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The then Imperial Bodyguard Band recruited Tilahun
who made his debut at Hager Fakir Theatre along with
other young singers like Firew Hailu and Mesfin
Haile. The Imperial Bodyguard cultivated by General
Mengistu Neway, was a forum whereby young talents
were able to display their skills. Tilahun, Tefera
Kassa, Bizunesh Bekele, Isatu Tessema, Kassa Tessema
and Gelan Tessema (no blood relations) were but a
few of them.
Tilahun with his impressive facial expression
(winking eyes) and good looks did not take much time
to win public admiration all over the country. Every
other Saturday the Band used to stage short plays
and musical concerts for the members of the
Bodyguard under the shade of a huge tent in the
backyard of the Imperial Bodyguard hospital compound
where the General resided.
The show promoter, Major Gezahegn Desta, made a name
for himself by cracking jokes and using suspenseful
lyrics to introduce singers. He used to give
detailed descriptions of how air travels through the
lungs of Tilahun, gets processed in his brain and
emanates as a reverberating sound from his throat to
reach our souls. He used body language to accompany
his elaborated descriptions before he bowed out
leaving the microphone and the stage to the Band.
The handsome Tilahun then appeared on the stage a
little after the perpetuating music that serves as a
prelude before he breaks the momentary silence and
suspense of the audience. Hardly does Tilahun finish
a full stanza then the audience turns mad with
emotion, jumping up and down, overwhelmed by
excitement and animation.
I
once saw Tilahun singing a nostalgic song entitled "Yikatel
Blew Fird Feredubet" in a very melancholic tune that
brought tears to my eyes. This piece was sung after
General Mengistu was hanged for his attempt to
overthrow the kingdom. People interpreted the piece
was as a dedication to the General who was beloved
by the whole army. It talks about a fallen flower
amidst filth condemned to be burnt like trash.
There were other pieces like "Ououta Ayaskefam" and
"Alchalkum Biyalehu", which were rumoured to be
deliberate songs, meant to incite the silent public.
Of course these and other conjectures were debatable
perhaps best known only to the authors.
Every new year's eve during the early 50's featured
a kind of musical contest between the bands of the
Imperial Bodyguard, the Ethiopian army, the National
Theatre and the police force. The Imperial Bodyguard
was always considered the winner courtesy of the
young singers like Tilahun, Tefera, Tezera, Bizunesh
Bekele and Isatu Tessema. In fact, the burdon of
proving worthiness used to fall on the voice of
Tilahun. It did not matter if others studied their
lines properly or not so long as there was Tilahun
around.
I
once saw people lining up to give awards and token
prizes for the singer while he was still on stage.
One fellow turned his face to the audience, opened
up his coat like an open wing to indicate that he
had nothing in his pocket, then turned around, knelt
down and kissed Tilahun's foot to express his esteem
and respect to the superstar.
Ask any singer or would-be-singer in town whom they
emulate as a singer and they will tell you "Tilahun
Gessesse" unanimously. If there is an issue that can
unite most Ethiopians, it must be the general
agreement over Tilahun's excellence.
There was a recent report that reveals that Tilahun
has sung over 400 pieces over the last 50 years,
though he is sceptical. Nobody has counted them, but
Tilahun does not need to cite numbers to prove his
worth.
I
remember the veteran journalist Paulos Gnogno once
replying to a letter asking him to compare Tilahun
with Ayalew Mesfin, another popular singer best
known for his traditional "Lale Guma". Paulos said
10 "Lale Gumas" are not worth one "Mona Lisa!"
Tilahun is simply the singer of singers and the God
of Ethiopian modern music, second to none. Though
numbers are irrelevant, one thing is certain:
Tilahun has sung more than the songs of 20 artists
put together.
It baffles me why the concerned ministry or office
does not establish a standing exhibition where works
of artists (sculptures, painters, writers, musicians
etc.) are collected for display. Ethiopia may be
taking a stride in the direction of reducing poverty
and joining the middle income countries in the next
two decades. Identifying her cultural heritages and
displaying them is a step in the right direction.
Although we do not know the exact number of
Tilahun's songs, we know that he touched upon almost
all societal issues, except perhaps maternal songs.
I personally do not remember any song related to
mothers or fathers sung by Tilahun.
Tilahun's mystery of his golden voice is a natural
gift coupled with strenuous practice to hold his
breath and voice longer and longer. He is conscious
of what goes on in his anatomy: abdomen (diaphragm),
lungs and throat.
Some singers try to mimic him in vain. They end up
in the middle of nowhere. Either they are too brief
or too dry like a man suffering from dry coughing
resulting in a coarse voice. Tilahun can never be
mimicked in earnest.
It is not only his golden voice that is peculiar. He
lives what he sings through his facial expression
and body language. I always wished Tilahun to appear
on a feature film knowing how much he is given to
camera.
Tilahun sings to touch the emotions of love, passion
and initiations. I remember watching people breaking
into tears when he sang "waay waay silu" during the
1974 famine that struck part of Wollo and north Shoa.
He had helped to collect millions when he sang "wured
belew" during the Ethio-Somali war. He had sung
nostalgic songs on HIV/Aids victims.
Tilahun has no equals. He is now in a wheelchair
being a diabetic patient. His latest hit is about
this disease. Tilahun aspires to do some new pieces
in the not too distant future. God bless him.
When I saw Mohammed Wordii as a guest in the
Millennium celebration, I felt happy to see him
alive. I was expecting Tilahun to be given the same
forum if not better. A musician that has been
awarded an honorary doctorate degree by the powers
that be ought to have deserved the limelight on the
eve of the celebration along with compatriot Wordii.
Tilahun may not be as rich as one would expect him
to be judging by the fortune amassed by present day
singers. But his wealth is the love and respect
accorded by his falls throughout the country and
Ethiopians in the Diaspora.
Tilahun has travelled to many countries but it is
hard to understand why international bodies do not
acclaim him as one of the best singers in Africa
like they recognise Mahmoud Ahmed. Tribute must be
given to the superstar that has been a part of our
life over half a century.
Tilahun is not only a singer in his own might but
also a standard of modern music in the country. He
is an idol and the God of modern Ethiopian music.
Long live Tilahun Gessesse!
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