Amal Eddine El Arfaoui · Ma Tjib Ammara (ماتجيب أمّارة) · Tunisia · Phonie

This tape takes us to Tunisia, into the world of popular, festive music built around a wooden reed pipe with a metal bell — an instrument close to what's known regionally as zokra, mizwad or ghaita — rather than the more “classical” Tunisian malouf tradition.

About this release

Honestly, I couldn't find any independent information about the artist Jamal Eddine El Arfaoui: no discography, no biography, nothing in the usual music databases or archives. The name is fairly common in Tunisia, but I found no trace connecting any public figure with that name to music.

What can be said with more confidence comes from the cassette itself. It was released on Phonie, a real Tunisian commercial cassette label based in Tunis, active in the pre-digital era — the same label format (Phonie, “PH” + catalogue number) also turns up on a cassette by the Algerian raï singer Cheb Khaled, which confirms the label existed and operated this way, even though this specific catalogue number couldn't be independently verified.

Covers

Tracklist

Side A

1. ماتجيب أمّارة
2. غزالي شرد وجلاني حامل الرجا...ش

Side B

1. اروّح عالرملة هاوي جيت
2. مادام عيني حية يا فاطمة

Listen

Internet Archive listing

Fallou Dieng & le DLC · Beusseum-Bi (Vol. 5) · Senegal

This tape takes us to Dakar, into the world of mbalax, the popular music genre born in Senegal in the 1970s and 80s, driven by percussion and by singers who work in a tradition close to that of griots, the region's hereditary praise-singers and oral historians.

Who is Fallou Dieng

Fallou Dieng was born in Dakar in 1960, at the start of Senegal's independence, and grew into one of the leading voices of the generation that followed Youssou N'Dour, the country's most famous singer. His music sits within mbalax, and at a time when many Senegalese bands were replacing horns with keyboards, Dieng went the other way and added a second trumpet to his line-up, giving his sound a distinctive brass-driven character. His song “Barsane” was a hit that earned him the nickname “Le Prince de la Médina” (“The Prince of Medina,” after the Dakar neighbourhood), and his singing is described as rich and expressive, moving easily between deep emotion and brighter, upbeat colours.

Beusseum-Bi, the album on this cassette, belongs to that run of releases — alongside Barsane, Biri-Biri and Weex Bet — that built his reputation through the 1990s, before an international compilation called Medina introduced his music to listeners outside West Africa. It was recorded, like most Senegalese mbalax of the period, straight to cassette, with the singer backed by his own band, “le DLC.”

Credits Lead vocal and chorus: Fallou Dieng Vocal: Iba Kane Rhythm guitar: Cheikh A. T. Dieng Lead guitar: Papis Diouf Bass guitar: Nguido Bâ Keyboards: Abdourahmane Cissé Keyboards: Elou Fall Percussion: Aziz Faye Tama: Sam Thiam Drums: Jules Diop Sax: Cheikh D. Barry Guest musicians: Thierno Koïté (sax), Ali Penda Ndoye (trumpet), Baba Gueye (trumpet), Fallou Niang (drums), Titi Tine (chorus) Artistic direction: Pape O. Ngom, Kabou Gueye Lyrics: Mangoné Touré, Cheikh Talli Bouya Ndiaye Recording and mixing: Ndiaga Ndour, Serge Deverves Arrangements: Groupe DLC Production: KSF Management: Babacar Diallo, Mbar Cissé Demo tape: Ousmane Ndiaye Dago Distributors: Ousmane Cessay “Kerewan Sounds” (Banjul); Talla Diagne (Dakar)

Covers

Tracklist

Side A

1. Neéw-ji Doolé
2. Beusseum Bi
3. Soo-Bëggee Sey
4. Jog Léén

Side B

1. Du-Wess
2. Ñatti Dëgg
3. Mbokk-Gi
4. Yërmande
5. Lisa

Listen

Internet Archive listing

Ihab Tawfik إيهاب توفيق · Ekmenny – (إكمنى) · Egypt · 1990 · Slam!

This tape brings us to Cairo, with the debut album of a singer who would go on to become one of Egypt's most enduring pop voices.

Who is Ihab Tawfik

Ihab Tawfik (also transliterated Ehab Tawfik, إيهاب توفيق) is an Egyptian singer and actor, born on 7 January 1966 in Cairo, and one of the leading names of the shababi genre of Egyptian pop music.

