Videos: Sena Dagadu Drips in Colour on ‘Yo Chale’; Bryan The Mensah Leans In With ‘Wallabow You’

Sena Dagadu feat Sarkodie – Yo Chale

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What instantly catches your fancy happens on the 7 seconds mark. A nicely made up Sena Dagadu breaks onto the screen, all resplendent in her looks: a headgear, sunglasses and a white and light orange outfit, in sync with the furnishings that adorned the room she occupies. The scene is reminiscent of a goddess sitting comfortably in her shrine.

The element of colour is incredibly pervasive in this video. From graffiti works to the painted trotro bus to the outfit worn by her dancers, Sena Dagadu made sure she brought all the elements of hip hop into one big cauldron: music, b-boying, graf works, and dance. And the fun and party never seem to cease.

‘Yo Chale’ (translates as hey, friend) is cast in electro-house sentiments, with Sena Dagadu rendering her message of ‘learn-to-take-time-and-chill’ in a rap-sing approach. The thumping drums, the slapping 808s and her voice-which begins in whispery tones, ultimately climaxing with intensity along with the beat makes ‘Yo Chale’ the perfect rave song.

On the song’s pre-hook, Sena Dagadu makes a proposal: ‘make we find some chow/ make we blow some dough/make we ride to the sea-side and catch some flow’ and the hook itself amplifies the message further: ‘Yo, chale, make we go, let’s get kicking’. In short, she entreats all to take a break from their daily hustle and catch some fun.

The video also has scenes of Sena Dagadu in a cage enclosure, spotting a black jacket, complimented by her bead chain and ray bans having a moment. She’s joined by Sarkodie who, as usual, lays a verse that feeds into the theme, effortlessly switching up the flows. Evidently, Sarkodie has mastered the skill of riding any beat handed him.

Sena Dagadu’s creativity blows out on whatever song she’s on, merging her European and Ghanaian/African influences into an infectious rhythmic enchantment. And ‘Yo Chale’s’ funkiness feed into this trope.

There are cameos from Worlasi-who had a paint canister in hand graffing out on a wall- and the legendary producer, DJ, music executive DJ Rab in this Prince Ibam directed video for Breakthrough Studios.


Bryan The Mensah – Wallabow You

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If you have been following Bryan The Mensah for a bit, you would appreciate why he chose to shoot his first video for his song ‘Wallabow You’. His line of merchandise: T-shirts, crop tops, baseball caps and sweatshirts- has ‘’Wallabow You’’ boldly splashed on the front. This video is a way to promote the brand and also himself- killing two birds with one stone.

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Stitching various scenes together, the video isn’t too flashy; neither is it excessive. (We see Bryan The Mensah sitting in a car with glowing balloons reminiscent of the album cover for Friends With The Sun, in a hallway pulling off the trap dance-the directors switching between real and silhouette frames).

With his debut album, ‘Friends With The Sun’ earning rave reviews and endorsement from Apple music, Bryan The Mensah’s talent has endeared him to many. And the many who come across his music are enchanted by his talent.

In an era where visibility is gold, Bryan The Mensah’s decision to release a full-length video for a song is great. Fans will now see their favorite rapper in ‘flesh’.

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TeePhlow Avoids the Beef Bait By Choosing Maturity Over Exuberance On ‘Preach’

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I stole the hearts of many you can accuse me of thievery/ But where dem dey dem days I was paid so measly

How can they compete with me they ain’t half what I used be /Work thrice as hard as they would ever do usually

They tweet and try to bait us, pick fights and debate us/ But no free publicity doing nobody favors’’

M.anifest, Never Feel


When ‘Charcoal’ by Strongman surfaced online in January, it took fans very little time to describe the song as a direct attack on fellow rapper, TeePhlow. As expected, there were calls for the latter to respond. Some of these calls were borne out of genuine interest, others wanted a headlock because its hip hop; a competitive sport and also, the lyrical fight would garner attend attention for the artists and Ghana music depending on how it is played.

That response never materialized. Teephlow chose rather to promote his debut album/EP, ‘Phlowducation” which he released in September, 2017. Four months into the year, Teephlow has released ‘Preach’, which many suspect is a response to ‘Charcoal’.

My immediate reaction upon listening to “Preach” was: something might have hit him. He sounded very much introspective, forthright and confident in himself and of course, threw in punches to nameless artist(s) he considers ‘enemies’. His demeanour was one of a man whose nest had been rattled, but instead of coming out screaming and cussing, he looked at the extent of the damage, sent out a caution and went back indoors shaking his head.

