Alemseged Kebede on Electric bass, Araya Woldemichael on keyboards and Samson Juffar on drums. After Samson Juffar’s departure to Ethiopia, drummer and percussionist Mikias Abebayehu took Samson’s place. In addition to guitarist Kaleb Temesgen and  drummer J , Trombonist Ben Hall and krarist Minale Bezu, the band found Its own and a very unique Ethio - jazz  sound. 

       Feedel or (alphabet) are Ge’ez script and a unique Ethiopian characters that are entirely phonetic structured in seven columns. In other words, each character in the Geez Feedel system has seven sounds. Feedel are not only a dazzling of human creativity but also, in practical terms, a powerful medium for communication and social interaction. The power of Feedel resides in the characters ability to represent virtually every sound. The ancient Ethiopians, who invented Ethiopic writing system, were poised, it seems, to capture and harness all sounds in the universe.

Feedel Band - Belhame

            Since 1997 the Éthiopiques series has made Ethiopian music a hipster obsession, exposing jazz heads and rockists to the jazzy funkiness that emanated from East Africa in the ’60s and ’70s. (Never heard of the collection? You may have heard songs from Volume 4—there are now 29 volumes in total—in Jim Jarmusch’s 2005 film Broken Flowers.) 

             Feedel’s sax player Moges who was born in Addis Ababa, and can be heard performing the funky James Brown Band-influenced cut “Muziqawi Silt” on Éthiopiques’ Volume 13 with his ’70s group The Walias Band. On the other hand Feedel's bass player Alemseged  Kebede's great  groovy bass lines can be found in Aster Aweke and Tilahune Gessesse's music. Feedel Band’s sound can best be described as a merging of ’60s R&B, funk and jazz with traditional Ethiopian songcraft. 

Feedel Band - Araya's Mood

       Feedel Band is taking Ethiopian music and Jazz, and blending it into a simmering stew of musical genre’s, textures and feeling. These boys have real feel – for their music, for their audience and for each other. Playing with maturity and passion is second nature to all of them ... 

       Feedel band has devoted much of a creative career spanning almost 20 years to this eternal, inspiring form - the very base and roots of Ethio-jazz.... gather inspiration from The Golden Age of Ethiopian popular music in the late 1960s and 70s— a time that had Addis Ababa littered with groups playing a brass-heavy concoctions influenced by American soul and jazz. So here they are, as enthusiastic as ever - Ethiopian's finest, most skilled practitioners in the art of the Ethiopian music. They take their newly created original pentatonic melodies and repurpose them with mutated instrumentation like 60s and 70s-era Ethiopian grooves: Congas, electric Guitar, Bass, Saxophone, traditional Krar, Masinko, Piano, Organ, Trombone and Drums. 

     What sets Feedel Band apart from other acts that play Ethio-Jazz style of music is that they commonly hybridize the regular Jazz style with Ethio-Jazz genres, or modernized the sound with out loosing its original traditional texture or feeling. The energy and power is overwhelming. They are creating and in some cases re-creating the musical language of what has been called Ethio -Jazz. 

      Since the bands inception, the reception that Feedel has received has been extraordinary. At FestAfrica 2011, APAP showcase "Drom" New York City, World cafe live Philadelphia, Global roots festival Minneapolis, MN and  most recently at The Kennedy Center in 2014 and the audience was enamored with their warm and engaging style. While their music is inspired by the Golden Age of Ethiopian popular music, but Feedel Band always perform their own original music. 

       Their newly released CD is called “Ethiopian Ocean” 

                           Feedel Band on Soundcloud : here   

   Feedel Band official site : here   

01 - Feedel Band - Tropicalia 8-2-14 (6:21)

02 - Feedel Band - Araya's Mood (8:24)

03 - Feedel Band - Girl from Ethiopia (7:35)

04 - Feedel Band - Ethiopian Ocean (Ye Ethiopia Baher) (10:32)

05 - Feedel Band - Behelme (5:54)

06 - Feedel Band - Feedel Band (8:01)

07 - Feedel Band - Mestafaker (6:41)

v.a. - The Ethiopian Millennium Collection - CD2 - Ballads [2007] [ethiopia]

Disc 2: The Ethiopian Millennium Collection - Ballads

        Relax and enjoy these sometimes melancholy, often nostalgic but always soothing ballads.

