Woubeshet Feseha - [1976] - [ethiopia]

many thanks for this post goes to my ethiopian friend

     Yednak Fikru       

who digitalize this album and saves it from slow decaying on the tape

           Woubeshet Feseha (or Wubshet Fiseha) found his great passion for singing in his youth age in school and at his living areas. His friends listening to his great talent used to encourage him to carry on with his potential. Kibur Zebegna band and Yepolis orchestra was Woubeshete’s childhood music icon, he has always looked up with hope to join the band someday, his dreams eventually came true to join the band which hosts many famous singers in town.

            Woubeshet Feseha is great singer which sang his works in stage from the 1960’s to 1970’s Ethiopian Calendar. Woubeshet has worked from his first band Kibur Zebegna to different bands all around Addis playing in different night clubs and hotels. To name the few, in Hilton hotel with Walias band, in Shebele Hotel with Ethio Star band, Shebelle band, and other famous bands.

Wubeshet Fisseha - Lakiligne Shikina

       Besides his singing career, he also was a great guitar player. This talent have made him contribute to accompany the famous artist Aster Aweke in her concerts and recordings which were produced by prominent local producers. Woubshet Feseha has produced different melody and lyric compositions, and has released more than six music albums.

       Woubshet Feseha was the lead singer in the famous band Walias  band and Ethio-Star band in the 1960’s and 1970’s E.C. 

       Out of the many famous albums releases, Wubushets albums such as “Maleda Maleda”, and his last release “Aseb Shegaw Wende Late” were a hit album.

       He went on a tour with Walias Band to U.S.A., in this tour Woubshet gained a wide fame from Ethiopian diasporas who went to U.S. in the Derg regime, performing traditional music to the Ethiopian audience in U.S. After leaving Ethiopia to tour in the U.S. with Walias band, he has made his living in the United States, coming to his mother land Ethiopia for an occasional visit for recordings, worked in the U.S. as a singer for some time.

      Woubshet Feseha have made more than 100 amharic songs which are listened from generation to generations, Woubshet passed away but his works still follow his great legacy being listened to the audience till present.

01 - Woubeshet Feseha - 01 (5:55)
02 - Woubeshet Feseha - 02 (4:51)
03 - Woubeshet Feseha - 03 (6:20)
04 - Woubeshet Feseha - 04 (5:09)
05 - Woubeshet Feseha - 05 (7:21)


06 - Woubeshet Feseha - 06 (6:08)
07 - Woubeshet Feseha - 07 (5:43)
08 - Woubeshet Feseha - 08 (6:53)
09 - Woubeshet Feseha - 09 (6:40)
10 - Woubeshet Feseha - 10 (6:14)

Mohammed Awel Saleh - Hager Allen [ethiopia]

   R   E   U   P   L   O   A   D   

       A nasheed (Arabic: singular نشيد nashīd, plural أناشيد anāshīd, also nashwad (pl.), meaning: "chants"; also nasyid in Malaysia and Indonesia) is a work of vocal music that is either sung acappella or accompanied by percussion instruments such as the daf. 

     In general, Islamic anasheed do not contain lamellaphone instruments, string instruments, or wind and brass instruments, although digital remastering – either to mimic percussion instruments or create overtones – is permitted. This is because many Muslim scholars state that Islam prohibits the use of musical instruments except for some basic percussion.

          Anasheed are popular throughout the Islamic world. The material and lyrics of a nasheed usually make reference to Islamic beliefs, history, and religion, as well as current events.

