Yeeye Aka Akwantuo Mu – Worries of a Diasporan Brother
My wife was cutting my hair the other day. Yeah my wife cuts my hair. You have a problem with that? I mean, what is the point in going to sit for precious hours at one of the two Caribbean barber shops in Leicester on a Saturday, just to have a haircut? And, let’s face it, they don’t come cheap either. It used to be eight solid pounds every two weeks for me and five pounds each for my two boys. So my wife bought a kind of barber’s machine and started experimenting with my kids. I watched from afar with interest, and as soon as the pot holes had begun reducing considerably on my boys’ heads, I playfully offered myself for more advanced experiments, and there has been no turning back.
.
So, as I was saying before you ever so rudely interrupted, she was cutting my hair the other day, and she called out to me;
“Asuo!” she said
“Yee!” I said
“You are loosing all the hair on the top of your head”
“Ok” I said, not in the least interested. I’m loosing my hair and so what? People are loosing their heads, never mind their hair, in this damn stressful country we have opted to live in.
She paused momentarily and then continued;
“So what’s happening to the building project at home?”
“Ahaaaaaa!” Now I understood.
You see, my wife is an Asante and I am a Fante. So, dare I say, our priorities are slightly different. On Saturday mornings when we are both at home, she will often sit quietly and watch me as I enthusiastically toast my bread, preferring it a bit more brown and crispy, add a slice of cheese and then a blueberry muffin with a cup of Twinning’s Classic English Breakfast Traditional Tasting Tea. She would shake her head sadly and say:
“Wo, w’aka akwantuo mu!”
When I had had enough of her nagging, I would often break into song, my favourite being one by Shane McGowan of the Pogues:
Last night as I slept
I dreamt I met with Bohan
I shook him by the hand as we passed the break of day
I questioned him on his views
On the crux of life’s philosophies
He had but these few, and simple words to say
He said
I am going, I am going
Any which way the wind might be blowing
I am going, I am going
Where streams of whisky are flowing
In other words;
“Osofo gye w’ahom. Daa yenom!”
Have a nice weekend my fellow Ghanaians.
Papa Appiah
Tuesday, 1 December 2009
Friday, 27 November 2009
Let's Go For It Boys! Ghana To Win World Cup
In the history of mankind, great deeds have often been achieved when least expected. The ability of the human spirit to transcend expectation and soar over the horizons cannot be underestimated. And so as our dear Black Stars start to prepare for the world cup, Ghanaians call on them to remember, that nothing is impossible, if only we believe.
They have a responsibility. A responsibility to help sever the psychological shackles of colonialism, which has so often, impaired our development as a nation and as a people. The very warped mentality that others are simply better than us and we have no prayer competing.
Let others underestimate us at their own peril. We are a proud nation and a royal people. We are the sons of Yaa Asantewaa, inspired by the indomitable spirit of Shaka the Zulu. We shall attack when the enemy least expects and return in glory, marching to the sounds of atenteben, and hoisted aloft the shoulders of our proud people. This is Ghana we are talking about –the Ghana of Osagyefo Dr Kwame Nkrumah and all our great leaders long gone, the Ghana of CK Gyamfi, Addo Odamtey, Osei Kofi, Robert Mensah. and Baba Yara.
We are four times winners of the African Cup of Nations, two times winners of the FIFA under 17 world cup, the first African winner of the FIFA under 20 world cup and bronze medallist at the Olympic games. We are one senior world cup win away from having a better footballing pedigree than England, Spain, Portugal, Holland, France and many of the so called advanced countries with all the resources at their disposal. Let’s go for it boys!
Let’s go for it, for we have come together this far. We have reached the cross roads and there is no turning back. Hand in hand, we shall traverse the storms as we head towards the light at the end of the tunnel. Throughout history, underdogs have triumphed in adversity. In 1974, Mohammed Ali, faced with the unenviable task, at the tail end of his career, of dethroning the young, strong and apparently invincible George Foreman had to summon his most inner spirit and reserves of strength and determination for the battle.
Preparing for the fight was no child’s play. In his own words, he rustled with the alligator and tussled with the whale. He handcuffed lightening and threw thunder in jail. He murdered a rock and injured a stone. He hospitalized a brick and made medicine sick. That is Ali for you, but the message was clear, he left nothing to chance. And the result was a famous victory in the Rumble in the Jungle that shocked the world.