       The golden age of Ethiopian popular music (as heard on the fabled ETHIOPIQUES series) is famous in part for the sparsity of material that it yielded: The state-owned recording industry was largely a ramshackle government vanity, and while music of the music it captured was strikingly haunting, only a few dozen tracks were recorded in the 1960s and '70s... 

Muluken Mellesse - Minew Kerefede

       Since then, the floodgates have opened as Ethiopia has more or less entered the modern world -- more artists are making and recording more music than was dreamed possible back in the politically repressive "good old days," and the fruits of this renaissance are heard on this 6-CD set. 

     Each of these discs is also sold separately, and each centers on a general theme -- one for ballads, one of traditional music (which is quite nice), a disc's worth of contemporary dance music and one of "chic-chic-ka" rhythm, a popular modern style. There are also two discs worth of instrumental music -- one featuring recent recordings of more traditional themes is quite nice, while the other has a contemporary feel and is closer to modern "smooth jazz." 

      The tracks are from the late 1990s and early '00s -- the artists are generally younger, more modern musicians, although a few old-timers like Mahmoud Ahmed are still alive and kicking, and sound as cool as ever. Although this collection doesn't have the same eerie power as the '70s-era recordings, anyone who got into the ETHIOPIQUES discs will want to check this out as well, to see where the music has gone since then.

01 - Mahmoud Ahmed - Tizita (11:08)

02 - Theodros Tadese - Zimita (6:27)

03 - Hamelmal Abate - Djimire (6:41)

04 - Alemayehu Eshete - Kehak Atsewirugn (5:22)

05 - Dawit Melllesse - Firejign (6:16)

06 - Rahel Yohannes - Tizita (6:11)

07 - Theodros Kassahun - Kezebiye (5:53)

08 - Hirut Girma - Nefs Neh (5:54)

09 - Muluken Mellesse - Minew Kerefede (8:22)

10 - Hana Shenkute - Tefagn Bilihatu (5:41)

11 - Mahmoud Ahmed - Teyikesh (6:34)

Haileye Tadese - Fikir [2012] [ethiopia]

Haileye Tadesse - Enem Lazimelesh Dire

01 - Haileye Tadese - Eskemeche (እስከመቼ) (5:12)
02 - Haileye Tadese - Fikir Ene ena Anchi (ፍቅር እኔ እና አንቺ) (5:41)
03 - Haileye Tadese - Are Min Bewetan (ኧረ ምን በወጣን) (5:28)
04 - Haileye Tadese - Eyamu Tselot (እያሙ ፀሎት) (4:44)
05 - Haileye Tadese - EndeAfish Yadrgew (እንደ አፍሽ ያድርገው) (5:00)
06 - Haileye Tadese - Yawim Keftogn (ያውም ከፍቶኝ) (4:34)
07 - Haileye Tadese - Enem Lazimilish (እኔም ላዚምልሽ) (5:20)
08 - Haileye Tadese - Enchi Ejen Michi (እንቺ እጄን ምቺ) (4:32)
09 - Haileye Tadese - Min Litinegrign New (ምን ልትነግሪኝ ነው) (5:38)
10 - Haileye Tadese - Fikir Kirbu Menged (ፍቅር ቅርቡ መንገድ) (4:14)
11 - Haileye Tadese - Meche Tefan Egna (መቼ ጠፋን እኛ) (4:53)
12 - Haileye Tadese - Kuru Nech Nefsua (ኩሩ ነች ነፍሷ) (3:58)

Arki Sound - Arki Sound [2015] [usa+eth]

Arki Sound

Arki Sound - 'Jazeta' (Tezeta)

Influenced by the classic recordings made in Ethiopia in the 1960s and 1970s, Arki Sound performs music for your dancing and listening pleasure.

