On any post, if the link is no longer good, leave a comment if you want the music re-uploaded. As long as I still have the file, or the record, cd, or cassette to re-rip, I will gladly accommodate in a timely manner all such requests.

Slinging tuneage like some fried or otherwise soused short-order cook

30 June 2013


Well, that was a close call. After everything that was going on in Cairo, I thought I better slip across the border into Israel as soon as possible. Then I find out I’d been flagged on some Muslim Brotherhood watch-list because of my past as a magazine editor/journalist, my Narco-anarchist Party affiliation, & some alleged illegal operations I may have become associated with in the previous Century. I called in a favor with a contact I still had with the Yamas (stemming from some wet work I had done for the HaMossad leModi’in uleTafkidim Meyuadim during the Brown/Goldman/Simpson thing). Now I’m sitting in a suite overlooking the beach at the Dan Tel Aviv on the Israeli chit. Sweet. Here’s some really non-Middle Eastern music to start off the Middle East. Just exercising my middle finger before I get underway.

Seventeen Migs of Spring was formed in 1999. Its members are Gurfa, K-67, & B-74. With names like that, do you really think there’d be much information about these characters? The album is Hamasger, which just adds to the obvious mystery they’ve got going on here.

Their sinister soundscapes are generated mostly in the physical domain, with spoken & manipulated words & indistinct noise-making devices. The majority of the electronic components of their sound are orchestrated by means of banks of inter-connected equipment. When things get hectic the musicians become rather frantically animated in a way that bloke-with-laptop acts never do. Their music leans heavily towards cold, dark ambient trips, punctuated with digital glitchery that has a decidedly industrial edge. The overall effect is a highly competent & pleasingly hypnotic mixture of different, often conflicting cultural, philosophical, & musical influences. It is hard to categorize or label. Their sound is very different from release to release. Every live appearance is unique & they are one of a kind, never to be repeated performances. Their sound & style is always evolving. 

This recording is from their Hatzofe period. Tracks 1 & 2 were recorded live in Kolnoa Zamir on June 12, 2004. “Chatters” features Synichkin on guitar (electro magnetic interference sounds). Tracks 3 to 10 were recorded live in Hatzofe Club on March 27, 2004. “Three Wonders of Spring” was recorded live during an ambient break in Penetrating Crankshaft’s live set in Hatzofe Club on January 15, 2004. It features Gurfa, Uliana Korentabak, & Sevil on amplified qwerty keyboards. 

 Seventeen Migs of Spring- Hamasger, Tel Aviv Soundtracks, 2004. 
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Tracklist -

A. B. Fields
Soog Beth
Tickets to the Moon
Level of Speech
Three Wonders of Spring


Eatliz first appeared in the Israeli indie scene in September 2002. The group originally earned its following through word to mouth & extensive touring of Tel Aviv clubs. Eatliz’s fans used to invite others to come & see ‘the best band you haven’t heard yet’. That changed in October 2007, when Eatliz released their full length debut Violently Delicate on the Anova Music label.

The material on this album was mostly written in the band's earlier years, between 2003 & 2005. Most of the songs were credited to guitarist Guy Ben Shetrit & former singer Maya Dunitz. Only two songs are credited to current singer Lee Triffon. The album's first single "Attractive" became successful around Israel, playing on all big radio stations. Soon after, the single also received a massive radio airplay in Germany, which led to the invitation of the band to play at the Popkomm Festival in Berlin.

Eatliz is the second musical project initiated by Guy Ben-Shetrit, guitarist & main writer for the Israeli punk band Infectzia. The songs Ben-Shetrit writes for Eatliz (butcher shop in Hebrew) are in English. His complex compositions & arrangements move between various musical styles in a way which seems nearly impossible. Different songs feature influences of hard-rock, surf, punk, goth, & power-pop; sometimes all within the course of a single song. The band usually describes its music as “complicated pop” (it is probably more accurately modern prog).

Eatliz are: Lee Triffon – vocals; Guy Ben Shetrit, Or Bahir, & Amit Erez – guitars; Hadar Green – bass; & Omri Hanegbi - drums.