Milo, my dear Milo. Which idiot said you can’t stand up to Fabio Capello? Who said the only brilliant coaches in the world are the famous ones we know of? Talent and skill are important but a modicum of luck and being at the right place at the right time also helps. Even the great Alex Ferguson came within a hair’s breath of being sacked from Manchester United in 1990, after a string of poor results. But for a goal scored by Mark Robins in a 1-0 FA Cup third round win against Nottingham Forest in Jan 1990, many believe that Ferguson would have lost his job as United manager. Ferguson survived, of course, and went on to build a dynasty at Old Trafford that has lasted over twenty years.
Brian Clough was a virtually unknown coach who took Derby County from the bottom of the then English second division to become champions in the first division and subsequent semi finalists in the European cup. He was later to lead a small provincial English club, Nottingham Forest, against all the odds, to back- to- back European Cup championship triumphs. When asked who he thought the best English coach was, he admitted that he was not sure, but felt he was in the top one. Such was the confidence of the man.
So Milo, this is your opportunity to shine to the world, and when the time comes, twenty million Ghanaians will be with you in spirit as you stand on the touchline, looking into the eyes of Fabio Capello. Have no fear. Be brave; be strong, for God is on our side. We are a blessed nation.
And we are not going to get a better chance, for many years, to triumph. This is a world cup being played on African soil, where the ghosts of all our brave forebears murdered by the wicked invaders, will rise to fight for us. We can count on the support of our brothers, and as the Satellites showed in Egypt, home support can take us a long way.
Let’s go for it boys because man for man, you are among the best in the world. Michael Essien, you are one of the best midfielders in the world. Even the great Steven Gerrard vaporizes into thin air at the very sight of you. You are a leader on the pitch. You have to lead off the pitch as well. Stephen Appiah, Ghanaians fasted and prayed and God has rewarded your humility at the right time. When you regain full match fitness, there is no midfielder in the world that can stand up to you. Sulley, Insha Allah, the best left foot in the business. The three of you form an impregnable midfield barrier that can hold its own against any team. The youngsters like Annan and Asamoah are there to give a hand when your weary legs give way. Who said we have no depth.
Amoah, you are an intelligent striker and a very respectful guy off the pith. On the pitch, however, you have to roar like a lion and tear into the Robert Carlos of this world. You can apologize after the match. Gyan, this is your time to shine and prove Ghanaians wrong. You are doing it in the French league and are going to do it for your nation. Paintsil, Addo, the Rock, Jonathan Mensah, Adiyah, the Ayew brothers, Laryea Kingston, Dramani, your nation summons you to duty.
Together, we shall defend the red, gold green and the black star. We shall rustle with the alligator and tussle with the whale, handcuff lightening and throw thunder in jail, and in the end, against all the odds, we shall bring the world cup home, one warm July night, in 2010.
God bless our homeland Ghana.
Papa Appiah
They have a responsibility. A responsibility to help sever the psychological shackles of colonialism, which has so often, impaired our development as a nation and as a people. The very warped mentality that others are simply better than us and we have no prayer competing.
Let others underestimate us at their own peril. We are a proud nation and a royal people. We are the sons of Yaa Asantewaa, inspired by the indomitable spirit of Shaka the Zulu. We shall attack when the enemy least expects and return in glory, marching to the sounds of atenteben, and hoisted aloft the shoulders of our proud people. This is Ghana we are talking about –the Ghana of Osagyefo Dr Kwame Nkrumah and all our great leaders long gone, the Ghana of CK Gyamfi, Addo Odamtey, Osei Kofi, Robert Mensah. and Baba Yara.
We are four times winners of the African Cup of Nations, two times winners of the FIFA under 17 world cup, the first African winner of the FIFA under 20 world cup and bronze medallist at the Olympic games. We are one senior world cup win away from having a better footballing pedigree than England, Spain, Portugal, Holland, France and many of the so called advanced countries with all the resources at their disposal. Let’s go for it boys!
Let’s go for it, for we have come together this far. We have reached the cross roads and there is no turning back. Hand in hand, we shall traverse the storms as we head towards the light at the end of the tunnel. Throughout history, underdogs have triumphed in adversity. In 1974, Mohammed Ali, faced with the unenviable task, at the tail end of his career, of dethroning the young, strong and apparently invincible George Foreman had to summon his most inner spirit and reserves of strength and determination for the battle.
