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Annette Danso, one of Ghanaâs young enterprising gospel musicians who declared her readiness to take Ghanaian gospel music to another level with her new soul-touching gospel songs, has denied rumours that her second hit single, âWole Nokoâ was a political song.
She told BEATWAVES in a chat, âI donât do political songs. I am a gospel musician promoting the work of God through music. Annetteâs second single is not a political song as being speculatedâ.
But a section of music fans who had the opportunity to listen to the song still insisted that it was a political song which supported one political party, thus creating quite a stir among her fans.
The âWole Nokoâ song which offers great inspiration to all Christians, educates them about the teachings of Christ and also assures them that because God is in control, victory is on their side.
The powerful praise song is a mid-tempo rendered in jama, with a beautiful rhythm fused with great bass tune and drum beats to match. It is a wonderful piece which brings out her superb creative abilities. The creativity in the composition is also commendable.
Known for her unique delivery, Annette always makes an impression with the kind of works she produces. What is touching about the song is the sound quality, which could be attributed to the state-of-the-art equipment used in recording it.
Annetteâs consistency as an anointed singer had made a tremendous impact in motivating and inspiring so many people, both in and out of the church.
Annette told BEATWAVES, âI have been in the music industry for the past 17 years and I have dedicated my whole life and music to God to show appreciation for what He has done and continue to do for meâ.
By George Clifford Owusu
GHANAâS MULTI award-winning conscious reggae superstar Blakk Rasta, last Saturday, May 11, staged a concert at the Nsawam Prisons to celebrate Bob Marleyâs Day with the inmates.
During the concert, dubbed âJailhouse Rockingâ, the reggae artiste/radio presenter on Hitz 103.7 FM performed a lot of his hit songs with his Herbalist Band for hours in the first ever reggae performance in a Ghanaian prison.
The concert kicked off at 11:00 am with Fiifi Selah taking the stage and rocking the prisoners with his brand of reggae music.
Blakk Rasta then stormed the stage and dished out exciting reggae songs with his band as the inmates jumped, shouted and danced. Many cried as Blakk Rasta delivered very inspiring messages to them in-between his set. Prison officers could not withstand the heat and also joined in the dancing and celebration right on stage.
He advised the prisoners to be good citizens when they are released from prison, as he believed not all of them deserved to be there.
Blakk Rasta paved the way for Stonebwoy who also thrilled the prisoners with dancehall tunes.
The widow of Bob Marley, Rita Marley, then took centre stage and sung her husbandâs anthem, âOne Loveâ to the delight of the inmates. Strong winds started blowing from all directions, followed by rain as Rita Marley sung her last note. The sudden power outage disrupted the entire activity, paving way for the inmates to shout; âBlakk Rasta Dumsor! Blakk Rasta Dumsor!â over and over.
Blakk Rasta realized that his inmate friends had accepted and cherished him like their anticipated freedom. He bowed in respect and walked off stage.
Rita Marley later told journalists, âI felt Bob Marleyâs spirit sailing in the winds, bringing down the cool May rainâ.
The group next stopped at the female prison where they interacted with inmates there and shared words of inspiration with them.
A seven-month old baby living in prison with his mother caught the eyes of Rita Marley who shed tears at the sight of the innocent prisoners.
Blakk Rasta, Rita Marley and the group donated food items, toiletries and clothing to the prisoners.
Blakk Rasta is feverishly preparing to release his much-awaited â8th Studio Albumâ; a journey of album releases started in 2000 with his debut album, âThe Rasta Shrineâ.
The new album, titled âAncestral Moon Splashâ has 18 tracks, and Blakk is widely tipped to grab for the third time, the coveted Reggae Song of the Year Award at the Vodafone Ghana Music Awards on Saturday at the Accra International Conference Centre.
Text P2 to 1767 if you want Blakk Rasta to win the award with his song, âOur Africaâ.
The 2013 edition of Miss Universe Ghana has started, but Gifty Ofori, the winner of the last yearâs pageant, has not received her prize package promised her by the organisers, Insignia Experience and RAC Group.
Reports available indicate that the two companies have split over the organization of the event and this may be the reason they are dragging their feet in releasing the prizes to the winner.