He started young: he learned the oud as a child, from a private tutor who was a friend of his father, and sang as a soloist in his school choir. His musical education continued at Egypt's Faculty of Music Education and then at the Institute of Arabic Music, where he graduated with distinction and stayed on as a teaching assistant. He later went on to earn a doctorate in music and Arabic singing, with a thesis on the Egyptian song of the second half of the twentieth century, so the “doctor” title fans sometimes give him is not a joke.

His recording career opened in 1989 with the single “Dany”, written and arranged by Hamid El Shaeri, on the various-artists compilation Lqaa Al-Nujoum. The song did well, and set the tone for what came next: a full-length debut built largely around El Shaeri's production.

The album: Ekmeny

Ekmeny (إكمني), released in 1990 on the Slam! label, is that debut. Most of the album's music was again composed and arranged by Hamid El Shaeri, already a central figure of the Egyptian al-jil sound, whose influence would shape Tawfik's warm, romantic vocal style for years. The track “Awel Marra”, with lyrics by Adel Omar, is often singled out as an early showcase of Tawfik's vocal range.

It was a modest but effective start. Tawfik would follow it with Maraseel the next year and Rasamtek in 1993, before the run of hits in the late 1990s and 2000s — “Sahrany”, “Habibi”, “Allah Aleik Ya Seedy” — that made him a fixture of Arabic radio and, eventually, a singer with well over a million albums sold.

The Tape

This copy is a Slam! cassette, catalogue number FS 1-90, produced in Egypt and distributed by Al-Sorour Company (شركة السرور), 11 Kamal El-Din Salah St., Garden City, Cairo. The cover carries the credits below, transcribed from the J-card; a couple of names were hard to read on the print and are marked accordingly.

Tracce

Lato A

1. Ya Helw El-Malamih (يا حلو الملامح) — lyrics: Abdel Rahman Abu Sinna · music: Hamid El Shaeri
2. Haza El-Qamar (هذي القمر) — lyrics: Adel Omar · music: Hamid El Shaeri
3. Masakeen (مساكين) — lyrics: Adel Omar · music: Ibrahim Fahmy, Hamid El Shaeri
4. Ekmeny (إكمني) — lyrics: Mohamed El-Assas · music: Ahmed Mounib

Lato B

1. Sayed El-Helween (سيد الحلوين) — lyrics: Abdel Rahman Abu Sinna · music: Hamid El Shaeri
2. Awel Marra (أول مرة) — lyrics: Adel Omar · music: Hamid El Shaeri
3. Mahma Gani (مهما جاني) — lyrics: Magdy El-Naggar · music: Hagag Abdel Rahman
4. Allemny (علّمي) — lyrics: Mostafa Zaki · music: Ahmed Mounib
5. Da... (دا.......) — lyrics: Adel Omar · music: Hamid El Shaeri

Ascolta

Scheda su Internet Archive

Moussa Ngom · Banjul · Senegal · 1990 · Music production: Lamine Faye Exclusive distributor: Ibou Toure – Cantine “B-86” – Sandaga

Moussa Ngom (often spelled Musa Ngum; 1953–2015) was a Gambian singer-songwriter and musician, as well as a leading figure in contemporary Senegambian music. Born in Fatoto, The Gambia, he began his musical career between the late 1960s and early 1970s. He achieved widespread recognition as the lead vocalist of the Gambian group Guelewar Band of Banjul, blending traditional rhythms with funk, jazz, and psychedelic influences. In 1985, he moved to Dakar and joined the historic Senegalese ensemble Super Diamono, performing alongside Omar Pène and contributing to the evolution of the mbalax genre.

Toward the end of the 1980s, he pursued a solo career, releasing works such as the album Banjul in collaboration with arranger Lamine Faye. His music incorporated traditional njuup rhythms and the xiin percussion typical of the Baye Fall brotherhood. He died in Dakar on October 11, 2015, at the age of 61, following a sudden illness after a concert commemorating his 40-year career, and was buried in Touba.

Throughout his life, Ngom advocated for cultural and political integration between The Gambia and Senegal (Senegambia). As a symbolic stance, he habitually wore mismatched clothing and shoes of two different colors, stating that he would only wear matching shoes once the two nations were united under a single flag.