Preparing for the fight was no child’s play. In his own words, he rustled with the alligator and tussled with the whale. He handcuffed lightening and threw thunder in jail. He murdered a rock and injured a stone. He hospitalized a brick and made medicine sick. That is Ali for you, but the message was clear, he left nothing to chance. And the result was a famous victory in the Rumble in the Jungle that shocked the world.
Milo, my dear Milo. Which idiot said you can’t stand up to Fabio Capello? Who said the only brilliant coaches in the world are the famous ones we know of? Talent and skill are important but a modicum of luck and being at the right place at the right time also helps. Even the great Alex Ferguson came within a hair’s breath of being sacked from Manchester United in 1990, after a string of poor results. But for a goal scored by Mark Robins in a 1-0 FA Cup third round win against Nottingham Forest in Jan 1990, many believe that Ferguson would have lost his job as United manager. Ferguson survived, of course, and went on to build a dynasty at Old Trafford that has lasted over twenty years.
Brian Clough was a virtually unknown coach who took Derby County from the bottom of the then English second division to become champions in the first division and subsequent semi finalists in the European cup. He was later to lead a small provincial English club, Nottingham Forest, against all the odds, to back- to- back European Cup championship triumphs. When asked who he thought the best English coach was, he admitted that he was not sure, but felt he was in the top one. Such was the confidence of the man.
So Milo, this is your opportunity to shine to the world, and when the time comes, twenty million Ghanaians will be with you in spirit as you stand on the touchline, looking into the eyes of Fabio Capello. Have no fear. Be brave; be strong, for God is on our side. We are a blessed nation.
And we are not going to get a better chance, for many years, to triumph. This is a world cup being played on African soil, where the ghosts of all our brave forebears murdered by the wicked invaders, will rise to fight for us. We can count on the support of our brothers, and as the Satellites showed in Egypt, home support can take us a long way.
Let’s go for it boys because man for man, you are among the best in the world. Michael Essien, you are one of the best midfielders in the world. Even the great Steven Gerrard vaporizes into thin air at the very sight of you. You are a leader on the pitch. You have to lead off the pitch as well. Stephen Appiah, Ghanaians fasted and prayed and God has rewarded your humility at the right time. When you regain full match fitness, there is no midfielder in the world that can stand up to you. Sulley, Insha Allah, the best left foot in the business. The three of you form an impregnable midfield barrier that can hold its own against any team. The youngsters like Annan and Asamoah are there to give a hand when your weary legs give way. Who said we have no depth.
Amoah, you are an intelligent striker and a very respectful guy off the pith. On the pitch, however, you have to roar like a lion and tear into the Robert Carlos of this world. You can apologize after the match. Gyan, this is your time to shine and prove Ghanaians wrong. You are doing it in the French league and are going to do it for your nation. Paintsil, Addo, the Rock, Jonathan Mensah, Adiyah, the Ayew brothers, Laryea Kingston, Dramani, your nation summons you to duty.
Together, we shall defend the red, gold green and the black star. We shall rustle with the alligator and tussle with the whale, handcuff lightening and throw thunder in jail, and in the end, against all the odds, we shall bring the world cup home, one warm July night, in 2010.
God bless our homeland Ghana.
Papa Appiah
Stealing in the Name of the Lord - Ghanaian Gospel Music
“If only you were to me like a brother
Who was nursed at my mother’s breast,
Then if I found you outside
I would kiss you and no one would mind…”
These are not the lyrics of a “wiase ndwom.” These are words from the Song of Songs in the bible. And there are more. For whoever wrote Solomon’s Song of Songs appreciated the beauty of poetry and understood that poetry nourished the human soul. Song of Songs enriches the bible and its story of love adds to the politics, murder, miracles, adultery, magic and wars that grace the good book. For the bible is after all, a human story, with all the attendant strengths and weaknesses.
In times gone by, Ghanaian musicians, the poets that they were, sang about life as they experienced daily. So when Egya Koo Nimo remembered the experience of failing examinations in Europe, he wrote “Adesua ye ya.” When Kaakeku wrote “Driver nyi na meware no” where he claimed even a driver who was out of work could earn money as a bookman and this job security made them ideal husbands, Kwabena Onyina responded with “Ye no Waawa ma Yenkodo” where he extolled the virtues of farmers.