01. Mohammed Awel Saleh - Hager Allen (6:10)
02. Mohammed Awel Saleh - Yalew Geleli (6:14)
03. Mohammed Awel Saleh - Yehun Dehna (5:33)
04. Mohammed Awel Saleh - Borena (6:39)
05. Mohammed Awel Saleh - Bale Ensosilaw (6:05)
06. Mohammed Awel Saleh - Hager Wub (5:41)
07. Mohammed Awel Saleh - Niboyie (6:14)
08. Mohammed Awel Saleh - Ney Digay (5:12)
09. Mohammed Awel Saleh - Welebayie (6:56)
10. Mohammed Awel Saleh - Zomayie (5:01)

Betsat Seyoum - Basresagn [2005] [ethiopia]

   R  E  U  P  L  O  A  D   

            Bitsat Seyoum was born in Addis Abeba, Ethiopia. She attended ‘Felege Yordanos Elementary School’ (staring at the age of 4) and ‘Shemeles Habte Secondary School’. She always loved singing and was encouraged by many friends to perform. One thing led to another and Bitsat found herself beginning her singing career in an ‘Azmari Bet’ (a traditional venue where musicians {azmaris} alongside dancers and instrumentalists, perform traditional Ethiopian music). Her music was discovered by many and soon, she was touring internationally.

Bitseat Seyoum - Basresagna

       Working with all the big names of that musical era, Bitsat began recording her songs. Mulatu Astatke (who is often referred to as the father of EthioJazz) arranged the music for her first cassette recording. With masters of the Amharic poetic form ‘Wax and Gold’ (traditional poetry characterised by double meaning) and musicians and composers like Tilahun Gessesse, Gultu Tefera, Teddy Afro, Moges Teka, Mulugeta Tesfaye, Yelema Gebreabe and plenty more, she performed and recorded her work. She opened up her own successful night club in Addis Abeba named BITSAT and became famous for her witty and skilful improvisations of the ‘Wax and Gold’ poetry.

       Bitsat now lives in Melbourne with her husband, Tesfaye Temamo (a writer, director and actor) and children.

01. Betsat Seyoum - Basresagn (6:16)
02. Betsat Seyoum - Yichalal (4:26)
03. Betsat Seyoum - Enesebaseb (7:24)
04. Betsat Seyoum - Senafekeh (5:45)
05. Betsat Seyoum - Sewuyew (6:33)
06. Betsat Seyoum - Feker Awkalehu (4:48)
07. Betsat Seyoum - Alsemen Geba Belew (6:07)
08. Betsat Seyoum - Tebebegnaw (5:02)
09. Betsat Seyoum - Getenetu (6:08)
10. Betsat Seyoum - Bawetagn (4:37)

Dub Colossus - Addis Through The Looking Glass [2011] [ethiopia]

   R   E   U   P   L   O   A   D   

       Dub Colossus is a collective of Ethiopian musicians working with Western musicians fascinated by the richness of the Ethiopian sound. 

      
      A Town Called Addis ...was their striking debut in 2008 but this is better, probably thanks to their live concerts. 

       There's a strong reggae influence, but it's songs like the punchy Guragigna that stand out, with great vocals by "the Ethiopian Edith Piaf", Sintayehu Zenebe, underpinned by a piano ostinato and a muscular horn section with great sax solos.

Mulatu Astatke - Ethio Jazz Vol.1 [2006] [ethiopia]

   R   E   U   P   L   O   A   D   

01. Mulatu Astatke - Kasalefkut Hulu (2:29)
02. Mulatu Astatke - Yelib Lay Esat (4:31)
03. Mulatu Astatke - Mulatu (5:06)
04. Mulatu Astatke - Yekermo Sew (4:24)
05. Mulatu Astatke - Chiferra (7:05)
06. Mulatu Astatke - E Bola (6:46)
07. Mulatu Astatke - Kulun (2:14)
08. Mulatu Astatke - Tsome Diguwa (9:39)
09. Mulatu Astatke - Wolayita (6:40)
10. Mulatu Astatke - Yekatit (3:59)
11. Mulatu Astatke - Munaye (3:35)
12. Mulatu Astatke - Mulatu's Mood (4:15)

Baaro - Rhythm City [1997] [ethiopia]

          After fleeing their homeland of Ethiopia in the late '70s to avoid conflict with the Marxist government, a trio of reggae musicians made their way to the United States. Landing in Chicago, the three musicians began playing their African and Jamaican-flavored jams in reggae clubs around the city.