The 24-year-old model and nurse was supposed to be given a list of prizes including an official car service for her year of reign, an all-expense paid trip to the 61st Miss Universe pageant in Las Vegas, Nevada, a three-month internship at the United Nations in New York, and a presentation and modelling portfolio shot by celebrity photographer, Fadil Berisha in New York.
The rest are a Samsung Note 3 phone tablet, four pages editorial spread in an international magazine, personal celebrity stylists in New York, Los Angeles and Accra and also management and representation by the Insignia Experience/RAC Group, as well as a year of incredible experience of celebrity status and adventure. Â Per her contract, she will also be given a house to live in for her year of reign.
When Gifty was contacted on the issue she indicated, âI have only received Samsung Galaxy, my trip to represent Ghana at 61st edition Miss Universe in the US and the photo shoot I did. I have not received the vital packages.â
She said she had not received any official car service to go about her project. She is embarking on a reading programme and HIV sensitization project and has been using public transport to carry out the project.
The internship with the United Nations has also not materialized just as she didnât see any feature about her in any international magazine. She has also not been given the celebrity status she was promised from the beginning.
âWhile I was in the USA, I was waiting for internship with the UN to happen, but it never happened. When I came back, I had to go out and solicit for funds for my project which I needed to do. It was difficult for me because everything has to come from my pocket. Meanwhile, I have been raised to a certain standard and I have been left hanging with no one supporting me. I have always expected the two companies to let us sit down and talk about what needs to be done but nothing is happening. They donât care about my feelings,â she added.
The organisers would neither pick their phones nor reply to numerous text messages sent to them seeking an explanation for the apparent disappointment, when this writer tried reaching them.
By Francis Addo
The former president of the Musicians Union of Ghana (MUSIGA), Alhaji Sidiku Buari, who served eight years as MUSIGA president, has declared that there is the need for the stakeholders in the music industry in Ghana to put their differences aside and form a united front to fight for the pressing needs of the industry.
Alhaji Sidiku Buari urged stakeholders in the music industry to learn to accommodate and tolerate each other and try to eschew personality clashes that have existed in the music industry for so many years.
Alhaji Sidiku, who was once chairman of COSGA Oversight Committee, said Ghanaian musicians had a lot to gain if they worked together as a team to move the industry forward, adding that team work would help the music industry to grow and would also help the musicians to realize the fruits of their labour.
Speaking to BEATWAVES in an exclusive interview in Accra, Alhaji Sidiku Buari, who is the also former vice president of the Federation of International Musicians (FIM), noted that some of the many other ways in which MUSIGA and Ghana Music Rights Organisation (GHAMRO) could help musicians and composers include organizing workshops, showcases, having other exclusive tailor-made benefit packages that include health and instrument insurance, credit unions, discounts on musical accessories, travel and much more.
The former MUSIGA president appealed to MUSIGA and GHAMRO to work as a team to promote Ghanaian music, culture and tradition to the outside world. He explained that Ghanaians could not do away with their culture and music, which formed basic guidelines in their day-to-day activities.
Alhaji Sidiku Buari again advised the GHAMRO management team to practise an open-door policy to enable the views and concerns of the stakeholders to be taken into account before any decision was taken.
He also advised that MUSIGA should work tirelessly to protect and promote the image of the Ghana music industry to attract additional investment into the music sector.
He said the leadership of MUSIGA should initiate programmes to guarantee regular incomes for the members, apart from the annual royalties they received from the collective society.
He also said that music was a potential revenue earner with many job creation opportunities, but because of lack of focus and effective structures to enhance the development and promotion of the Ghanaian music, coupled with a divided front, potential investors with the ability to drive the industry were also shying away.
Sidiku Buari stressed that musicians offered far better branding of the nation than official emissaries posted to represent the nation in foreign lands. He called on the government to put in place a programme that would occasionally send a crop of Ghanaian musicians to go and perform abroad for the Ghanaian community and outsiders in general.
He also called for a united musicianâs body; a tool which he said would aid and promote their well-being.
The former president of MUSIGA urged the union to create a situation where musicians and other intellectuals would reap the full benefits of their efforts in the system.
He advised MUSIGA to create a situation where musicians and other intellectuals would reap the full benefits of their efforts in the system.
He noted that the days that musicians dwelt on popularity, but wallowed in poverty were over, adding that MUSIGA should work closely with all the stakeholders to create jobs for the musicians.