This is the cassette of the album Banjul, released in 1990 by Senegambian singer-songwriter Moussa Ngom. The album is one of Moussa Ngom's best-known solo projects outside the group Super Diamono, featuring a blend of traditional rhythms and modern mbalax sounds.

Musical direction: Arrangements and compositions were handled by Lamine Faye, who was also responsible for drum-machine programming, guitar, and backing vocals.

Recording: The tracks were recorded and mixed in Dakar at Studio MIDI-MUSIQUE under the technical direction of Aziz Dieng, Soce Diop, and Lamine Faye.

Executive production: Production is credited to Pape Ndoye.

Distribution network: Commercial distribution was handled exclusively by Ibou Toure through stall “B-86” at Dakar's Sandaga Market, a major hub for audio media sales in the region.

Printing and graphics: Photography is by Sara Boundo, while the layout, photocomposition, and printing of the paper insert were carried out in France (in Feucherolles).

Tracce

Lato A

1. Banjul
2. Sangue
3. Kamalimba

Lato B

1. Saloum
2. Kall
3. Mbek

Ascolta

झरना संगीत – Jharana Sangeet · नेपाली लोक धुन – Nepali Folk Music · Nepal

Jharana Sangeet Recording Pvt. Ltd. is a Nepalese record label and recording studio based in Kathmandu, established in 1990.

The company is led by folk singer and composer Ratna Baniya. Within the Nepalese music scene, the label primarily focuses on the production and distribution of:

• Lok Dohori (traditional folk call-and-response songs).
• Festival songs, particularly tracks associated with the Teej festival.
• Bhajans and devotional music (Hindu kirtans).
• Traditional instrumental tracks featuring typical Nepalese instruments (madal, bansuri flute, sarangi).

In Nepali, the word Jharana (झरना) means “waterfall” and Sangeet (संगीत) means “music”.

Enjoy!

Tracce

Lato A

1. १. रेसम फिरिरि (Ressamphiriri)
2. २. पानको पात (Panko kopat)
3. ३. सिमसिमे पानीमा (Simsime panima)
4. ४. उकालिमा पनि हजुर (Ukalima pani hajur)

Lato B

1. १. संगीनी (Sangini)
2. २. बाँझो खेतमा (Banjho khetama)
3. ३. रेसम फिरिरि (Ressamphiriri)
4. ४. धान नाच (Dhan nach)

Ascolta

Scheda su Internet Archive

El Maalam Mahmoud Gania · Gnawa · Morocco · Sawte Al Maarif

The first release arrives on Christmas Day—it’s a Gnawa gift from my personal cassette collection. Enjoy the listening.

SAWTE AL MAARIF (The Voice of Wisdom) presents EL MAALAM MAHMOUD GANIA, meaning ‘The Master Mahmoud Gania.’

The other musicians are: Sidi Mimoun, Lal Mimoun, Baba El Ghamati, Ayoubati, Sidi Mohamed Es-Sebaï, and Ken Kuba.

Maalam: In Gnawa culture, the term ‘Maalam’ refers to a spiritual and musical master, a figure of great respect within the community. Mahmoud Gania was a prominent figure in Morocco’s Gnawa music scene.

Who was Mahmoud Gania?

• Gnawa Master: He was considered a ‘Maalem,’ a spiritual and musical master in the Gnawa tradition. This prestigious title indicates a profound knowledge of the music and rituals associated with this ancient tradition.
• Musical Lineage: He came from a family of Gnawa musicians. His father, Maalem Boubker Gania, was also a highly respected master.
• Influence: He helped bring Gnawa music beyond Morocco’s borders by collaborating with international musicians and performing at numerous festivals.
• Musical Style: His style was characterized by intense energy and a deep connection to ancestral Gnawa traditions.

Ascolta

Side A

Side B

Download Side A: Gania2 A
Download Side B: Gania2 B

#gnawa #marocco #ghibri

Kuku Sebsibe · Ethiopia · 1982 · Electra Music Shop

With this new release from Cassette pirata, we travel to Ethiopia to meet Kuku Sebsibe (or Sebsebe, depending on the transliteration).

The album I am presenting is an original edition of the cassette simply titled “Kuku Sebsibe”, originally released in 1982. This album represents the singer’s debut and was recorded together with the Roha Band. At the time, it was released exclusively in cassette format by the Electra Music Shop label in Addis Ababa.