Rather than going ballistic as many would have expected, Teephlow chose maturity and introspection over vengeance. He took an overview of the state of music- the pitfalls, how to navigate through the maze, the gimmickry, and hypocrisy- whiles humblebragging about his skills set and selling his album in the process.

In short, Teephlow played the wise older brother who leaves his competitor in the cold, shut his front door and chose to watch him through his window instead.

On ‘Preach’, the Spyder Lee Entertainment signee sounds very reflective. The HBOO produced piano stubs and soulful beat set the mood for him to speak his truth, by first pointing out how eagle eyed he is when it came to studying the rap scene.

Mehn, I’ve been in the industry for a while so I know what’s happening/People claiming good face, what they preach be opposite what they practice’ he rapped on the opening of the song; setting records straight as to why the bait set for him is nothing but industry gimmick.

This apparent beef between these two have been discussed within the rap hallways since the two protagonists began releasing music as indie acts. Strongman has seen his profile and presence rise since joining Sarkodie’s Sarkcess Music label. Teephlow had a bit of clout among rap fans before he got officially signed to his current label. With them coming up at the same time, belonging to the same generation, this seeming friction was to be expected.

‘’It’s amazing, how in a quest to find some small cheese, we end up in a rat race’’, he noted how rappers should rather strive for success and not fight one another for the short term gains. Indeed, the music market in Ghana is small and earning a formidable spot is truly hard. However, trying to ruin another for personal gain, in his view, is unnecessary and waste of time.

The Ghana music industry is bedevilled by myriad of ills that stampede the growth of artists rather than propel them to higher heights. From lack of investors, poor or lack of royalty collection systems and overall failures in the music space, many aspiring rappers abandon their dreams with the few brave ones having to endure many years of losses before finally cracking the treasure box.

Padding all traits of subliminals in ‘Charcoal’ with the back of his hand, Teephlow uses ‘Preach’ to boost his image by alluding to his complex wordplay and punchlines, which his managers confirm as ‘too deep, sometimes you for dumb it down’.

The advice for rappers with complex rhyme schemes to ‘dumb it down’ is a pervasive one. The reason, despite being a flawed argument, is because many Ghanaians aren’t knowledgeable enough to dissect these lyrics; makes their music unattractive to many.

In hip hop, beefs are mostly a sport for high ranking rappers who want to cement their status as the ‘bosses’ in the game through explosive lyrical exchanges. The person who suffers the most loses everything he has worked for over the years, like respect and in some cases, fame.

It’s similar to how a mafia don would steal a territory from a rival family. In Teephlow’s estimation, being a sick lyricist and being unseemly underground at the same time is senseless. That any rapper armed with a skill of lyricism should earn mainstream recognition.

Lemme ask one question: You be sicker? No… But you sure say u dey feel well? You dey flow but you’re still underground. Does it feel well? The industry is damaged yet if you speak they make u feel bad.

After broaching the various themes of hatred, the phantom music industry, chasing success and humblebrags, Teephlow ended on this bold note, calling ‘beefeers’ out to a full blown battle: If you are down, send a beat, come let’s kill, that be what go fit bring proof /Until then, me am trynna phlowducate your fans, I no get time to diss you.

Teephlow didn’t bite the bait that was sent his way. He knows spending time on a response would derail from what lies before him- promoting his album, ‘Phlowducation’. (‘State of the Art’ off the album, won the Record of the Year award at the VGMAs). He also understands how such friction might benefit his competitor since the visibility would be shared, a point that reflect the M.anifest quote above: ‘They tweet and try to bait us, pick fights and debate us/ But no free publicity doing nobody favors’

And instead of hitting back hard, he responded with a thought-provoking song that addresses a much bigger issue than make this a personal tiff. Like the 50 Cent GIF riding in an Impala, Phlow just let out a smirk and sped off.

Opinion: The 2018 VGMA Scored Some Highs.

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The Vodafone Ghana Music Awards (VGMAs), arguably the largest entertainment event in the country-and held annually- came off once again on Saturday 14th April 2018 at the Accra International Conference Centre (AICC). This event, which seeks to acknowledge and award industry players during the year under review, never falls short of the controversies and fun it churns out.