Eatliz -Violently Delicate, Anova Music, 2007.
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Tracklist -

Violently Delicate
Say Where
Big Fish
I Don't Care
Mix Me
Be Invisible
Mountain Top



29 June 2013


It appears prescient that we would have reached this point in our journey at just this exact time. 

Organizers of a mass protest scheduled for tomorrow (Sunday June 30) against Egyptian President Mohammed Morsi claimed today that more than 22 million people have signed their petition demanding the Islamist leader step down, asserting that the tally was a reflection of how much the public has turned against his rule. 

There is a sense among both opponents & supporters of Morsi that Sunday's rally is a make or break day. The opposition feels empowered by the petition, known as Tamarod, or Rebel, but it has as yet offered no proof regarding the 22 million figure. If true, it would mean that nearly double the number of people who voted for Morsi a year ago are now calling for him to step down.

Morsi is a member of the Muslim Brotherhood. The demonstrations planned for Sunday reflect the growing polarization of the nation since Morsi took power, with the president & his Islamist allies in one camp, with opposition from seculars, liberals, moderate Muslims, & Christians on the other.

The 22 million signature announcement adds to a sense of foreboding on the eve of opposition-led mass demonstrations that many fear could turn deadly & quickly spin out of control, dragging the country into a dangerous round of political violence.

Although Egypt is part of Africa, for all intents & purposes here it is the first country of the Middle East. Egyptian music is some of the most popular music in the Middle East & some of the Middle East's biggest musical stars have been Egyptian. Since the Nasser era, Egyptian pop music has become increasingly important in Egyptian culture, particularly among the large youth population of Egypt. Unfortunately, this popular music is for the most part dominated by slickly packaged songs that are mainly formulaic & for the most part uninspired. But a few bands are providing an alternative. One is Black Theama, which combines Nubian rhythms with R&B, hip-hop, reggae & African-influenced sounds, with lyrics sung in colloquial street Egyptian Arabic.

Getting to hear Black Theama isn't easy, even for Cairenes with a taste for music found off the beaten path. The band refuses to work inside the commercial music industry, preferring to painstakingly save money to produce its own recordings one at a time, with the help of friends & supporters. As such, it has almost no records to speak of, & its shows are not heavily advertised. Nevertheless, Black Theama's avid underground following regularly packs venues.

Nubian actor Amir Salah Eddin is one of three singers who front the band. He says the group takes its name, ‘Black Theme’ seriously, as it does its goal of avoiding standard pop-music cliches in its lyrics. Their song ‘Sheraton’ features lyrics describing an early-morning Cairo scene as ordinary Egyptians walk home to their poor neighborhoods, shuffling past the tourist-filled towers of the five-star hotels that line the Nile River.

Singer Mohammed Abdo, who met Salah Eddin through theater work, says they try to celebrate the black experience in Egypt through their music. "Being dark-skinned in Egypt is always connected to the South" Abdo says, "& people from the South have their own character, their own culture, even their tone of voice is different." Ancient Nubia included much of northern Sudan & southern Egypt. Southern, dark-skinned Egyptians are invariably referred to as Nubians & traditionally they were given menial or servants' jobs.

What Black Theama provide is very personal, street-level views of Egyptian life. Amir Salah Eddin says young Egyptians are familiar with alternative bands from other countries, & that they're eager to embrace a homegrown group that bypasses the music industry to speak directly to them. The band has tapped into a hunger among young Egyptians for something that feels authentic to them today. While mainstream Egyptian singers may croon about starry-eyed love & teenage heartbreak, a character in a Black Theama song responds to his fiancee's question about marriage by asking:

"Why not ask me about the corrupt politicians who stole my dreams? Or about wealthy countries with children sleeping under bridges?"

Black Theama is: Amir Salah, Mohammed Abdo, & Ahmed Bahr - vocals; Amro el Shimy - keyboards; Medhat Ali - Spanish guitar; Mostafa Guida - bass; Mohamed Samy - kaman; Amro Gahien - oud; Mahmoud Abdulaziz - drums; Mohamed Zatona - percussion; & Adel Mikha - tabla.