He appealed to the union to chart a new path to develop musicians and other collaborators to send Ghanaian music to the international market.
According to him, it would also encourage its members to compose songs that would promote national unity and tolerance.
On the issue of piracy, the former MUSIGA president hinted that technology had made piracy very easy and simple, and the pirates were taking advantage of it. He further stressed that in order to calm piracy down, MUSIGA and GHAMRO should train some personnel within the two associations to monitor the activities of music pirates who were infringing on the rights of music owners.
He said the members of the GHAMRO board should also see themselves as stewards who were taking care of each otherâs precious properties and for that matter should bring their activities unto the door steps of stakeholders to avoid speculations and suspicion.
He urged GHAMRO to draw outreach programmes to educate the people on piracy, which, according to him, was killing the music industry, adding that stakeholders should exhibit transparency in their activities.
He said the level of piracy in Ghana was high, effectively preventing the emergence of Ghanaian creativity. The former MUSIGA President said creativity remained an unappreciated and underexploited resource in Ghana and Africa.
Alhaji Sidiku Buari appealed to the record companies to invest in Ghanaian musicians, saying there were many talents in Ghana who could match any around the world.
He noted that difficulty in enforcing laws against piracy of music in Ghana was a serious canker, adding that pirated versions of creative works covered at least 60 percent of the market and in West Africa, the figure could be as high as 90 percent.
Alhaji Sidiku declared that lack of enforcement of copyright laws had empowered the pirates, who are better organised and more successful than the victims.
In most African countries, he said, the ineffective enforcement of copyright laws had led to a host of other unintended consequences including pushing the production of African music out of the continent.
For example, in the late 1980s, most legitimate music businesses in Ghana, including production houses and record factories, were shut down due to competition from pirates.
Sidiku Buari stressed that promoting Ghanaian culture would attract tourists who would be prepared to pay money to know more about Ghanaian music and culture.
According to him, there was a lot to be done with respect to helping Ghanaian musicians make ends meet, and that needed the support of everybody including MUSIGA and GHAMRO.
Sidiku who is one of Ghanaâs seasoned music icons came into the limelight with the release of his first album titled âKaram Baniâ in 1975 which won him a contract with the Radio Corporation of America (RCA) and the company bought the rights to market the album. He toured several American States to promote his works. He has over 15 albums to his credit.
By GeorgeÂ Clifford Owusu
The organizers of the âGhana Meets Naijaâ musical concert have announced that the third edition of Ghanaâs biggest musical concert would be launched on May 22, 2013.
The full list of performing artistes would be unveiled at this yearâs official launch. Also to be unveiled at the event would be the numerous exciting packages put together by the eventâs corporate partners, MTN and RLG, for music lovers across the country, as part of this yearâs event.
The entertainment powerhouse expects to host one of the largest crowds in Ghana as it stages its first musical fiesta dubbed âGhana Meets Naijaâ at the Dome of the Accra International Conference Centre.
The event powered by Empire Entertainment is an annual event and would be part of this yearâs Republic holiday celebrations. It is scheduled to bring together the best of Ghana and Nigeriaâs music industries to celebrate the Republic holiday with music fans.
So far, Burna Boy, the fast-rising Nigerian artiste, who took over the nightlife scene in âGH and Naijaâ with his two hit singles, âLike to Partyâ and âTonightâ has been officially confirmed to be performing at the event.
The âGhana Meets Naijaâ concert is largely regarded by many music lovers as a musical showdown of sorts to establish supremacy between two countries whose musical trends have continuously influenced and rivalled each other in every way.
Organizers have however consistently maintained that the concert was aimed at celebrating what the two countries had in common as neighbouring countries, and not a battle for musical supremacy.
The âGhana Meets Naijaâ concert is brought to you by MTN and RLG with support from Hennessey.
All is set for the highly anticipated Accra auditions of the Glo X Factor this weekend, where thousands of ambitious Ghanaians would be pitching their talents against each other with an eye on a record setting US$150, 000 prize cash and the prospect of launching a musical career with the reputed Sony Record label.
The Accra auditions, slated for Saturday and Sunday, May 11-12, 2013 at the plush Alisa Hotel, is expected to further boost the excitement about what is acclaimed as the worldâs biggest reality TV singing show, following the frenzy it generated in the Ashanti regional capital, Kumasi last weekend.