Doing this for the 19th time, we must commend Charter House for continuous improving on what they do from the previous year. And as usual, the night started with all the glamour on the red carpet which saw a host of celebrities tell audience what they wore to the show on the night.

Performances:

Performers on the night did their best to rock the house and notable among them were Joe Mettle, Kelvynboy, Stonebwoy, Sarkodie and Samini. Other artistes like MzVee and Nigerian songstress Tiwa Savage also shook the building. Except for the initial fluff his back-up singers (choir) had when filling onto the stage, he was awesome. You can’t be a gospel singer and not be able to sing. Obviously, singing isn’t hard for the former Artist of the Year.

Kelvynboy carried himself excellently on stage, both vocally and movement wise. Sarkodie, Samini and Stonebwoy proved why you must part with money whenever you hear them performing somewhere. Kwesi Arthur was expected to deliver and he did. The crowd responded accordingly. Tiwa Savage was expected to do what Tiwa does. From stepping off stage to making her way to vibe with the crowd, she was did her business without breaking a sweat.

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credit: Ghana Music

I was a little disappointed in some of the artistes on the night; they could have chosen not to perform with the live band if they knew they were not comfortable with that. Imagine how the response would have been if the band delivered a good set to accompany the performances of Kuami Eugene, KiDi and King Promise.

Controversial Points:

On the awards given to the musicians, I think most of them deserved what they received on the night. Knowing the VGMAs, there would always be controversies in certain categories and one particular issue that came up was the Song of The Year award won by Fancy Gaddam’s “Total Cheat”. Many feel the song was not popular compared to other hits in that category.

Another category which many people talked about on twitter was the Album of The Year. Quite a number of people felt Stonebwoy’s “Epistles of Mama” should have won that category. Judging from the fact this album was listed on the Billboard Charts at number 13, the argument was that, it should have been quite easy for Stonebwoy to bag that award. But, this is the VGMAs.

Read: The 2018 VGMA Came With A Twist

High Points:

There were some very high points on the night which are noteworthy. First of all, the emotional tribute to the late Ebony Reigns. How her former colleagues in the game stepped up to perform  renditions of her hit tracks was remarkable and I must say, kudos to the likes of MzVee, Adina, Efya and the evergreen Akosua Agyepong for showing love to the late dancehall diva.

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MzVee, Efya, Adina and Akosua Agyapong gave Ebony a befitting tribute

Furthermore, the lifetime award given to Naa Amanua of Wulomei fame was something that brought smiles to the faces of those who know exactly what this woman is capable of doing with her unique voice. Thumbs up to the organizers for this wonderful recognition.

Another very interesting thing that happened on the night was the “reunion” of PRAYE. Many couldn’t believe what they witnessed when the trio stepped on stage and dropped some of their old bangers like Jacket and Angelina, which the audience loved.

Low Points:

On the other hand, some low moments on the night were the sight of many empty seats for celebrities who were expected to occupy them before the show started and the performance by South African star Nasty C. It was evident that many did not really know who Nasty C is. For the kind of clout he possesses in the game, the crowd’s reaction was a bit appalling if you ask me.

I must say big congratulations to all the winners and performers on the night. Headline sponsors, Vodafone as well as Charter House must also be commended for putting up a spectacular show and I think with this franchise, it can only get better with time.

We hope for a better and improved Ghana Music Awards at 20 next year.


Larry is a man of many interest and music is one of them. He tweets at @Larry__Andy

Call For Application: The Mo Issa Writing Workshops

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Writers Project of Ghana is pleased to announce the opening of applications for the first edition of the Mo Issa Writing Workshops. The workshop series will run on weekends over a five month period, and will involve workshops, discussion sessions, and online interactions with accomplished writers and other facilitators.

The deadline for applications is Monday 23rd April, 2018, and the workshops will start on the 28th of April, 2018.

These workshops seek to help writers improve their over-all writing skill and to assist them prepare publication-ready manuscripts. Focus will be on all variants of fiction, in the form of short stories and longer forms such as novels.

You may apply by sending an e-mail with the subject “Mo Issa Writing Workshops” to submissions@writersprojectghana.com. In the e-mail add a short (50 – 100 words) introduction of yourself and your work. Attach a sample of your writing as a Word or PDF document. This should be about 2,000 words long, and will be used for the selection process. The sample can be a short story or an extract from a longer work such as a novel, or a collection of short stories. Selected applicants will however be expected to have available a manuscript of at least 10,000 words for the workshop.