Black Theama – The Collection, Arabica Music, 2009.
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2eflet Zemam
Ana 2alaZy
Black Theama
Eih ya3ne
Hely hala
Kol mara
Koun Sa3ed

Black Theama – Bahar, Arabica Music, 2010.
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Tracklist –

Konna Seghar
Oul Aah
Eih Yaa’ny
Ya Sadeek
Andy Serr
Zahma El Metro
Aalo Aal Hob
El Magnoun
Eflet Zemam


Destiny in Chains was the first deathcore / metalcore band from Egypt, formed in Cairo in 2006. The band started their music career with a determination of making their sound different from all other local bands. They were influenced by bands such as As I Lay Dying , ATR , & Lamb of God. Destiny in chains recorded a six song demo which was never released. Two of the songs were later re-made for their debut Last Forever.

Before for that happened, however, in 2007 the band went through some major changes. Because of financial difficulties, the band line-up changed & along with it the bands overall sound changed as well. Ahmed Abdel Men3em & Sheva took over guitar duties while Lolo took over on drums & their sound solidified. There was a huge lyrical
change along with changes in tempo, guitar riffs, drums, bass, vocals…nearly everything but their desire to play metal & be unique in the Egyptian music scene. On Last Forever the whole band shared their vision which raised their music to a higher level.

On Last Forever, Destiny in Chains are: Zander – vocals; Sheva – guitar; Men3em guitar; Moose – bass; & Lolo – drums.

Destiny in Chains – Last Forever, Five By Five Records, 2010.
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Tracklist –

Breaking the Point (intro)
Arise & Stainds (sic Stands???)
I Know I’ve got Something You Don’t
Black Days
Last Forever
Make me Sick
Shout Your Name
We will Always Bleed
Last Forever (version two)
Just Trying to Be


Born & raised in Alexandria, Kareem & Belal, the GebRiel Brothers are taking the Egyptian dance music scene by storm with their energetic Trance productions & DJ sets. Their first big break came after playing the notorious Sling Club. After that they DJed various other prestigious parties around Egypt where they were able to excite the crowds with their new sound.


After completing their military service, the brothers built their own production studio and enrolled in sound & mastering degrees, finishing at the top of their class.The brothers are now taking the next big step in their career as both DJs & producers, determined to make a mark on the world with their epic productions & killer remixes

They began their work in early 2000 & started professional production in 2004. At that time they started concentrating exclusively on pure trance. They first caught people’s attention with remixes of Paul van Dyk’s ''Far Away'' & Sean Tyas’ ''Melbourne''. They followed these with two originals for Discover Records ”Flashback” & “First Light”. On the strength of these two tracks they were invited by Paul Trainer to do a remix for Mitchell Claxton’s “Lumin” which reached a ranking of no.# 3 on Trackitdown.

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Side A –
Side B –
First Light


28 June 2013


Abdel Gadir Salim (Arabic: عبد القادر سالم ‎) is a folk singer, composer, oud player, & bandleader from Sudan. Salim was born in the village of Dilling, Kordofan province, in the Nuba Mountains in the west of Sudan some time in the 1950s. This desert region situated in the very heart of Sudan, the ‘land of the two Niles’, is the birthplace of many talented, powerful singers. Salim trained in both European & Arabic music at the Institute of Music in Khartoum, beginning with the oud.

By 1971 he changed from composing urban-styled music to traditional country tunes. Seeking out colloquial songs to perform, he began in his native Kordofan & Darfur. Rarely writing his own lyrics, the songs he finds range from politically aware, educational arguments to love ballads. Salim is noted for maintaining a neutral repertoire that keeps him from irritating the Islamic government of Sudan which is less than favorable of secular music.

Sudan is often called the bridge between Arabia & Africa. Abdel has taken it as his mission to fuse Arabic & African sounds of the country & cities, taking musical scales & motifs from Arabic & wild African percussion. He is a leading figure in the genre, commonly referred to as Sudan jazz, no doubt because of its instrumentation (the presence of bongos, brass instruments, & the electric guitar). Salim possesses an impressive vocal range & power. His songs range from slow languid tunes in the Cairo style to frenzied rhythms such as are found in Zaire. He has developed his own style, a true blend of all the remarkably diverse elements & peoples that go to make up his homeland.