Every now and again when the “spirit” descended on them, Ghanaian musicians would sing in praise of their maker and his bountiful gifts to mankind. So for example, Bob Pinodo’s most popular song is “Eye me se, Mento Ndwom Nnyi Awuradze Aye”, though he was not usually a gospel singer. Every now and again, CK Mann, Nana Ampadu and Pat Thomas would depart from their usual styles and sing gospels. When you bought their albums, you were exposed to a variety of emotions that made the listening experience richer. Gospel music belonged to everyone. Nobody criticised them for singing gospel, for sinful as we all were, we understood, that they had as much right as anyone else to praise their maker and I am sure angels rejoiced in heaven whenever the musical platform was used to honour His name, irrespective of who the singer was.
My earliest recollection of gospel music as we have now was when Prof Kofi Abraham released great songs like Enkaa Akyi, Fa Wadesoa, Okwan Bi and Di kan Ma Mendi Wakyi in the seventies. His pioneering role inspired other gospel singers like Yaw Sarpong, Asiedu Teku and many others. Even then, gospel remained a minority genre. Then the great mushrooming of Evangelical Churches began as every bible school student got a vision that God wanted them to establish their own church. Ghanaians left the traditional churches in droves to attend these new churches that had a style in message and in worship that appealed to the youth.
Suddenly, it was not enough to have been baptised into churches that had been in existence for hundreds of years. For salvation, one ought to have made that crucial step towards a pastor to receive “the baptism of the holy spirit.” Suddenly, you were either with us and going to heaven or with them and going to hell. Suddenly, you were either one of us and listened to gospel or one of them and listened to “wiase ndwom” Sales in gospel music blossomed and a multi-million cedi industry was born.
The young reverends, bishops and evangelists, once they could as much as whistle a tune, joined the industry. Their titles lent some credibility to their records. Listening to their records became a religious experience and the financial rewards were enormous. So if the pastor could not sing, then maybe his wife, who would also often carry the title of Reverend, might be able to get an album out. Few missed this opportunity to make hay while the sun shone. Any churchgoer who could sing a bit and was able to save some money also made a gospel album. It did not matter whether they started going to church last week.
With a churchgoing community ever ready to fork out to assist Brother John or Sister Mary, a profit was almost always assured. Not having to face the harsh unpredictable reality of the music market however meant that often times quality was compromised. In fact gospel songs are the best-selling and yet the worse produced music one could hear on our airwaves. Not only that, whiles our hi-life and hip life artists invest large sums of money to make good videos, our gospel artist hardly see the need to do that and their typical video consists of the singer waving a white handkerchief by a fountain while Brother Kwesi and Sister Jennifer dance stiffly behind. Lack of competition breeds over-confidence and the Ghanaian music lover is the one who suffers.
I dare anyone listen to Prof Kofi Abraham’s albums in the seventies and compare with recent releases to see whether thirty years on, the quality has changed. In fact, the quality and musicianship on Prof Abraham’s records is much higher despite the vast improvement in studio facilities recently. Ghanaians are being taken for granted. People invest as little as possible in gospel and rely on the loyalty and sympathy of churchgoers to sell their records and make millions in profit.
Listen to Ghana Beats on a Sunday and try momentarily ignoring your Christian inclinations and the sympathies thereof and you would be surprised how bad the music is. Most of the songs sound the same and it soon becomes obvious that in most cases, these are people out to make a quick buck. Gospel lovers have no alternative but to put up with this. We have been indoctrinated to believe, that Ben Brako’s well-produced Baya album for instance is “wiase ndwom” even though the bible allows for expression of diverse emotions and the album actually addresses pertinent social issues.
Our experienced, talented and successful artists are no longer coming out with the occasional good gospel piece for fear of being ridiculed and accused of doing it “just for the money” Daddy Lumba’s “Mesom Jesus” – a brilliant song on all accounts was ridiculed. People could not reconcile the Lumba of “Obi ato me so boo” and the Lumba of “Mesom Jesus”. The churches have thus high jacked gospel music for good.
There is absolutely nothing wrong with people making a good living from ministering to their countrymen through song and I am sure every lyric is heartfelt and the personal lives of the singers are an example to us all. However, if people are going to be discouraged from listening to good conventional Ghanaian music such as is produced by Kojo Antwi, Ofori Amponsah, Dr Paa Bobo and Samini then the least that we’d expect is gospel music of similar quality. Unfortunately, at the moment, this is not forthcoming.
Papa Appiah
Who was nursed at my mother’s breast,
Then if I found you outside
I would kiss you and no one would mind…”
These are not the lyrics of a “wiase ndwom.” These are words from the Song of Songs in the bible. And there are more. For whoever wrote Solomon’s Song of Songs appreciated the beauty of poetry and understood that poetry nourished the human soul. Song of Songs enriches the bible and its story of love adds to the politics, murder, miracles, adultery, magic and wars that grace the good book. For the bible is after all, a human story, with all the attendant strengths and weaknesses.