01 - Arki Sound - Bemen Sebeb Letlash (5:31)

02 - Arki Sound - Ere Mela Mela Dubby Spoil (2:51)

03 - Arki Sound - Ere Mela Mela (5:02)

04 - Arki Sound - Gaddis Addis (4:18)

05 - Arki Sound - Hedetch Alew (3:26)

06 - Arki Sound - Jazeta Love a Dub in Outer Space (5:29)

07 - Arki Sound - Jezeta (6:32)

08 - Arki Sound - Kulun Mankwalesh (5:22)

Formed in New York City in 2009, Arki Sound consists of:

Marcus Cummins - alto and soprano saxophones
Frank Marino - drum kit
Samson Kebede - bass
George Taylor - guitar
Andy JordanTexas - tenor (emeritus)

Nazarenes - Rock Firm [2008] [ethiopia]

   R   E   U   P   L   O   A   D  

       The Nazarenes sound is a fresh and vibrant blend of Roots-Reggae with an array of melodies and savvy arrangements that are complimented by haunting vocals. The music is both spiritual and inspirational and carries a much-needed message of love, hope, pride and respect for one another.

       Their debut album "Orit" was released in 2001 by Insteel Sounds and the much anticipated second album "SONGS OF LIFE"  was released in Europe (autumn  2004) by Heartbeat/Rounder Europe. The album is also released in USA & Canada (summer 2005) by Heartbeat label.  

     Their music is a unique and powerful addition to the ever expanding Diaspora of reggae music as well as a stunning tribute to the talent and dedication of this duo.  

       Since the release of, Orit, Nazarenes has built up a solid reputation throughout Europe and have consequently developed large and devoted followings of fans.  The duo is especially well known in Europe and their unique talent has also gained them recognition in England, Canada, U.S.A. and the world wide reggae scene.  After the release of their first album, Nazarenes have been touring and performing at many of the larger festivals in Europe, such as, Summer Jam (Germany), Roskilde festival (Denmark), Oslo world music festival (Norway), Rototom Sunsplash (Italy) and Uppsala reggae festival (Sweden), to name few. Their powerful stage presence and extraordinary musical arrangements has won them the title of being one of "The most excellent, hypnotic and unforgettable" live act of every festival and concert in which they perform.

        Growing up in Addis Ababa, Ethiopia in the mid 70´s among a large close-knit family, the two brother’s love of reggae distinguished them from their peers. Reggae was considered underground, not mainstream, and was not featured on the radio or played in the cafés and clubs that dotted the city.  Despite the scarcity and the lack of due promotion, the hypnotic rhythms and conscious message of the music engulfed the heart and soul of the entire Tewolde family. It was around this time that 12-year-old Medhane received his first guitar and began to scratch. The course of the Nazarenes was set.

       Over the years many precious experiences have been gained. In the 80´s, Medhane and Noah played with various bands in Europe (mainly Sweden and Germany) with Medhane on guitars and lead vocals and Noah on bass and back vocal.

       In the 90´s, Medhane teamed up with some well known Jamaican Reggae bands including Iqulah, Culture Knox and Mamma Booker (Bob Marley´s Mother!) for a European and African tour. 

       At this time, Noah took up lead singing and in 1992 he was discovered in Gothenburg, Sweden.  A solo record deal with Virgin Records followed along with the release of three singles, one of which became a big hit in Sweden. In 1994 Noah´s debut album was released through Virgin Records under the name Anbessa.

       In 1996, Medhane and Noah reunited their forces and engaged on a new venture, which encompassed their own style and vibe as well as their spiritual and conscious views of life. 

      The culmination of this partnership is the phenomenal Nazarenes, musical pioneers that are going forward to blaze a trail for a music that they have made their own. 

01 - Solid As A Rock 

02 - Same Shit 

03 - Don't Let Me Down 

04 - Roots 

05 - Let's Chill Down 

06 - Walking In The Rain 

07 - Crash Dem Wid Love 

08 - I Wanna Shout Loud 

09 - Your Time Is Up 

10 - Marvellous 

11 - Our World 

12 - We Stand Firm 

13 - Jungle

Michael Belayneh - Ante Godana [2005] [ethiopia]

   R   E   U   P   L   O   A   D   

       For Michael Belayneh, becoming a musician was not something that happened with a stroke of luck, it was a dream he lived through his teenage years. Michael, who was fully intent to realize his dream, first took to the stage, to perform for a live audience, at the Concord hotel as a replacement for an English music singer. From that day on, his music career was off to a promising start. A variation of the stories we are usually told, Michael Belayneh chose to lead the life of a musician rather than pursuing other occupations. 