On Blues of Kkartoum, Abdel Gadir Salim & his Merdoum All Stars are: Abdel Gadir Salim – vocals & oud; Yassir Abderrahim Taha – guitar; Mohammad Abdallah Mohammad Abakar, Mohammad Mostapha Saleh, & Othman Hassan Othman – violins; Ahmad Abdulbaqi Mohammad Ahmed – accordion; Kamal Youssef Ali – flute; Abdelhadi Mohammad Nour – saxophone; Zaki Ali Mohammad Othman – bass; & Al-Zoubeir Mohammad Al-Hassan – drums.

 Abdel Gadir Salim – LeBlues de Khartoum, Harmonia Mundi 321027, 1999.
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1. Rada Al-Qulayb (Give me Back my Tender Little Heart)
2. Bitzîd Min ‘Adhâbî (She Increases my Pain)
3. Ghannû Yâ Ikhwânî (Sing, O my Brothers)
4. Jamîl Al-Sourah (The Beautiful Face)
5. Ghâba Nawmî (I can no Longer Sleep)
6. Qidrechinna (My Destiny is Love)
7. Anâ Batrâki (I am Under Your Spell)
8. Maktûl Hawâk (Tied by Your Love)

In 2005 Abdel appeared on an album called Ceasefire with Emmanuel Jal. If you haven’t heard it, you might want to search it out. It is available various places around the interweb so I’m not going to post it up here. I am going to feature two tracks from the release to pique your desires.

The story behind this album has as many twists as the Nile itself. At approximately the age of seven (he doesn't know his exact date of birth) Emmanuel Jal was pressed into service with the Sudan People's Liberation Army. He was one of the infamous Child Soldiers. Born in Tonj in Tonj South County, Warrap State, in northwest South Sudan, Emmanuel Jal, like many other children from their country (the so-called Lost Boys), fled to Ethiopia in search of schooling. He was about seven. His mother had just died. His father fought in the ranks of the SPLA. After his own inscription, Emmanuel fought with the Lost Boys for several years.

At eight, he fired his first shot. After almost five years as a Child Soldier, Jal walked hundreds of miles to join a rival rebel group closer to his home in the Upper Nile region.There he met Emma McCune, a British NGO member. McCune is the central character in the book Emma's War by Deborah Scroogins. In 1993 McCune adopted Emmanuel & smuggled him on a cargo plane into Nairobi, Kenya. McCune died shortly thereafter in a car accident. Emmanuel was orphaned again. Jal eventually returned to school, studying in both London & Kenya. A Christian religious conversion led him to take up music as his vocation. He now serves as the spokesman for the Campaign to Stop the Use of Child Soldiers.


On Ceasefire Jal joins singer & oud player Abdel Gadir Salim, the venerated master of northern Sudanese music. Abdel is a prominent figure on the other side of the Christian/Muslim divide that has contributed in large part to the civil strife in Sudan. Their collaboration is symbolically moving, but is also musically fascinating. As I stated above, Salim's songs are steeped in both the urban & folk music of his region, whereas Jal is a rapper with roots in American & British hip-hop. They don't blend their styles as much as counterpose them, switching within the same song between Salim's powerful singing & Jal's promising modern hip-hop verbal flow.

It is better to build bridges than to destroy them "reflects Emmanuel. This sentence reveals double meanings: first, it questions the civil war that has ravaged Sudan for over twenty years; second, referring to his collaboration with Abdel Gadir Salim, a Muslim. Yet there is a strong bridge between them. Both have known the consequences of personal violence; Jal with a rifle in his hands & Abdel as the target of the wrath from the fundamentalist Muslim campaign in Khartoum against secular music.

Emmanuel Jal & Abdel Gadir Salim – Ceasefire, Riverboat Records 1038, 2005. 
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Tracks –
6. Gua
8. Baai

Think about it,

27 June 2013


Bereket Mengisteab was born in 1938 in the small village of Hazega, located about eighteen miles north of the Eritrean capital of Asmara. He spent the first two decades of his life farming there. During these years in Hazega, Bereket taught himself the krar (a five or six stringed lyre) & honed his musical skills, participating in all of the musical rituals that punctuate rural life.