In times gone by, Ghanaian musicians, the poets that they were, sang about life as they experienced daily. So when Egya Koo Nimo remembered the experience of failing examinations in Europe, he wrote “Adesua ye ya.” When Kaakeku wrote “Driver nyi na meware no” where he claimed even a driver who was out of work could earn money as a bookman and this job security made them ideal husbands, Kwabena Onyina responded with “Ye no Waawa ma Yenkodo” where he extolled the virtues of farmers.
Every now and again when the “spirit” descended on them, Ghanaian musicians would sing in praise of their maker and his bountiful gifts to mankind. So for example, Bob Pinodo’s most popular song is “Eye me se, Mento Ndwom Nnyi Awuradze Aye”, though he was not usually a gospel singer. Every now and again, CK Mann, Nana Ampadu and Pat Thomas would depart from their usual styles and sing gospels. When you bought their albums, you were exposed to a variety of emotions that made the listening experience richer. Gospel music belonged to everyone. Nobody criticised them for singing gospel, for sinful as we all were, we understood, that they had as much right as anyone else to praise their maker and I am sure angels rejoiced in heaven whenever the musical platform was used to honour His name, irrespective of who the singer was.
My earliest recollection of gospel music as we have now was when Prof Kofi Abraham released great songs like Enkaa Akyi, Fa Wadesoa, Okwan Bi and Di kan Ma Mendi Wakyi in the seventies. His pioneering role inspired other gospel singers like Yaw Sarpong, Asiedu Teku and many others. Even then, gospel remained a minority genre. Then the great mushrooming of Evangelical Churches began as every bible school student got a vision that God wanted them to establish their own church. Ghanaians left the traditional churches in droves to attend these new churches that had a style in message and in worship that appealed to the youth.
Suddenly, it was not enough to have been baptised into churches that had been in existence for hundreds of years. For salvation, one ought to have made that crucial step towards a pastor to receive “the baptism of the holy spirit.” Suddenly, you were either with us and going to heaven or with them and going to hell. Suddenly, you were either one of us and listened to gospel or one of them and listened to “wiase ndwom” Sales in gospel music blossomed and a multi-million cedi industry was born.
The young reverends, bishops and evangelists, once they could as much as whistle a tune, joined the industry. Their titles lent some credibility to their records. Listening to their records became a religious experience and the financial rewards were enormous. So if the pastor could not sing, then maybe his wife, who would also often carry the title of Reverend, might be able to get an album out. Few missed this opportunity to make hay while the sun shone. Any churchgoer who could sing a bit and was able to save some money also made a gospel album. It did not matter whether they started going to church last week.
With a churchgoing community ever ready to fork out to assist Brother John or Sister Mary, a profit was almost always assured. Not having to face the harsh unpredictable reality of the music market however meant that often times quality was compromised. In fact gospel songs are the best-selling and yet the worse produced music one could hear on our airwaves. Not only that, whiles our hi-life and hip life artists invest large sums of money to make good videos, our gospel artist hardly see the need to do that and their typical video consists of the singer waving a white handkerchief by a fountain while Brother Kwesi and Sister Jennifer dance stiffly behind. Lack of competition breeds over-confidence and the Ghanaian music lover is the one who suffers.
I dare anyone listen to Prof Kofi Abraham’s albums in the seventies and compare with recent releases to see whether thirty years on, the quality has changed. In fact, the quality and musicianship on Prof Abraham’s records is much higher despite the vast improvement in studio facilities recently. Ghanaians are being taken for granted. People invest as little as possible in gospel and rely on the loyalty and sympathy of churchgoers to sell their records and make millions in profit.
Listen to Ghana Beats on a Sunday and try momentarily ignoring your Christian inclinations and the sympathies thereof and you would be surprised how bad the music is. Most of the songs sound the same and it soon becomes obvious that in most cases, these are people out to make a quick buck. Gospel lovers have no alternative but to put up with this. We have been indoctrinated to believe, that Ben Brako’s well-produced Baya album for instance is “wiase ndwom” even though the bible allows for expression of diverse emotions and the album actually addresses pertinent social issues.