        Fronted by singer/guitarist Mulu Gessesse, the band consisted of Mulu's brother Zeleke Gessesse and close friend Meluka Retts.

      In 1980, the band assumed the name Dallol, and put together a demo tape. Dallol gained a sizable following in Chicago quickly with its distinct Ethiopian-flavored sound.

      The demo soon found its way all over the country, outside of the United States, across the Caribbean and into the hands of a certain famous family in Jamaica.

       "It was 1981, right after Bob (Marley) died," Mulu recalled. "Our tape made its way to Rita (Marley), and she asked us to go on down to Jamaica. That was our first contact with the Marleys."

            Contacts with the first family of reggae proved to be a good thing for Dallol. Rita Marley produced the band's first full-length album and helped the band out in a number of ways. Lodging and other commodities were provided to Dallol by the Marleys as the band made its tour of the islands.

         It wasn't long before the Marleys became more than contacts, with friendships forming between Dallol and Bob's son, Ziggy Marley.

"Ziggy was only 10 years old when we met him," Mulu explained. "As a matter of fact, he played his first show with us."

            Good ties with the Marleys continued, and soon Dallol was asked to tour with Ziggy's newly formed band "Ziggy and the Melody Makers." Dallol's Ethiopian and reggae roots served as a perfect backdrop to Ziggy's continuation of his father's style and heartfelt messages.

           In the late '80s, Dallol toured and recorded with Ziggy. The result of the combined effort was heard worldwide. One platinum and one gold album elevated Dallol to superstar status in the reggae industry.

         "That experience was great because it enabled us to go all over the world," Mulu said.

          After about five years with Marley, Dallol returned to its second home in Chicago. Included in the move were a couple line change ups and a change of name for the group. Upon the addition of three more members, including two female vocalists, Dallol changed its name to Baaro.

            Since moving back to Chicago, Baaro has made many national, as well as international, media appearances.

     Included in Baaro's impressive list of accomplishments are appearances on David Letterman, Soul Train, the NAACP Image Awards, BBC and the Arsenio Hall Show. Baaro's most recent television appearance was a slot on the Oprah Winfrey Show three weeks ago.

          The band has continued doing what it does best. Recording three CDs (one in 1986, 1991 and this year's "Rhythm City"), Baaro has greatly expanded its fan base, particularly in the Midwest.

         "Everywhere we go, we are getting very positive reactions, and they love our arrangements, melodies and harmonies," Mulu said. "Every new place we go to, they keep wanting us to come back. Our base has been expanding all the time. Colleges, especially, have responded very well. The last time we came to Ames, we had a wonderful party. The action and response was incredible. The same thing is happening everywhere we go."

         "Rhythm City" captures Baaro's long and eventful career by staying true to the sounds of Dallol but also adding depth with the addition of the newest members.

         Capturing the bands message of togetherness, love of all people and unity, the album also stays true to reggae roots.

      "I think the newest album reflects our experience," Mulu said. "You'll obviously hear reggae, and you'll also hear some of our Ethiopian background. It's a blend of Africa, Jamaica and urban-American music."

         The album draws on a number of musical influences, including Bob Marley, Stevie Wonder, singers from Africa and South Africa, as well as pop melody influences from the Beatles.

        Being able to play music for a career has proven to be a fulfilling thing for Baaro.

       "Music gives me a medium for me to express my inner feelings," Mulu said. "Any time I get inspired about a certain idea or a certain feeling, I just go sit down and play my guitar. I'm able to transform that abstract thought into music. Seeing the finished product with the band and then recording and listening to it gives me an incredible feeling."

Baaro - 01 - Nanye (3:59)

Baaro - 02 - No More (4:25)

Baaro - 03 - Music (4:48)

Baaro - 04 - Ashema (3:11)

Baaro - 05 - My Only One Girl (4:08)

Baaro - 06 - I Ain't Got Nothing (4:39)

Baaro - 07 - Drift Away (4:28)

Baaro - 08 - Rhythm City (3:52)

Baaro - 09 - Ebolala (3:37)

Baaro - 10 - One Night Feeling (4:06)