After spending a few years in Asmara (which was part of Ethiopia at the time), Bereket moved to Addis Ababa in 1961. It was in Addis that Bereket made his stage debut, as a member of the Haile Selassie Theater Orchestra. During the previous year he spent in Asmara he never performed outside of his circle of friends. Bereket stayed with the Haile Selassie Theater Orchestra for a little over a decade, performing with the group throughout Ethiopia, in Kenya, Uganda, Tanzania, Senegal (at the 1966 Festival Mondial des Arts Nègres), & in Mexico (at the 1968 Summer Olympics). During these years he also made his first recordings, nine singles for the Philips label.

He plays Tigrigna music. Tigrigna music, mainly performed in Tigray Province in Ethiopia & Eritrea. It is quite distinct, both rhythmically & melodically from Ethiopian music like in the last post. Bereket plays the krar. Since the late 50s, many Eritrean musicians have encouraged the spread of the electric krar, which is now widely used. Bereket excels at the instrument, playing a wild, wailing wah-wahed style. Besides being a great krar artist, he is a phenomenal singer.

Bereket Mengisteab – Lebäy cassette, Toteel Music Vol. 5, 1984.
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Side A –
Lebäy (My Heart or My Emotions)
Nefas nay Bäräkha (Wind of the Desert)
Wäzzamu (Handsome)
Täkkalit Shanbeqo (Wicked Flute)

Side B –
Zebbä Mästära (Comb of Ebony)
Hewwekh Zeb’i (Restless Hyena)
Färäsu (His Horse)
Deqdeq S’elmat (Utter Darkness)


Eritrea's got pop music. It’s true. The Lula Band play some saccharine Afro-pop. Don’t know anything about them other than the singer was Yonathan Habte. The band is now broken up & Yonathan is living in Ethiopia, working on his music career.

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Tracklist –

Abey Kon T’hul
Tsegay Beraki Wuletki
Saba Sabina
Terife N
Ab Zim Zim Bereka
Milkti Gual Hewan
Kab Sinetey Diyu
Tchekinkiley Bhaki Bhaki

Enjoy popcorn lovers,


Ethiopia stands as a cultural crossroads for Africa. It is the oldest independent country in Africa. Unlike the majority of Africa, Ethiopia throughout its long history has avoided colonization. But just because it was never colonized, it was by no means isolated. Its population is parts Christian, Islamic, & a broad variety of local religions & traditional customs. It has shared commerce & culture with Europe as far back as the Greek & Roman Empire, Asia since the time of the Tea Horse & Southern Silk routes, & across most of Africa.

It seems like nearly everyone taking this musical journey agrees that the African music from the 70s is the funkiest, freshest, & finest. Since Ethiopia was a cultural crossroad as I discussed above, why would they be any different. The 70s has been dubbed ‘the Golden 70s’ by many. Ethiopiques Vol. 13 is in fact called Ethiopian Groove: The Golden Seventies. The sound is incredible. It’s a mix of heavy funk, spacey jazz, & other exotic touches all coming together. It’s a unique sort of sound that's beyond any referent. It is easily some of the freshest music on the planet in the 70s or today.

1969 - 1978 was considered ‘the Age of the Record’ in Ethiopia. It was notable for the vibrant nightlife that has been compared to ‘swinging London’. All tracks here were recorded between 1973 - 1977.

Two tracks from Seyoum Gèbrèyès & Wallias Band & two tracks from Muluqèn Mèllèssè & Dahlak Band are added to the 17 track cd. For the album from 1994 (16 song album), all three tracks from Aster Aweke that are on the album are absent on the cd. Many of the tracks have different spellings from album to cd. I have included all 20 tracks for anyone who wants either version. The spelling from the album is used for the main list. The spelling from the cd is used on the cd only tracks.

Buda Musique, 1994 (16 song album) & 2003 (17 track cassette). 
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Side A -
Alemayehu Eshete & Shebelle’s Band - Tashamanaletch
Hirut Bekele & Police Orchestra - Ewnetegna Feker
Alemayehu Eshete & Shebelle’s Band - Wededku Afkerkush
Tamrat Ferendji & Sensation Band - Anchin Yagegnulet
Aster Aweke & Sensation Band - Antiye
Bzunesh Bekele & Dahlak Band - Atrakegn
Wallias Band - Musicawi Silt
Aster Aweke & Sensation Band - Etetu Beredegne