The tracks included, such as Fiqir Ke Hager Lij New and Tizita, became classics of Ethiopian music during those years, so much so that the album has been recently rediscovered and reissued on vinyl by international labels for its historical and artistic value.

The tracks in .flac format were recorded directly from the original cassette using Audacity. Some tracks show the effects of time and demagnetization. Interestingly, on Side A, there is one extra track compared to the five listed on the cover. Labels like Electra tended to fill the tapes (C-60 or C-90) until the last available minute. If there was space on the tape after the fifth track of Side A, they would add an extra song without necessarily updating the cover layout, which was mass-printed.

Enjoy the listening!

To download all tracks in high quality: archive.org/details/kuku-sebsibe-1982-a

Copertine

Tracce

Side A (ሀ)

1. አይዞህ ደንበኛ (Aizoh Denbegna) – Hang in there, regular customer
2. ፍቅር ከአገር ልጅ ነው (Fiqir Ke Hager Lij New) – Love is from a compatriot
3. ይውደዱኝ ሠፈር (Yewdedugn Sefer) – Let the neighborhood love me
4. ደሞ ደሞ (Demo Demo) – Again and Again
5. ርቀት ወዳጅ (Riqet Wedaj) – Long-distance lover

Side B (ለ)

1. ዓለም በጋ (Alem Bega) – The world is bright (Summer)
2. ብትመጣስ ብለህ (Bitmetas Bileh) – What if you were to come?
3. ትዝታ (Tizita) – Nostalgia / Memory
4. ፍቅሬህን አንቃ (Fiqrehin Anqa) – Awaken your love
5. አይደል መውደድ (Aydel Mewded) – Isn’t this loving?

Ascolta

Side A

አይዞህ ደንበኛ (Aizoh Denbegna) – Hang in there, regular customer

ፍቅር ከአገር ልጅ ነው (Fiqir Ke Hager Lij New) – Love is from a compatriot

ይውደዱኝ ሠፈር (Yewdedugn Sefer) – Let the neighborhood love me

ደሞ ደሞ (Demo Demo) – Again and Again

ርቀት ወዳጅ (Riqet Wedaj) – Long-distance lover

Unknown Song

Side B

ዓለም በጋ (Alem Bega) – The world is bright (Summer)

ብትመጣስ ብለህ (Bitmetas Bileh) – What if you were to come?

ትዝታ (Tizita) – Nostalgia / Memory

ፍቅሬህን አንቃ (Fiqrehin Anqa) – Awaken your love

አይደል መውደድ (Aydel Mewded) – Isn’t this loving?

#ethiopia #etiopia #music #musica

Dawit “Messay” Mellesse · Anchin New · Ethiopia · 1999 · AIT Records

The album “Anchin New” by Dawit “Messay” Mellesse, released in 1999, represents a pivotal moment in the evolution of Ethio-pop at the turn of the millennium. It is not just a collection of songs, but a technological and cultural bridge between the traditions of Addis Ababa and modern international production.

1. The Encounter of Two Eras: Roha Band and Abegasu

The album is unique because it features a collaboration between two different creative forces:

• The Roha Band: The legendary band that dominated Ethiopian music throughout the 1980s and early 90s. Their style is rooted in a more “organic” and traditional sound.
• Abegasu Kibrework Shiota: A visionary producer who introduced modern keyboards, synthesizers, and high-level recording standards (working between New York and Ethiopia). The alternation of tracks between these two production styles creates a perfect balance between the warmth of the classic sound and the polished feel of modern pop.

2. A Distinctive Vocal Style

Dawit Mellesse is known for a voice capable of adapting to both melancholic ballads and upbeat rhythms. In this album, the title track Anchin New became an instant classic due to its catchy melody and the way it utilizes the Ethiopian pentatonic scale within an almost R&B context.

3. “International” Production Quality

Unlike many cassettes produced entirely in Addis Ababa with limited resources at the time, this album was:

• Recorded and mixed in New York (Soul-Life Studios).
• Digitally mastered in Virginia. This ensured superior sound quality, allowing Ethiopian music to sound “competitive” even on the high-end stereo systems of the diaspora in the United States and Europe.

4. The Role of AIT Records

The AIT Records label (owned by Aman Adinew) played a crucial role in professionalizing the Ethiopian music industry. This album is a symbol of their mission: to elevate local music to a global standard, meticulously overseeing not only the sound but also the aesthetics of the cover art and distribution.