Our experienced, talented and successful artists are no longer coming out with the occasional good gospel piece for fear of being ridiculed and accused of doing it “just for the money” Daddy Lumba’s “Mesom Jesus” – a brilliant song on all accounts was ridiculed. People could not reconcile the Lumba of “Obi ato me so boo” and the Lumba of “Mesom Jesus”. The churches have thus high jacked gospel music for good.
There is absolutely nothing wrong with people making a good living from ministering to their countrymen through song and I am sure every lyric is heartfelt and the personal lives of the singers are an example to us all. However, if people are going to be discouraged from listening to good conventional Ghanaian music such as is produced by Kojo Antwi, Ofori Amponsah, Dr Paa Bobo and Samini then the least that we’d expect is gospel music of similar quality. Unfortunately, at the moment, this is not forthcoming.
Papa Appiah
Wednesday, 9 May 2007
Sunday, 14 January 2007
PAPA APPIAH – MEMORIES OF
AFRICA
There was a time in Ghana, not long ago, when musical preferences were as polarized as political inclination, or even worse, support for Hearts or Kotoko. Many Ghanaians listened to Nana Kwame Ampadu, A.B. Crentsil or C.K. Mann. But the youth of the time, especially those in our educational institutions, even when they listened to “Agartha hwe menim” privately, liked to be seen by their peers to identify with black American music or reggae. So when we all had those Saturday nights in secondary school we loved so much, we did not play One Man 1000 or Obuoba J.A Adofo. We listened to Michael Jackson, Lionel Richie, Brass Construction, Earth, Wind and Fire, Bob Marley, Peter Tosh and Eric Donaldson.
There was George Darko, a man very few had heard about. He came and said, that if the thumping funky drum beat was what our youth craved for, then why not oblige their wish, and still sing our hi-life. “Akoo tse Brofo” was born and hi-life was never the same again. The youth took to the new style and were now happy to listen, not only to George Darko, but to Rex Gyamfi, C.K Frimpong and many other musicians, mainly within the diaspora, who came back to impress us with the new synthesiser sounds then in vogue. Daddy Lumba was to follow that trend and has become arguably the most successful exponent of that style.
There was Reggie Rockstone, a man very few had heard about. He came and said that giving the youth the thumping funky drums and the synthesiser sound was not enough. We could actually rap our language in the same way the MC Hammers of America were doing at the time. Hiplife was born and singing was gone. The Lord Kenyas and S Does were to follow.
There was Okyeame Kofi and Okyeame Kwame, who in releasing Maasan Aba, proved to all and sundry that a combination of rap and local hi-life rhythms worked exceedingly well. Hiplife was thus given a broader appeal and Ghanaians from all walks of life began to enjoy it. The rest, as they say, is history. The days when musicians like Abrantee Amakye Dede and the late Senior Eddie Donkor had to serve apprenticeships for many years before going alone are long gone. Young intelligent people are coming straight out of our educational institutions and going straight into music. Tic Tac, Obuor, Ofori Amponsah and Obrafuor, to mention but a few, have raised the musical bar to dizzying heights.
There have been a few musicians over the years who have refused to follow any trends and stubbornly maintained their own styles. Kojo Antwi’s music defies classification. It’s just bloody good music. Amakye Dede’s music is hilife but the style is unique. Ben Brako came at the height of the bugger hi-life revolution but sang a unique kind of hi-life that has stood the test of time. His Baya album released about sixteen years ago is still selling.
Then there was Papa Appiah! No you haven’t heard of him. I heard his music only yesterday and felt moved enough to write this piece. His newly released Memories of Africa album is very special indeed. Like Ben Brako’s, most of the songs are probably hi-life, but very much unlike anything you may have heard before. The eight songs on the album also differ so much from one to the other, that were it not for Papas ever present passionate, emotional, gravely voice, you could well be listening to eight different composers. Adjoa Serwaa on track 1 is hi-life but could well be jazz. The title track, Memories of Africa, is penned in the pan-african style of which Osibisa is the most famous exponent. My favourite track is however the up-tempo catchy All night Long on track two which is sure to send music lovers, well, dancing all night long.
In making this album, Papa put together a collection of crack musicians including Alfred Kari Bannerman of Bombaya and Osibisa fame on guitar, Love Papa Kwabina on drums and Emmanuel Afram on bass. Tony Robinson and Garry Birtles are the regular horns men of the Beautiful South and their melodious rhythms impart a certain solemnity to the sound. Paulina Oduro and Gloria Wiafe Akenteng, ably directed by sound genius Adam Ellis of Deadline Studios in Leicester, UK, sound like angels and complement Papa’s voice admirably. Papa Appiah plays the rhythm guitar on the rather emotional track 8 – I’ll be Gone.
