Where the Zamrock phase that struck Africa in the 1970s, combining both the authenticity of traditional African sound and stirring the melting ability of psychedelic concept orchestrated something engaging and unique. In 1978, Hailu Mergia was able to construct forces with Dahlak Band to form Wede Harer Guzo. 10 tracks over just an hour were able to craft a handshake from traditional roots and a new age of distorted rebellion.

Described from the BandCamp page, “By 1978, Addis Ababa’s (Capital of Ethiopia) nightlife was facing challenges. The ruling Derg regime imposed curfews, banning citizens from the streets after midnight until 6 am. But that didn’t stop some people from dancing and partying through the night.” Rather than describing a history lesson. Wede Harer Guzo is a record packed with uplifting instrumentation and is an adventure that forces these chanting vocals as the main progression to the notion.

Featuring Hailu Mergia on the organ, both Dawit Yifru on the electric piano and Abera Feyissa on the bass pack sound into a digestible backbone. Then, Tesfaye Tessema on the percussion and Dawit Kassa on the guitar work to provide a rhythmic vibration. On the horns, both Tilaye Gebre on the sax and Shimels Beyene on the trumpet give some extra soul to the flair. Then either backing or foreground vocals from Muluken Melesse and Rida Ibrahim on the vocals are essential to forming this liquefying resonation.

Opening with “Embuwa Bey Lamitu,” the gentle waves and sounds of Mergia’s organ comes to clash as this golden touches that add up to one overarching conform of style. Then the choruses that repeat “Embuwa Bey Lamitu” continue to resonate in the mind and the recording history of the Ghion Hotel in Addis Ababa reflects this wishful performance. The sunlight of Ethiopia is immediately present in Wede Harer Guzo and transfers onto the track “Yamanesh Ayinama.”

Here the instrumentation is more focused on a jam session where the organ and electric piano can work to sculpt a tandem crossing. Most of the work here spends less time on the narration or vocalization but instead uses the instruments as vocals that can shout and sporadically burst with energy. The horns from Beyene and Gebre trade the spotlight, drowning over the organ that is infused with practical beams of the shining sun.

Even in the final seconds, Wede Harer Guzo is wading in the water as a full ensemble that powers through as a conference of resonation. From Ethiopia in 1978 to the release in 2016, the capability breaks through and 50 years later cracks to ease into the perfect serotonin-based seams.

Listen To Wede Harer Guzo Here!!! – BandCamp/Spotify/Amazon/iTunes