       He originally graduated from Bahirdar Poly Technique University which then was followed by a degree in Political Science from the Addis Ababa University. The singer who was born and raised in the heart of Ethiopia, Addis Ababa, performed with various bands in Addis as a part timer, until he finally answered his real calling and become a full time musician. 

     The HIV awareness campaign song, "Madebabes Yekir" as it was known by the public, was his first exposure to a very large audience. This melody for this very popular song was written by this gifted artist and was performed in collaboration with various popular young Ethiopian musicians. Being inspired by the song and the reaction of the public, he immediately started working on his first album. He became an instant sensation across Ethiopia after making his debut album “Ante Godana” in 2005. The album which was written and produced by Michael Belayneh was composed by Elias Melka. The overwhelming support from music fanatics made the album a huge success. The songs had been on the most requested lists of both local TV and FM stations since the album’s release.

       After signing up with Adika Communication and Events, a company who has been termed by many as the rising star in the entertainment industry of Ethiopia, Michael Belayneh is all set to drop his second studio album in the market. Titled “Nafekeot ena Fiker”, meaning “yearning and love”, Michael Belayenh’s new album is ready to capture the heart of music lovers once more. Done with delicacy and innovative creativity this album took 2 years to complete. With 13 mesmerizing tracks Michael is ready to share his love for music with the world. This new album features the works of celebrated artists like Geberkerstos Desta and Tewodros Tsegaye, along with other works of aspiring talents. The music is arranged by Michael Hailu, who has also shown his exceptional ability in arranging music through the works of Teddy Afro, Abel Mulugeta and Zeritu Kebede. Full of passion and love, it’s easy to envisage that “Nafkot ena Fiker” will become a thriving hit.

       Michael’s works are done under the concept of delivering better sound, mostly thinking of quality music, believing the audience is in search of good music and new feelings. The singer who is rarely at a loss for words when he talks of his passion for music, writes the melody for most his songs.

      As a leisure pursuit, Michael Belayneh prefers listening to music, reading, spending time in the company of his friends and enjoys the serene feeling of driving on a long, quite road. 

       He’s grateful for all his fans for their love and support throughout his music career and is sure that the new album will meet up their expectations.

01. Michael Belayneh - Neggeregn (4:27)

02. Michael Belayneh - Lekas Lebego New (6:22)

03. Michael Belayneh - Mesenbet Degu (4:25)

04. Michael Belayneh - It'ebik'ishallo (5:09)

05. Michael Belayneh - Ante Godana (4:54)

06. Michael Belayneh - Yefik'ir Mirch'aye (5:33)

07. Michael Belayneh - Yemin T'al T'al (4:54)

08. Michael Belayneh - Liyewa Liyew (4:41)

09. Michael Belayneh - Sik'e Ishenjishallo (6:42)

10. Michael Belayneh - Hullum T'iru Yihonall (4:58)

11. Michael Belayneh - Mushiraye (4:24)

12. Michael Belayneh - Salayew Beker (4:44)

13. Michael Belayneh - Sayish Esasalehu (5:11)

Abud Mu'tazz - Ethiopian Soul & Jazz Selecta! [ethiopia]

Abud Mu'tazz, São Paulo

Abud (SP/BR) Dj, crate digger and producer highly influenced by Jazz, 70's Funk, Latin Soul and Afro Brazilian music.

      The Middle Eastern music has always been present in my life. My mother, born in Aleppo, Syria, put K7 tapes of Arabic music when I was little. I had my first contact with the Ethiopian music some 10 years ago, when a friend put a CD written with no name and no cover to listen. At that moment, I was totally mesmerized by this music, with a Semitic dialectlike the songs that my mother listened. It was kind of James Brown singing in a different Arab progress with mysterious scales and very powerful metais. 

       A arrangements from that day, I began to research and figure out where it is coming this kind of music, until one day I heard a vinyl collection made by a French label and there were the answers to my questions. Had finally found the source of that mysterious music. Ethiopia came directly! 

       After my discovery, names like Alemayehu Eshete, Mulatu Astatke and became part of my set in jazz dances, at the time of the Berlin Club, in Barra Funda, where he was residing. Even without understanding what is said in the song, the way these artists sing is very expressive. It is essential as repertoire and cultural background to the development of my personal production. This mix down to my song search of Ethiopia, a very specific material selected especially on vinyl for you to travel without leaving your seat.