Papa Appiah has a few things in common with Ben Brako. They both insist on their own style irrespective of whatever is in vogue. They both used the services of the best instrumentalist of the time. They are both fantes. They both released their debuts at an older age and last but not least, they both went to St Augustine’s College in Cape Coast. I think it’s something to do with the sea breeze at Augusco. They are all a bit cr…… (I won’t tell you which school I went to).
The writing at the back of this CD aptly sums up the feeling in this wonderful piece of work….
For all of you who have left loved ones at home and dream of happier days long gone…
For all those who yearn for bantama kelewele, kwasiada anopa mmotuo and circle kenkey and fish…..
For our people back home who toil to keep our dreams alive….
Memories of Africa…. Enjoy it.
John Watson, freelance journalist
AFRICA
There was a time in Ghana, not long ago, when musical preferences were as polarized as political inclination, or even worse, support for Hearts or Kotoko. Many Ghanaians listened to Nana Kwame Ampadu, A.B. Crentsil or C.K. Mann. But the youth of the time, especially those in our educational institutions, even when they listened to “Agartha hwe menim” privately, liked to be seen by their peers to identify with black American music or reggae. So when we all had those Saturday nights in secondary school we loved so much, we did not play One Man 1000 or Obuoba J.A Adofo. We listened to Michael Jackson, Lionel Richie, Brass Construction, Earth, Wind and Fire, Bob Marley, Peter Tosh and Eric Donaldson.
There was George Darko, a man very few had heard about. He came and said, that if the thumping funky drum beat was what our youth craved for, then why not oblige their wish, and still sing our hi-life. “Akoo tse Brofo” was born and hi-life was never the same again. The youth took to the new style and were now happy to listen, not only to George Darko, but to Rex Gyamfi, C.K Frimpong and many other musicians, mainly within the diaspora, who came back to impress us with the new synthesiser sounds then in vogue. Daddy Lumba was to follow that trend and has become arguably the most successful exponent of that style.
There was Reggie Rockstone, a man very few had heard about. He came and said that giving the youth the thumping funky drums and the synthesiser sound was not enough. We could actually rap our language in the same way the MC Hammers of America were doing at the time. Hiplife was born and singing was gone. The Lord Kenyas and S Does were to follow.
There was Okyeame Kofi and Okyeame Kwame, who in releasing Maasan Aba, proved to all and sundry that a combination of rap and local hi-life rhythms worked exceedingly well. Hiplife was thus given a broader appeal and Ghanaians from all walks of life began to enjoy it. The rest, as they say, is history. The days when musicians like Abrantee Amakye Dede and the late Senior Eddie Donkor had to serve apprenticeships for many years before going alone are long gone. Young intelligent people are coming straight out of our educational institutions and going straight into music. Tic Tac, Obuor, Ofori Amponsah and Obrafuor, to mention but a few, have raised the musical bar to dizzying heights.
There have been a few musicians over the years who have refused to follow any trends and stubbornly maintained their own styles. Kojo Antwi’s music defies classification. It’s just bloody good music. Amakye Dede’s music is hilife but the style is unique. Ben Brako came at the height of the bugger hi-life revolution but sang a unique kind of hi-life that has stood the test of time. His Baya album released about sixteen years ago is still selling.
Then there was Papa Appiah! No you haven’t heard of him. I heard his music only yesterday and felt moved enough to write this piece. His newly released Memories of Africa album is very special indeed. Like Ben Brako’s, most of the songs are probably hi-life, but very much unlike anything you may have heard before. The eight songs on the album also differ so much from one to the other, that were it not for Papas ever present passionate, emotional, gravely voice, you could well be listening to eight different composers. Adjoa Serwaa on track 1 is hi-life but could well be jazz. The title track, Memories of Africa, is penned in the pan-african style of which Osibisa is the most famous exponent. My favourite track is however the up-tempo catchy All night Long on track two which is sure to send music lovers, well, dancing all night long.
In making this album, Papa put together a collection of crack musicians including Alfred Kari Bannerman of Bombaya and Osibisa fame on guitar, Love Papa Kwabina on drums and Emmanuel Afram on bass. Tony Robinson and Garry Birtles are the regular horns men of the Beautiful South and their melodious rhythms impart a certain solemnity to the sound. Paulina Oduro and Gloria Wiafe Akenteng, ably directed by sound genius Adam Ellis of Deadline Studios in Leicester, UK, sound like angels and complement Papa’s voice admirably. Papa Appiah plays the rhythm guitar on the rather emotional track 8 – I’ll be Gone.