5. Cultural Insights and Song Titles

Many tracks, such as Webe Keremela or Suse Nesh, use very colloquial and “sweet” language typical of the era’s courtship style. While the album is modern, it remains deeply connected to its roots; for instance, the track Bati references one of the most ancient and important musical scales in Ethiopia.

Copertine

Tracce

Side A

1. Bichashn – You Alone
2. Anchin New – It Is You / You Are The One
3. Kunjina – Beauty / Loveliness
4. Yagere Lij – Girl of My Country / My Compatriot
5. Ayisemashim – You Don’t Hear Me / You Won’t Listen
6. Sela Bey – Say “Sela”

Side B

1. Min Yishalegnal – What Is Best For Me? / What Should I Do?
2. Rabew Aynen – My Eyes Are Hungry (To see you)
3. Suse Nesh – You Are My Addiction / My Obsession
4. Diresh Kedega – Come From The Highlands
5. Webe Keremela – Beautiful Candy
6. Alchalkum – I Can’t Go On / I Can’t Endure It

Ascolta

Side A

01 · ብቻሽን · You Alone

02 · አንቺን ነው · You Are The One

03 · ቁንጅና · Beauty

04 · ያገሬ ልጅ · Girl of My Country

05 · አይሰማሽም · you Wont Listen

Side B

01 · ምን ይሻለኛል · What Is Best For Me?

02 · ራበው አይኔን · My Eyes Are Hungry (To see you)

03 · ሱሴ ነሽ · You Are My Addiction

04 · ድረሽ ከደጋ · Come From The Highlands

05 · አልቻልኩም · I Cant Endure It

Crediti

• Artist: Dawit “Messay” Mellesse
• Album Title: Anchin New (Translated as: “It is You” or “You Are The One”)
• Record Label: AIT Records
• Release Year: © 1999 DM (Dawit Mellesse) / AIT Records

Production and Technical Credits

The album features collaborations with prominent musicians from the Ethiopian scene:

• Production and Arrangements: Abegasu Kibrework Shiota (worked on tracks 1, 2, 4, 5, and 9) and the Roha Band.
• Original Rhythm Programming: Elias Bekele (tracks 1, 4, 7, 8, and 9).
• Keyboards: Fasil Wuhib (tracks 2, 4, 5, and 8).
• Executive Production: Aman Adinew.
• Recording and Mixing: Abegasu Kibrework Shiota at “Soul-Life Studios” in New York.
• Digital Mastering: Charlie Pilzer at “Airshow Mastering, Inc.” in Springfield, VA.

#cassette #ethiopia #ethiopop #musica #release

Seny Sangare and Safoura Denou were a celebrated duo (both in life and art) in Mali, active well before the international success of other famous duos like Amadou & Mariam. Their music belongs to the Griot (or Jeli) tradition—the itinerant poets and singers who preserve the oral history of the Mandé people.

01. Diouba

01. Matefili Diougouma

02. Mali Chauffeur

03. Desse

04. Nakebaraye

05. Barake Mali

Tracklist

The cassette is divided into two sides with the following tracks:

Side A:

Diouba Mali Chauffeur Nakebaraye

Side B:

Matefili Diougouma Desse Barake Mali

The cassette shows signs of humidity; in particular, the upper screws are completely rusted. I had to open the case to reattach the tape, which had come loose.

Production: Although this specific version was distributed by Super Sound Inc. in Monrovia, many of their original sessions were recorded or mixed by Boubacar Traoré (namesake of the famous Malian bluesman, but here acting as a sound engineer/technician).

Instrumentation: The man on the cover is playing a Bolon (a three-stringed harp with a gourd resonator), an instrument traditionally associated with the hunter class or noble warriors. Safoura Denou provides the lead vocals, characterized by a powerful register typical of the female griot tradition (jelimusow).

Historical Insight: The “Liberian Connection” The presence of the Super Sound Inc. Monrovia brand on this cassette is a precious detail. In the 1980s, Monrovia (Liberia) was a massive commercial hub for licensed and bootleg cassettes that circulated throughout the region. This specimen testifies to how Malian music served as the “pop music” of the era across West Africa, reaching far beyond the borders of Mali itself.

Safoura Denou & Seny Sangaré – Maya Gassi

This video features a rare television appearance by the duo in the mid-80s, allowing you to see their performance style.