The two-day audition in Accra is expected to attract bigger audience, including aspirantsâ resident outside the metropolis and possibly from neighbouring regions seeking to take a shot at stardom.
So far, 25 Kumasi-based artistes have qualified from Ghana to the Glo X Factor boot camp in Lagos, Nigeria, and the Accra audition is expected to identify another 25 talents to represent the country at the Lagos boot camp.
They will be joining some 50 contestants who have also qualified from two streams of auditioning at Port Harcourt and Abuja, heading for the Lagos boot camp.
Reports from organizers of the Bass Awards 2013 indicate there is a near man rush from musicians for entries for nomination.
Though no official figure had been given, reports say close to 200 musicians have so far submitted entries that cover the respective categories but the process is still underway.
What seems to have made the competition interesting is the fact that the categories are not limited to reggae and dancehall musicians but also to any musician who has a reggae or dancehall song.
This means a hip-hop or hiplife musician who has a dancehall or reggae song is also qualified to enter the song into any of the categories.
The award has a public voting as well as industry voting categories.
The Public Voting Category,Â the organizers saidÂ âcontains a number of award categories that are open to the general public as well as the BASS Awards Committee (Board) â as it was explained during the official launchâ.
TheÂ Industry Voting Category âcomes with some of the award categories [and] would be strictly voted for [by] members of the committee. The major reasons being that, such categories are highly technical categories and would require only the Board members to cast votes on that [as] explained during the official launchâ.
Entry forms for potential applicant(s) in all 10 regions would be released soon. âDemo version songs/content will NOT be accepted,â they advised.
âSongs, music videos or content with openly explicit content and or vulgar language will be disqualified as well. Interested applicants can download an entry form fromÂ www.bassawards.com and email together with mp3 version of music toÂ firstname.lastname@example.org,â according to organizers.
Alternatively, one can pick and submit an entry form plus two copies of their music at the following media house: Radio Gold (Accra), KFM (Kumasi), Skyy Power (Takoradi) and Diamond Radio (Tamale).
Multichoice Ghana, this week, announced that Channel O will sponsor the 2013 Ghana Music Awards Festival,Â which takes place in Accra on the May 18, 2013.
The Ghana Music Awards is considered to be the biggest and most important event on the Ghanaian music industry calendar, and comprises a series of events which will climax with an awards night on May 18, 2013, at the Accra International Conference Centre at which a representative of Channel O will present an award to the winner of the Best African Act category.
Channel O started transmission in the early 1990s andÂ is a leader in music television and the most highly regarded outlet for African talent and videos on the planet. Targeted at youth with the rhythm of Africa in their soul, Channel O is renowned for its ability to bring home the hottest musical programming from across the continent.Â Channel Oâs main focus is African music from artists withinÂ AfricaÂ and theÂ Diaspora.
Some Ghanaian artistes who Â have won awards at the Channel O Music Video Awards includeÂ D-Black (2012Â Channel OÂ Music Video Award for Most Gifted West African Video),Â Samini (2011 Channel O Music Video Award for Most Gifted Reggae/Dancehall Video)Â and VIP (2005 Channel O Music Video Award for Best GroupÂ in Africa).
Commenting on the sponsorship, Leslie Kasumba, the Channel Manager for Channel O, expressed her delight with Channel Oâs involvement in the 2013 Ghana Music Awards.
âGhana has one of the most interesting music industries on the continent at the moment, with some of the most prolific rappers and vocalists. You can make mention of Azonto, a dance style and music genre which has become an international craze. At this point, I wish all nominees the best of luck.â
She also took the opportunity to encourage Ghanaian musicians to submit their videos at any of the three Multichoice Ghana offices nationwide to be considered to be aired on Channel O. Having sponsored the Ghana MusicÂ Awards in 2013 and also several times before, Channel O will continue to maintain aÂ long standing relationship with Charter House for the Ghana Music Awards and other great initiatives.
World music is now more about who is making music from their heart, rather than who is using their head. The huge commercial successes of Adele, Taylor Swift, Frank Ocean, Kanye West and Kendrick Lamar are a proof to that often argued truth.