Only twelve spaces are available for participants, therefore, interested persons are encouraged to apply early. Eight persons are eligible to attend for free, with an additional space for four people to join via a paying option. The total cost to attend the 5 month-long series is GhC 300.00, however, applicants may elect to attend specific sessions at a cost of GhC 80.00 a session.

The sessions will cover (a) Creative Concepts and Content (b) Language and Structure (c) Editing (d) Rewriting the manuscript, preparing a synopsis, and preparing for publication. In your application, indicate whether you wish to be considered on paying basis or not.

For more details, or to send in your application, email

info@writersprojectghana.com or submissions@writersprojectghana.com.

 

The 2018 VGMA Came With A Bit of Twist

For the first time in the history of the Vodafone Ghana Music Awards (VGMA), the ceremony-organized by Charter House and sponsored by Vodafone- came with a lot of twists, shattering expectations of many who have observed over the years, how the awards have followed a particularly predictable pattern.

This year, the top award of the night was conferred, deservedly on Ebony. She became the first female artist to win this award in the 19 year history of the music award.

Ebony died tragically along with two other friends- Frankie Kuri and Von Dee- on February 8, through a motor accident while returning from Sunyani after visiting her mother.

In addition to winning the top prize of the night, she also took home the ‘Afropop Song of The Year’ and ‘Album of The Year’ awards respectively. Her manager, Bullet was adjudged the best ‘Songwriter of the Year’ for his work on “Maame Hw3”, a song that highlight the evils of domestic violence. (Her album, ‘Bonyfied’ contained 15 tracks 13 of which was written by Bullet with 8 songs ending up as certified commercial hits).

But, her win wasn’t the only ‘twist’ in this year’s event. Another twist on the night came during the announcement of the winner for the ‘Best African Artist’. Over the years, since the introduction of this category, the award has ended up with the artist present on the night.

This year, two of the nominees-Nasty C (from South Africa) and Nigeria’s multiple award winner Tiwa Savage, were present and both performed on the night.Despite being in Ghana for the event, none of them went backstage with the trophy. Rather, it was the Nigerian pop star Davido who picked the award.

Another interesting twist came by way of Fancy Gadam winning both ‘Hiplife Song of the Year’ and ‘Popular Song of the Year’ awards off the back of ‘Total Cheat’. Even though Fancy Gadam put in the desired work last year, many thought KiDi or Kuami Eugene would end up with the award considering how huge their hit songs ‘Odo’ and ‘Angela’ were.

However, his win is comprehensible considering these categories are voted for by the public. If you have an artist who fills the Tamale Sports Stadium that holds 25,000 fans, you can’t be mad at his win.

Tema based rapper, Kwesi Arthur and TeePhlow went home with an award each on the night in the categories of ‘Best Hiphop Song’ and ‘Record of The Year’.

The night wasn’t only one of twists. There were interesting moments as well, both positive and negative. Here are a few

Positives:

Ebony Tribute:

I have never seen an artist celebrated in this manner on a VGMA stage like what transpired on the night. The organizers rightly selected the best female acts around to serve a benefitting tribute to this young talent whose life was cut short by her tragic passing. MzVee, Efya, Adina and veteran, Akosua Agyapong took to the stage, offering a very memorable performance in honour of the late talent.

Satisfied Fans:

This year’s event hadn’t solicited the kind of backlash that comes along with each edition; from fans being mad their favorite artists didn’t win to rants by artists who feel cheated. It appears, the outcome of this year’s winners were to be expected. Months before the nomination list were even announced, the consensus was that Ebony deserved to pick the biggest award of the night, not out of reverence for the dead but because she worked hard during the year under review.

Performances:

Samini, Sarkodie and Stonebwoy made a claim once more why they are some of the best performers in the country. Backed by a choir, Sarkodie performed for two song performances, he turned it up, performing songs from his old catalogue, relatively old and new ones off his ‘The Highest’ album.

Samini, backed by a live band was flawless with his performance. With a set including some of his very popular tunes, he proved himself a master of live performances. He improvised, bust freestyles and introduced a young act, Deon Boakye as one to keep an eye on.

Except for his outfit on stage, Stonebwoy also offered an exuberant performance. He performed songs from his latest album, Epistles of Mama, which won Best Reggae/Dancehall Award . Despite the poor performance of the band (we shall talk about them), he was did his thing.

