By now many know who Teddy Afro, alias Tewodros Kassahun is, i.e. a young and extremely talented Ethiopian artist: composer, writer of lyrics and vocalist, all in one, capable of astonishing us by his fast, timely and frequent creations of his magical hat. We remember the overnight masterpiece 'Tarik Tessera' (history is made) produced in the event of our Athens Olympics ten-thousand meter race team's solidarity run (with the legendary athlete Haile Gebre Selassie, in the companion of the emerging star Kenenisa). Few people managed to hide their intimate emotions and admiration for the tune, words and specially the video clip that showed how Keni during the race was waiting for Haile. Teddy was able to produce such a sensational work in one day, working round the clock, with music arranger Dawit Tilahun. If any one had doubts about the natural, creative talent of Teddy, there was the concrete proof! A resounding success!

Again last February, Teddy had the golden opportunity to reconfirm his talent by releasing an ad hoc 'single' intended to grace here in Addis the 60th posthumous birthday anniversary of the venerated reggae star, Jamaican Bob Marley. The celebrations had begun by decorating the central Maskal Squarein Addis, with countless light bulbs and other effects, and a wonderful podium for the artists, where hundreds of thousands of people showed up (including the Ethiopian Premier and the family of Marley). The fans defied the diurnal heat and the nocturnal chill not to miss the famous Marley Family concert entitled 'Africa Must Unite'. And the only local artist that was invited to perform at the occasion was Teddy Afro: a direct tribute to his genius at the international level! The single release, entitled then 'Shashamene'/Promise', became an instant hit and filled the ears of all listeners and fans of the artist through out the weeks of February. Teddy did it again! people exclaimed.

In the mean time, the expectation of the public for his new release, (already announced and postponed several times), grew higher and higher, while Teddy continued to furnish his fans with his creations through other artists such as veterans Kuku Sebsebe, Betseat Seyoum and Aregahegn Werash. But the biggest of all such contributions went to his young friend and colleague, Showandagne Hailu in the album called 'Sik Alegn'(some one is mentioning me in my absence) where all songs except one were composed by Teddy. The album dominated the market for a long while and people wondered if Teddy could give away such a quality work to a friend, what would his personal performance look like?!

In a way, this latest release of Teddy "Yasstesseriyal" (it heals) is hence the result of all these emotions and expectations, and in a sense, it must have overburdened the young artist. Teddy began his acquaintance with the large public with his 'first' release (at least in chronological release, if not creation) called 'Abugida' (the beginning of literacy, in Amharic language, the 'abc' of love). It was a real boom, (re-printed seven times!) a breakthrough to Ethiopian contemporary music, in style and melody, including two reggae-style remakes of the songs of decan of all Ethiopian Artists: Tilahun Gessesse, and his son Minyahil. He managed to attract the attention of every music fan, for months, by dealing with historical myths, (the late Emperor Haile Selassie, Athelete Haile Gebre-Selassie, and Michael Angelo's greatest artistic creation, Mona Lisa, as a parameter of beauty). The theme of his album was so varied and colourful that people immediately embraced Teddy as their prodigal brother/peer/son. When his second album was released, every one expected some other masterpiece. ('Teddy Afro', was the title) But it resulted that it was in fact made and intended to be marketed earlier, although the producer had failed or felt reluctant (for his own reasons) to release it on time, so to say! A question that resulted controversial, as the album was sold as 'new', illegally capitalizing on the newly (then not foreseen or considered) established good will! Such release (that would have commanded or implied a new deal) put into bad light the good faith of the producer. For Teddy, more than a question of money, it was a question of integrity and fame! People could not expect that he make such an album as his second creation, when his first one was so sensational and people expected progress and not regression. There needed to be made a demarcation. Teddy was reported to have suggested to buy out that release from the producer, and perhaps work on it more, in order to make it conform to his newly acquired standard, but there was reportedly no accord with the producer, and the CD was released any way.

For a while, it appeared that Teddy was dragged with the producer into an involuntary row, more characteristic of lawyers and business tycoons, (many, if not all, of his fans embraced his cause). How could the phenomenal album 'Abugida' be used as a vehicle of publicity for the sale of an earlier, 'debut' album? In any case, people eagerly bought the 'new album' any way, even though they eventually came to know that what looked like a regression was in fact the pace setter for the second work! And frankly, it was not that bad at all! It showed his potential, later confirmed. Teddy then peacefully focussed on subsequent programs. People understood the case, and I think that was what Teddy was most interested in.

In the mean time, Teddy's posture and reputation as the undisputed new 'eminence grise' of Ethiopian music continued to climb high up. Today, many agree that he is the most sought after artist in the market. His extended tour to North America, (and meetings with many artists there) some three years ago, had made him very popular, and his appearance fee has grown to incredible figures, perhaps a new record by Ethiopian standards! And the new release by Electra Studio is now in complete control of the audience, resulting the dominant voice everywhere!