Abud Mu'tazz, São Paulo

Abud Mu'tazz - Ethiopian Soul & Jazz Selecta! (38:07)

Bill Laswell / Sacred System - [2002] - Book of Exit - Chamber 4 [usa+eth]

      It's difficult to think of a musician more prolific than Bill Laswell. Every year, this guy's name comes on the spine of three to seven albums, not to mention being buried in the credits of probably a dozen more. His brilliance isn't really up for debate-- the sheer consistency of his releases guarantees that-- but after a while, consistency can get a bit numbing. Laswell is excellent at what he does, but truly definitive statements, like the amazing Invisible Design, are rare in his catalogue; his best work is spread out over too many discs to count, instead of being concentrated in one place.

Bill Laswell / Sacred System - Ethiopia

      This is where Laswell's project, the preposterously named Sacred System: Book of Exit; Dub Chamber 4, comes in. Over the years, Laswell has released a veritable pantsload of dub-themed releases, and this new one follows in the much the same vein: deep bass, slow tempos, cavernous echo, and a nebulous sense of composition. As dub releases goes, it's fairly minimal; while there aren't piles of freaky samples-- in fact, there's really no clutter at all to speak of-- it's nothing Laswell hasn't explored many times before.

       The album's six tracks are split evenly between Laswell-composed tests of a dub autopilot machine he's apparently been working on, and three songs he wrote with Ethiopian singer Ejigayehu "GiGi" Shibabaw. While Laswell's chilled-out dub instrumentals aren't bad by any means, they don't hold a candle to the vocal tracks; I'm not sure what language GiGi is singing in when she leaves English behind (Ethiopia has six major languages-- the principle being Amharic-- and several more minor ones), but in the context of the music, it's beside the point, as her mellifluous delivery is ultimately what cuts through the dubby haze.

        Beyond GiGi herself, there's a certain drive to the three tracks she sings on that seems missing from the others. Percussionists Karsh Kale and Aiyb Dieng are consummate craftsmen, but on the dub tracks they're limited to a small window, making it difficult for them to break things up with the virtuosity they're known for. They're given a freer hand on the vocal tunes, though, which invariably results in a much more palpable sense of urgency and fire.

      Ultimately, it's most interesting to think of what could come of a full-scale collaboration between GiGi and Laswell: as it stands, half of this album is electrifying, the other merely passable. Under usual circumstances I might recommend this, but if you don't already own Laswell's essential releases like Psychonavigation, Invisible Design, or the various and excellent records by his other projects Praxis, Tabla Beat Science, Material, and Massacre, Sacred System can easily wait. If you're reasonably well versed in Bill's oeuvre, proceed as you wish, but know what to expect: Laswell dub by-the-numbers.

  1/  Ethiopia - (Laswell,Shibabaw) (6:14)

  2/  Lower Gound - (Laswell) 7.34

  3/  Shashamani - (Laswell)  7.29

  4/  Bati - (Laswell,Shibabaw) 7.47

  5/  Land of Look Behind - (Laswell) 6.45

  6/  Jerusalem - (Laswell,Shibabaw) 12.29

Bill Laswell - bass, guitar, keyboards 

Ejigayehu "GiGi" Shibabaw - vocals 

Karsh Kale - drums, tabla

Aiyb Dieng - percussion

..................................................................................

REVIEWS :

       One of the most prolific men in music, Bill Laswell doesn't release albums under his own name as often as he once did, which makes Book of Exit, the fourth in his "Dub Chamber" series, especially worthy of attention. While the previous "Dub Chamber" releases leaned more toward hard Jamaican-style dub music, with instruments dropping in and out and plenty of reverb and delay, this is altogether a different beat, in large part due to the vocals of Ethiopian singer Gigi. And what Laswell, Gigi, drummer/tabla player Karsh Kale, and percussionist Aiyb Dieng end up with is really ambient dub -- something lighter and more flowing because it adapts itself to the vocals. And Gigi is in excellent form, possibly better than on her own debut, whether on "Ethiopia" or the memorable, beautiful "Jerusalem," which mixes a slight R&B inflection with dub for something outstanding, beautiful, and ethereal. Laswell's light hand at the controls (even the disc's heaviest track, "The Lower Ground," is hardly the stuff of Lee "Scratch" Perry and King Tubby) works subtly -- shifts happen gradually, making for a sense of movement and focus about the pieces. And his work on guitar, bass, and keyboards is as accomplished as his colleagues. Slightly unearthly but always lovely, this dub chamber is a place worth exploring.