Praye Reunion:

Didn’t see this coming at all. Seeing them on stage dishing out some of their best known hit songs on the night was pure nostalgic. They reminded everyone of how important a group they were before their personal issues suck out their unity. Hope their reunion means more than just showing up for the show.

Negatives:

The MCs and Band Were *Yawns*

What goes into the selection of MCs and Band for the VGMAs? Can someone have the answers? Let start with the MCs on the night. Both Berla Mundi and John Dumelo were absolutely awful. Their body language, dry jokes, face in palm antics failed to make an impression. They looked too self-conscious, scared to make a mistake.

The VGMAs have always scored low when it comes to MCs since ace radio/TV presenters Kwame Sefa-Kayi and KKD ‘retired’ and actor Chris Attoh last hosted it. The last MCs to thrill the audience were KOD and artist Eazzy (Baby).

Oh gosh. The band was terrible. Charter House must realize that, a show like the VGMAs, beamed across the country, continent and rest of the world shouldn’t be mediocre. Excitement and experience must be their priority. What unfolded on the night was unforgivable. With the exception of Samini and Stonebwoy who held their own, the poor performance by the band contributed to the lackluster display of some of the artists.

If the VGMA organizers want, I’d suggest to them three bands who could do way better than what we heard last night: The Musical Lunatics, The Band FRA and Senku Band. I’d have added Kwame Yeboah’s “OBY” Band but maybe they won’t be able to afford.

Aww What A Pity, TV3:

I know how people can be petty but last night, I witnessed the real meaning of pettiness from TV3, broadcast partners of the VGMAs. It happened when out of nowhere, they cut the live feed when their former employee, Nana Aba Anamoah came on stage to hand the ‘Best Video’ award.

This was the height of pettiness and again, why should a company of that reputation black out the whole of the country from watching that a presentation because they hold grudges like bad judges?

Bullet Was A Disappointment:

How do you choose such a platform to ‘sell’ your two new artists while taking an award on behalf of your deceased artist? That was a very low level to descend if you ask me.

King Promise’s Sneaker:

Man, that $850 Balenciaga Triple S sneaker though. Wild. And why didn’t King Promise bring out former Black Star captain, Stephen Appiah out on the night? That would have gone down as a memorable moment, even if he went home with no trophy.

The organizers need to be commended for the befitting tribute to Ebony. But, I felt they could have extended a little of that to the veteran legends we lost like Paapa Yankson, Ewura Badu and C.K. Mann. If for nothing at all, to remind all of the incredible music they made and introduce to younger music lovers who may not know them, what these artists did for Ghanaian music.

The VGMAs will be entering it’s 20th year in 2019 and as the CEO of Theresa Ayoade indicated, the 20th anniversary event would be a grand occasion. We hope all the flaws that would be identified in their post analysis of the event would be fixed.

THE CUTS: EP 03 VOL. 11

THE CUTS is a weekly round-up of songs and videos that has caught our attention or think you must hear. The music featured here aren’t genre specific. THE CUTS is delivered every FRIDAY


EL- Overdose

Finally, the video is out following the release of the song a couple of months ago. This is typical EL video:heavy on crispness and colour grading. The cinematography is excellent. EL and his friends are seen at a restaurant having dinner when he is suddenly struck by a beautiful lady who passed them. His attempt to catch her attention didn’t materialize at first. But, we later get to see her again, this time coming over to serve him and his boys. Next, we see the two, all alone in the restaurant getting to know each other.

The video is split between the restaurant-both indoors and outdoors where they turned the car park and restaurant into a mini-party ground. The other shot we see is of him alone, in a black fur coat and a pimp hat dancing or pacing around. The directors, Wowa and Trebla did well in capturing some of the expressions of EL (at 01: 30 and 01:53). Even though it’s a love song, the video didn’t really tap into that excessively. Simple, fun video; nothing excessive.


The Gentleman feat Yung Pabi, Adomaa & Reynolds -Plenty Talk

Music producer, The Gentleman’s latest single ‘Plenty Talk’ recounts a story that is all familiar to many guys and women as well, where they sell to friends tales that’s far from reality. Drafting rapper, Yung Pabi and singer Adomaa, the multi-talented producer, The Gentleman, (an alter ego of Reynolds) has Yung Pabi and Adomaa playing out a ‘shooting my shot’ scenario. Yung Pabi, (the guy) shoots his shot but failed to win Adomaa (the girl) yet, he goes around boasting to his friends he had a ‘moment’ with the girl.