Side B -
Ayalew Mesfin & Black Lion Band - Feker Aydelmwey
Aster Aweke & Sensation Band - Lomiye
Tamrat Ferendji & Sensation Band - Ya Jaleleto
Bzunesh Bekele & Dahlak Band - Tigel New
Ayalew Mesfin & Black Lion Band - Good Aderegechegn
Ayalew Mesfin & Black Lion Band - Gedawo
Asselefetch Ashine & Getenesh Kebret & Army Band - Meche New
Asselefetch Ashine & Getenesh Kebret & Army Band - Amlak Abet Abet

Tracks 3 & 6 from cd -
Seyoum Gèbrèyès & Wallias Band - Mètch Ené Terf Fèlèghu
Seyoum Gèbrèyès & Wallias Band – Muziqa Muziqa

Tracks 8 & 10 from cd –
Muluqèn Mèllèssè & Dahlak Band - Yèmendjar Shèga
Muluqèn Mèllèssè & Dahlak Band – Djemeregne

I don't necessarily agree that this is the very best of Éthiopiques. But with more than twenty albums in this Ethiopian series, I doubt that any two people given the task would pick the same tracks. These tracks are excellent, but there are tracks that I would have included & tracks I would have left out of the mix, but it’s kinda subjective, so…I’m not gonna argue with the title or subtitle. These two discs are filled with gorgeous grooves that serve well as a guide to a series that's earned every bit of its legendary cred.

Manteca MANTDCD245, 2007.
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CD 1 –
Tesfa Maryam Kidané - Heywèté
Mulatu Astatqé -Yèkèrmo Sèw
Mulatu Astatqé -Yèkatit
Girma Bèyènè - Enkèn Yèlélèbesh
Bahta Gèbrè-Heywèt - Ewnèt Yèt Lagegnesh
Mulatu Astatqé - Gubèlyé
Mahmoud Ahmed - Erè Mèla Mèla
Mahmoud Ahmed - Mètché Nèw
Alemayehu Eshete - Tchero Adari Nègn
Alemayehu Eshete - Telantena Zaré
Wallias Band - Muziqawi Silt
Ayaléw Mèsfin & Black Lion Band - Gèdawo
Tlahoun Gessesse - Tchuhetén Betsèmu
Menelik Wèsnatchèw - Tezeta

CD 2 –
Maryam Guebrou - Mother's Love
Tlahoun Gessesse - Sema
Tewelde Redda - Milènu
Beyene Habte - Embi Ila
Mulatu Astatqé - Tezeta
Girma Bèyènè - Sét Alamenem
Muluqèn Mèllèssè & Dahlak Band - Bèné Mote
Getatchew Mekurya - Antchi Hoyé
Tlahoun Gessesse - Kulun Mankwalèsh
Getatchew Mekurya - Shellèla
Seyfu Yohannes - Mèla Mèla
Mahmoud Ahmed - Atawurulegn Léla
Mahmoud Ahmed - Festum Denq Ledj Nèsh
Alemu Aga - Abatatchen Hoy (Pater Noster)


25 June 2013


Djibouti is a multiethnic country. The two largest ethnic groups are the Somali & the Afar. The Afar (Arabic: عفار‎) are also known as the Danakil. Traditional Afar music resembles the folk music of other parts of the Horn of Africa such as Ethiopia; it also contains elements of Arabic music. The history of Djibouti is recorded in the poetry & songs of its nomadic people. Djibouti is called ‘the Nation of Poets’. The musical history goes back thousands of years to a time when the peoples of Djibouti traded hides & skins for the perfumes & spices of ancient Egypt, India, & China. Afar oral literature is also quite musical. It comes in many varieties, including songs for weddings, war, praise, & boasting.

Abdullah Leh (or Lee or Leé, who knows, its transliteration from Arabic, after all)