With an advertorial intro that sounds least like she was giving prop to a business interest, you will expect Becca to try to prove to the world why it took her just an album to grow through stardom into an icon.
Proving whatever was obviously the last thing on her mind as she made her second album, âTime 4 Meâ.
I guess she thought, âboy, let me just enjoy myself making the music I love and hope people enjoy it tooâ and that is what did the trick for her. Making âmusic she lovesâ is the main selling point of a sophomore that took three years to make.
Touching on issues of women empowerment, self-adore, religion, folk-Africa, love and nostalgia, the album is everything, but conventional.
The opening song, which is also the title song, âTime for Meâ, finds the powerful vocalist telling a lover she is done being pushed around.
Definitely not the kind of opening you will expect from a girl who has notoriety for being extremely calm and collected, but sure, the kind of opening you will expect from someone who has grown to know her worth and not ready to be living in anybodyâs shadow. The kind of song girls will play when they are having their âme timesâ. People who grew before the outburst of this computer-game era think their childhood playtimes were the best times.
Sometimes you canât help but agree with them to an extent. Judging from the songs they sung during their playtimes, you will want to bite your lips, if all you grew playing with were teddy-bears and Barbies.
That seems to be the feeling Becca wanted to evoke when she made âDan Maliyoâ with Nigerian singer, Kefee. Both singers introduced themselves and sang their native folk songs with a new refreshing way that will make you have your finger on the âloopâ button as you reminisce your childhood days.
The song that rounded up the threesome run of party anthems, âfollow the leaderâ, is special for several reasons. First of all, it keeps up with the âI am just being meâ theme of the album and also it is the usually âhumbleâ girl proclaiming her diva status in a way that doesnât sound braggadocios or intimidating.
Taking on the image of a dance instructor, it is quite clear Becca is doing more than just teaching a dance. The groove is current but still trendsetting. No female singer in Ghana has done anything quite like it.
The M.I-assisted âNo Awayâ, which was last official single from the album before its release calls back to mind the days when love was a religion, and it launches the listener to the next phase of the album, what I would call the âinspirational sectionâ.
The afrosoul-rap song sounds like something both artists decided to do as result of âchemistryâ that aroused while in the studio rather than something done for commercial success. It is beautiful in that regard.
The inspirational ballad, which was initially supposed to be the title song, âNaked I cameâ, may sound contradictory to the overhauling theme of the album but when listened for its deepness, it is a celebration of life. It is like saying, âI have it all but I am not arrogant.â
It seems the Kumasi-born singer is trying to convey the point that, the âmeâ she is talking about, is not really the superstar we see, but the strength she has found in her heart. The strength of being a woman is not her clothes but her inner strength (apologies to Eve Enslerâs Vagina Monologues).
If you grew up listening to the Marvin Gaye-Tammi Terrell duets, and you thought no two artists could ever have the âchemistryâ, character and beauty they carried, well, then do a rethinking. Becca and her long-found collaborator, Akwaboah (who wrote her award-winning anthem, âDaa ke daaâ) will prove you wrong. Their duet, âNsromaâ (star), is one worth-hearing over uncountable number of times.
I canât wait to see these two on stage sitting next to each other with a piano before them.
Whoever leaked Beccaâs gospel, âJesusâ, did something wrong business-wise, but wise, art-wise. These days, the conflict of business and art makes it hard to draw lines.
Otherwise, what better time is there to release a song as beautiful as âJesusâ at the moment it was done?
The song itself is not a good business decision. A world music star singing a song that overtly celebrates the founder of her âreligionâ may reduce the number of fans you can reach (Christians make up just one-fifth of the worldâs population, so you are closing the door to the other four-fifths), but Becca already use âit is time for meâ. She is not holding up on her emotions and beliefs on this album.
Becca has grown stronger on her convictions and Jesus Christ is one of them.
âTake them to churchâ (Hetty Borngreatâs voice), the always-stay-positive banger, âEtisenâ (how is it ?), brings on board a message very needed especially around a time when depression is claiming more and more lives globally.
It is a perfect way to end the spiritual session of the album as it communicates the state of mind of the singer as she made the album, positive.
An empowered girl can only make up with an equally empowered man, but I had a feeling when Becca was singing about her man having âa big egoâ, she wasnât REALLY REALLY talking about ego.