Papa Appiah has a few things in common with Ben Brako. They both insist on their own style irrespective of whatever is in vogue. They both used the services of the best instrumentalist of the time. They are both fantes. They both released their debuts at an older age and last but not least, they both went to St Augustine’s College in Cape Coast. I think it’s something to do with the sea breeze at Augusco. They are all a bit cr…… (I won’t tell you which school I went to).
The writing at the back of this CD aptly sums up the feeling in this wonderful piece of work….
For all of you who have left loved ones at home and dream of happier days long gone…
For all those who yearn for bantama kelewele, kwasiada anopa mmotuo and circle kenkey and fish…..
For our people back home who toil to keep our dreams alive….
Memories of Africa…. Enjoy it.
John Watson, freelance journalist
Friday, 12 January 2007
MEMORIES OF AFRICA
Memories of Africa, the new album by Papa Appiah may someday become
a hit, or it may not. Be it as it may, posterity will remember Papa Appiah as the guy who came from nowhere, did his own thing and left, leaving a train of baffled music lovers behind.
This album is distinctly Ghanaian and yet different. Are you confused? You are not alone. For while hye me bo (track 4) and all night long (track 2) are distinctly hi-life, adjoa serwaa (track 1) has an obvious jazzy influence to it. The title track could easily have come from an Osibisa repertoire both in the nature of the nostalgic lyrics and the guitar rhythms. Is old tradition (track 5) reggae? What about the mid-tempo love (track 6)? This album goes beyond conventional classification. It is Papa Appiah’s music and the tracks differ so much from one to the other, that were it not for the ever present passionate, emotional, gravelly voice of Papa, one could well be listening to eight different composers. You would never get bored listening to this album.
Shunning the current trend of computer programming, Papa put together a crack team of top musicians to make this album. The pan-african guitar rhythms stem from the one and only Kari Bannerman of Boombaya and Osibisa fame. Love Paapa Kwabina does his own thing on drums. Gary Birtles and Tony Robinson are the regular horns men of the Beautiful South and they lend a certain solemnity to the tunes. Paulina Oduro and Gloria
Wiafe Akenteng do a brilliant job on the backing vocals. The message in the album cover aptly sums up the feeling in this piece of work;
For all of you who have left loved ones at home and dream each day of happier times long gone…..
For all those who yearn for Bantama kelewele, kwasiada anopa mmotuo and circle kenkey and fish…..
For our people back home who toil daily to keep our dreams alive…..
Memories of Africa…..enjoy it.
John Watson
Freelance journalist
.
Memories of Africa, the new album by Papa Appiah may someday become
a hit, or it may not. Be it as it may, posterity will remember Papa Appiah as the guy who came from nowhere, did his own thing and left, leaving a train of baffled music lovers behind.
This album is distinctly Ghanaian and yet different. Are you confused? You are not alone. For while hye me bo (track 4) and all night long (track 2) are distinctly hi-life, adjoa serwaa (track 1) has an obvious jazzy influence to it. The title track could easily have come from an Osibisa repertoire both in the nature of the nostalgic lyrics and the guitar rhythms. Is old tradition (track 5) reggae? What about the mid-tempo love (track 6)? This album goes beyond conventional classification. It is Papa Appiah’s music and the tracks differ so much from one to the other, that were it not for the ever present passionate, emotional, gravelly voice of Papa, one could well be listening to eight different composers. You would never get bored listening to this album.
Shunning the current trend of computer programming, Papa put together a crack team of top musicians to make this album. The pan-african guitar rhythms stem from the one and only Kari Bannerman of Boombaya and Osibisa fame. Love Paapa Kwabina does his own thing on drums. Gary Birtles and Tony Robinson are the regular horns men of the Beautiful South and they lend a certain solemnity to the tunes. Paulina Oduro and Gloria
Wiafe Akenteng do a brilliant job on the backing vocals. The message in the album cover aptly sums up the feeling in this piece of work;
For all of you who have left loved ones at home and dream each day of happier times long gone…..
For all those who yearn for Bantama kelewele, kwasiada anopa mmotuo and circle kenkey and fish…..
For our people back home who toil daily to keep our dreams alive…..
Memories of Africa…..enjoy it.
John Watson
Freelance journalist
.
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