[1) Muammar Qaddafi, 2) Mo'ammar Gadhafi, 3) Muammar Kaddafi, 4) Muammar Qadhafi, 5) Moammar El Kadhafi, 6) Muammar Gadafi, 7) Mu'ammar al-Qadafi, 8) Moamer El Kazzafi, 9) Moamar al-Gaddafi, 10) Mu'ammar Al Qathafi, 11) Muammar Al Qathafi, 12) Mo'ammar el-Gadhafi, 13) Moamar El Kadhafi, 14) Muammar al-Qadhafi, 15) Mu'ammar al-Qadhdhafi, 16) Mu'ammar Qadafi , 17) Moamar Gaddafi
18) Mu'ammar Qadhdhafi, 19) Muammar Khaddafi, 20) Muammar al-Khaddafi, 21) Mu'amar al-Kadafi, 22) Muammar Ghaddafy, 23) Muammar Ghadafi, 24) Muammar Ghaddafi, 25) Muamar Kaddafi, 26) Muammar Quathafi, 27) Mohammer Q'udafi, 28) Muammar Gheddafi, 29) Muamar Al-Kaddafi, 30) Moammar Khadafy, 31) Moammar Qudhafi, 32) Mu'ammar al-Qaddafi…my favorite example, & that’s just one despot person]

...well, Abdullah L. is the grand master of Afar music & is respected throughout Djibouti for his decades of dedication & mastery of the traditional Djibouti music. Abdullah is a master of the oud but wails on the electric guitar just as well, creating some of the most Arabic sounding Afro-funk I’ve heard so (a)far.  I probably could find more information on this legendary musician if I understood Afar. I hardly understand Anear.

decryption code in comments

Tracklist – 

Dabali Sareh
Kote Aroda Qoborota Kiniyanu
Wamlehka Yoh Itam Waam
Wosamanikeye Wosamanikeye
Assamaqat Mana y Assomi Mayou
Ganibeye Yole Amkeye Atu Inale Amete Qala Matuke Ameye
Heerik Kah Rada Kah Tandufulee Ise Tub Le Maluk Teete Inti Kexe
Imanina Elesotam Amahteti
Akoqem Roci Kougacnih Gaxa
Yadow Ayga
Waqala Warsitan Ke Wa
Ede Makoo Qarafa


A fellow blogger Kevin over at Eclectic Grooves used to do a feature call Plain Brown Wrappers where he posted up rare & unusual mixes unlabeled to see who could figure it out. Here’s my version called Bloody Red Handkerchief. The mix is called Sheikh Djibouti. First one to figure out the cuts gets something good (musical). Apologies to Kevin.

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Don’t get the idea that West Africa was the only place that was obsessed with American-style R&B. Every African country had its own practitioners, some of them quite original. Ethiopia in particular created its own fusion of soul & traditional music that has drawn international acclaim.Well, Somalia had some of its own Funkateer groups, one of the finest being Iftin.

Iftin (meaning sunshine) was a great funk band of the 70s & 80s based in Mogadishu, the Somali capital, from where most of the band members originated. Initially, they made theaters & schools unsafe with their brand of slow dance music. The most well known Iftin lead singers were the late Axmed Rabsha Cawad, Abdullahi Sulfa, Bashir Ali Hussein & Shimaali.

Keep in mind that this cassette was produced in the do-it-yourself spirit that is common throughout Africa. It was no doubt duplicated on a boom box, so the sound quality isn't terrific. I think you'll agree, though, that the quality of the music outweighs this technical drawback.

 Iftin – Gabar ii Noqee& Other Tastes, self-recorded cassette. 1970-80??? 
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Side A –
Gabar ii Noqee (Be my Wife) aka Ohiyee Ohiyee (Yeah, Yeah)
Codkeennii Kala Halow (Our Voices Have Lost Each Other)
Haka Yeelin Nacabkeenna (Don't Heed Our Enemies [or those who are against our love])
Lamahuraan (Love is Indespensible) aka Sida Laba Walaalaa (Like Two Siblings)
                                                           akaQays & Layla (Romeo & Juliet)
Weynoow (My Great Love) aka Ciil Kaambi (Sorrow & Bitterness [due to frustrated love])

Side B –
Jacayl Iima Roona (Love is Not Right for Me [now])
Hir Aanii Dhowyen ma Halabsado (Longing to Bridge the Big Distance)
                                                         aka Ruuney (Oh, Ruun [a Somali female name])
Caashaqa Maxay Baray? (Why Get Acquainted With Love?) 
                                          note: Sahra Dawo of the Dur Dur Band is the singer here.
Baddaa Doon Baa Maraysoo (A [fragile] Boat is Rocking on that Ocean)
Toban Weeye Shaqalladu (The Ten Vowels)

We got the Funk,