Unveiling her naughty-girl instinct is another Becca first. Should I tell you again, this girl is holding nothing back? The seductive singing seem like the song was made to satisfy the curiosity of the men who have ever imagined how Becca would sound behind-closed-doors.
An unusual collaboration with Jay Ghartey carries an equally unusual message.
âCheck-checkâ seems to be giving an advice to people in love on what to look out for before deciding the one they are with is the one being really sought out for. Whether you agree with her tips or not, you will agree she has grown artistically but has not outgrown the world around her. She knows what happens in the lives of âeveryday peopleâ.
âStomp it upâ sounds like an on-the-spot song made while rehearsing her band before her 2010 World Cup performance. I am not saying that only because of the South African groove that the song projects, but also because of the âwe are here to just partyâ feeling it carries.
The Kaywa-produced 2Face collabo, âBad man, Bad girlâ is not necessarily a celebration of the bad wagon, but a celebration of two people in love who donât care about what people say about their love. This song reveals another side of the multiple award-winning diva we are yet to meet; a girl who would stay a girl for life. You know how you thought someone was the strongest person you know until you find out how weak they are in love.
The funny thing, they think they are having fun so it is not being vulnerable. The irony of âOdo whyâ to âBad man, Bad girlâ seems like it is arranged to reflect how relationships start on a beautiful note and ends up ugly and boring.
In âBad man, Bad girlâ, she mentioned âMy DJâ, in other words, they went out together, then on âOdo Whyâ, she is singing about her man going out without her. Lyrics like âI am not begging for your loveâ depict how our girl is trying to look strong even though we know she is hurting. No one will give out themselves totally, I guess.
Anytime a positive person is down, they think about the ugly world around them to cheer themselves up. Listening to âStreetsâ in the context of the two songs before, that may seem the case, but paying attention to the lyrics gives you the impression Akosua B is really giving us her opinion of happenings around her. From a nostalgic standpoint, she wishes things didnât get that bad in the world.
Her Yoruba conclusion of the album seems to be the conclusion of the matter.
In spite of how bad things get, crying is not the solution. The message is plain, no matter how bad your situation is, you must be thankful because someone is worse off than you might be thinking.
âMa Sunkon Moâ is like a perfect conclusion to an already good essay. It could score you a nine out of 10, just because the teacher doesnât want to give you the full mark.
The four bonus tracks on the album, âPushâ (featuring Trigmatic & King Ayisoba), âDaa ke daaâ, âForeverâ and âAfrican Womanâ give us a sneak peek of what Becca fans were listening to while she took her time to have her time, âTime 4 Meâ. Becca and her collaborators, including her management, led by Kiki Banson pulled a great one with this one.
The year is 2013 and times have changed. Music is in constant motion and never ceasing to redefine itself. With change comes an opportunity for growth. Given the large number of African artists within the Diaspora, African music is surely growing everyday and reaching worldwide audiences. This worldwide connection has led to the bridging of African music and other genres of music such as Reggae, hip-hop, RnB, Jazz, Funk, and rock and everything in between.
In regards to the effect of Ghanaian artists within this industry, groups such as Ruff and Smooth have been playing a major role in the evolution of Ghanaian music. This dynamic musical duo has brought their hit songs such as Swagger, Sex machine, Beautiful, Naija Baby, and their just recently released single “Dance for Me” to the world stage and are back at it again.
Ruff and Smooth are currently strengthening their brand as they continue to grow and adapt to the industry. They have recently reformatted their performances, which will begin to incorporate a live band. âThe Corporate Hang Out with Ruff and Smoothâ is an event which will provide the opportunity for industry persons, investors in Ghanaian music, fans, and supporters of this genre, to be among the first to experience the new live Ruff and smooth performance set. Their performance is designed to appeal to all age groups as they are scheduled to perform an array of music. Also appearing will be supporting artist: Raquel and Akwaboah.
Management at Money Farm Entertainment has confirmed the event location to be at +233 opposite from GTV onÂ Friday May 24, 2013. This is a must attend event as the new Ruff and Smooth brand promises to bring to music lovers the best of the duo not yet ever experienced in this way. We predict that these artists will experience of influx of new fans from demographical areas not previously tapped. 2013 will prove to be just a stepping-stone for these two Ghanaian super stars.
BY: TICKETGHANA.COM MEDIA