Chris Nickson (courtesy of the All Music Guide website)

.................................................................................

       Mr. Bill Laswell, one of the world’s busiest producer/performers is at it again. This fellow’s got his fingers in so many diverse musical pies of his own and others (who’s baking he supervises) it’s dizzying – and therein lies the rub, bub. With all the stuff he puts out (under his own name or a nom de musique) - not even counting the myriad sessions he produces - Laswell may as well have his own Disc of the Month Club, the downside being all the output can’t all be good. But he’s thrown us a curve w/ his latest, and it’s a humdinger.

       The latest in his Sacred System: Dub Chamber series, Book of Exit, is something of a radical departure from the others. They all feature dense, dark, jazz-, reggae- and Middle Eastern-inflected dub – similar approach here, but this ‘un lets a bit of light in. For one thing, it’s got a vocalist: the excellent Ethiopian singer “Gigi” Shibabaw, who has an entrancingly high, translucent, ethereal voice (a wee bit like Flora Purim), with strong Middle Eastern/North African overtones (though with a heart-rending touch of modal Irish-ness on the closer “Jerusalem”), though she does not overdo the melisma common to most Arabic singers. This stuff is as heavily rhythmic as before (re: the other fine discs on R.O.I.R.) and Laswell still uses the holy language of Dub to communicate, but it’s not as ominous and bass-heavy, more spacious and a little brighter. The instrumental sounds seem to gently, gracefully soar over (and occasionally down) yawning chasms. Laswell plays a few guitar lines encompassing shades of both West African guitar music and the late Jerry Garcia. You can actually listen to this one in the daylight, while the other volumes are definitely for night or darken rooms. (That’s not a put-down, btw.) This particular Book I’ve been able to sit through twice in one sitting, and there’s not many discs out there that have that power. Highly Recommended, this one is.

Mark Keresman (courtesy of the JazzReview.com website)

....................................................................................

       Bill Laswell is one of those "everywhere-at-once" musicians—producing, engineering and playing bass on countless albums for other artists, as well as maintaining an absurdly prolific release schedule of his own music. This album is mysteriously billed as 'Dub Chamber 4,' and since I haven't heard the first three Dub Chambers, I'm questoning my qualifications to write this review. However, this album does bear quite a resemblance Laswell's 'RadioAxiom: A Dub Transmission' album, a collaboration with Jah Wobble released early last year. Like that album, 'Book of Exit' is a highly polished series of superlative ethnic music workouts, utilizing heavily percussive dub as a backbone. This strategy has worked for Laswell many times before, and it works here again. Three of the six tracks contain beautiful, serpentine vocals by Ethiopian singer GiGi, who also sang on 'RadioAxiom'. GiGi's seductively epic vocal style works wonderfully in this context, but as Laswell's music always floats dangerously close to New Age/Worldbeat territory, it's difficult for me to completely surrender to its beauty. There is something a little enraging about white westerners who shamelessly co-opt the music of other cultures and blend them into a super hi-fi pastiche that loses its meaning and context, and serves as stereo test fodder for thousands of yuppie bachelor pads. The only things that save Laswell's music from being relegated to this hall of shame are his incredible grasp of composition, subtlety, and his ear for rich, captivating production. It is this amazing ear that transforms the opening track "Ethiopia"—a combination of cleanly plucked acoustic guitar, tabla, multitracked voice and echo chamber—from an easy cliché into an alarmingly beautiful experience. Most of the album follows this same basic formula, until things get a little bone-shaking and mind-bending towards the end, with the one-two punch of "Shashamani" and "Land of Look Behind." The album concludes with the long-form heroic pop of "Jerusalem," an achingly lovely paean to an ancient holy land, rife with war and division. GiGi sings mostly in English this time, and her sad and timely refrain of "Jerusalem, Jerusalem/You are so undone/Oh, what have you done...?" leave no doubt of this album's worthiness.

courtesy of the Brainwashed website