What makes Teddy unique is not only his various reflexes with his voice, but also with his original creation of themes, subjects, issues, (for the lyrics) and all sorts of live, natural sound bites entrenched in his melodies. In fact, his latest album is in this sense perhaps the most complete to date. A variety of tunes of different origins (modern and traditional) have been incorporated in the album, and the lyrics are also really poetic, captivating, emotional and touching. Singing the tunes, he prays, and invites his audience to do the same, he exhorts with emotional appeals, he cries, he shows condemnation for what he believes is wrong and cursed, but at the same time magnifies love and tolerance. Referring to the sad plight of our country he cries loud: When shall the day break come ? When shall darkness be overtaken by light?! He refers to drought, he refers to HIV, he refers to hatred.

'Yasstesseriyal' basically deals with love for the Lord and pardon, and that is what he recommends for all of us. He then maintains that love begets light, sight. His song 'Lampadina' (lantern) is the story of love brightening the sight of a blind person! Love is such a magical power, he sings, and you hear the sound of an excited public witnessing the miracle with an ovation! And for the negative side of love that can procreate jealousy or suspicion, his remedy is trust, (theme of the song called 'Alamin Alena', 'my heart failing to trust you!'). Again love and promise are to be sticked to in spite of adverse/impossible circumstances, and a prayer to God would be of help, (theme of 'Kab Dahlak', (from the island of Dahlak, in the Red Sea, now under Eritrean sovereignty! a division that was beyond the subject's control, and an allusion to the Ethio-Eritrean divide and hence a family's fracture!) Love between subjects of various ethnic/nationality origin, love between different religious faithful, (theme of song :'Chemin de fer', train/railway), love between distant people, and love amongst all Ethiopians, disregarding political beliefs or ideologies, and more significantly, disregarding past mistakes, pardoning misled acts, miscarriage of justice, avoiding interminable cycle of revenge, (lead song 'Yasstesseriyal', 'pardon cleanses, heals, in the spiritual sense) are all expressed emphatically.

Getting deeper into his spirituality, Teddy reiterates the value of love entrenched with the love for God, and he says if we love each other, God would heed our prayers. All these are serious themes, and yet he managed to present them with apparent easiness and steadfastness, linking historical episodes, very recurrent in our minds, and mostly sad and melancholic tunes, with a brighter promise for the future, a more optimistic note. In one very sad song, he tells the drama of the death of a boy who falls from a horse and dies, while he was expected at a wedding ceremony. And he wonders: what has happened to the horse, was it untamed?! Dear horse keeper, is it the horse or the terrain that caused the tragedy? How shall I break this sad news to the boy's mother?, ('Balderassu', horse keeper), again based on a true story of Teddy's childhood memories). That is where Teddy really excels other artists in his creative path, in his uncommon selections and dealings with delicate and complicated natural sounds.

In the album, you hear the sounds of ambulances/police sirens when the emperor was deposed, when the sixty high ranking officials were summarily executed; you hear the sound of the sea in Dahlak, the waves, the sound of barking dogs (in 'Semi Belelebet''my unheeded cries') like when dogs bark after the hyenas have left (old Ethiopian proverb, meaning too late)! You hear the fearsome sound of the horseshoes in 'Balderassu', the sound of the train in his quest to take it to go from Harar to Addis in search of the girl he fell in love with, in Kulubi (Harar), when she came in a Christian piligrimage (in 'Chemin de fer'); you hear the public ovation suggesting a miraculous eyesight to a blind person, due to love, in 'Lampadina'. All these sounds add value to the album.

Finally, 'Yasstesseryal' is really a unique and very ambitious song that tries to recap the history of Ethiopia of the last half century, with the urge to dissociate from its curse, improving, changing, raising the moral standard. A song with a phenomenal reggae beat, but with touching words and episodes. The tragedy of an embattled nation in search of new directions: it begins with the disgraceful downfall of the emperor, ending with the advent of the current rulers, passing through the 17-year tragic military domination, marred with massacres and exiles! Leaders changed but revengeful killings and detentions never ceased! 'Forget your grudges and differences, tie your hands together, and work hard for the future of our people, in love and compassion, in tolerance', as did Mandela in post-Apartheid South Africa, he quotes, (showing his attention to world events). This is a very crucial, timely and unequivocal message. With elections and political strife rocking the nation, Teddy's advice for a reconciliation-oriented approach needs to be heeded! And in this sense, we can say that the album is smartly 'political.'

Arranged and mixed by four of the most innovative artists, (Abegazu Kibre-work Shiota, Elias Melka, Dawit Tilahun and Girum Mezmur ) the album sets a unique record and value, accomplished with artistic care and dedication, Teddy Afro has hence marked a new dimension to the story of contemporary Ethiopian music. He definitely will remain at the apex for yet many years to come. Young as he is, (unlike many of his peers), he shows extreme maturity and seriousness, commitment and dedication, to his work, and we can only expect more from him in the coming years. Teddy's story is destined to be long and wonderful, no doubts. He has the modesty, the personality, the passion to stick to the art, and we wish him that his prayer towards God to give him 'his life-time half ' (theme of the song 'Bel Sitegn': (Oh God, give me a woman that I can marry) be satisfied soon, so that, settling down with still better mental and social equilibrium, he will continue to marvel us.