Reynolds nailed the hook and Adomaa’s rap is so on point. This is another good song with a very highlife vibe surrounding it. One can visualize the whole ‘act’ listening to this song.

Kwadjo SpiRi- The Definition of Hip Hop

Hi-hats, menacing horns, hoppy pipe and hard hitting drum and snares get you head bumping. The beat transport you back to the 90s era with its New York hip hop flavour. Kwadjo SpiRi comes across as one of the last breeds of quintessential hip hop artists around.

On his new single, he meanders across myriads of topics including the death of hip hop-how lyricism, tributes to 2pac and Biggie, the influence of rap legends like Rakim, Nas and others who used their music to educate. He recounts how he turned from a fan of hip hop to a rapper during his time at Uni, his new album (with a style he calls afro-hop).

Get Kwadjo SpiRi- The Definition of Hip Hop on aftown.com

For those unaware of Kwadjo SpiRi, check out his previous album. As he said on the intro, ‘if you ain’t 30 years you can’t relate’ cos ‘hip hop is on the clock, 97 is in the air’


Kuvie feat B4Bonah & RJZ – Energy

There’s a quote that goes like ‘being deeply loved by someone gives you strength, while loving someone deeply gives you courage’. Music producer, Kuvie’s new single leans toward this saying.

Featuring B4Bonah and RJZ, ‘Energy’ carries the trademark sound of Kuvie-clanking, stripped down beat- the two artists throw in verses that celebrate love as the hook depicts: ‘whenever you smile at me, you make me feel this energy’. The contrast in voices- b4Bonah’s high pitched voice compared to RJZ’s soft toned vocals add sheen to this mid-tempo, danceable tune.

Bangz- No Heaters

The mid-tempo bounce on the song is gripping. The mixing and mastering technique used fit the song title –you hear the hook pouring out through the speakers. The song play on the idea that Bangz doesn’t need heaters in his room. He rather prefers speakers. At the edges of the bouncy beat are those soulful horns with guitar strings wheezing across it. Except for the beat break-where the bounciness is replaced by a slow trap beat, deeming its brightness in the process, ‘No Heaters’ is the kind of song you play during a jolly highway cruise.


Fasina feat Minz – Freaky

A slow burner with an irresistible grove. Fasina’s vocals are gentle, swimming along with the calm vibe of the beat. Fasina makes a simple request: ‘came with my boys, baby girl can you come with your sisters?’. The mood for shenanigans is perfectly set. And this sentiment is covered in the video for “Freaky”.

Fasina is seen on a couch at a basement pub. A lady offers him a glass of Hennessey which he gulps down and suddenly transported to another world-a rave party where he gets pampered by girls. The video is excellently lightened-as seen by the red tone of the club and the tone of their skin. Fasina need to put Mr. Eazi on the remix of this song.

Dumey – Oliver Khan

If you love football-and you’ve been a follower since the late 90s, you’d know Oliver Khan. The German legendary goalie was one of the best during his active years. On this song, Dumey references his name in this song to demonstrate how ready he is to catch the love of his life if she falls. Dumey’s gentle and soothing croning ride over this low-tempo beat from Frank Sowah Boye. I wonder why the beat didn’t play a bit longer. Folks wanna dance!!


General Myke feat J. Derobie – Odo Yewu

Why didn’t J. Derobie sing till the end? This song has a vibe to it yet General Myke had to throw in some rap verses for balance. The mid-tempo tune is about loving that special one. Produced by Uglybeatz, Odo Yewu sit right in the current afropop rhythms of heavy bass and kick. And features J. Derobie. The song interpolates on its interlude, Daddy Lumba’s Auntie Atta hook. Currently recording songs for his EP, ‘Odo Yewu’ has potential if General Myke plays his cards right.

Not. Nilc – Unfortunate

‘It’s unfortunate I gave my heart and shit to you’. Not. Nilc’s is a depiction of his burns from a relationship that never took off due to what sounds like a bad judgement. As the song’s lyrics portray, he took friendship as love: ‘Should have stayed in the friendzone’ he sings. The emotional pains endured despite his contradictory demeanor is present. Love is pain indeed, unfortunately.

Book Launch: Nene Tetteh Adusu to Release “Heart In The Sand

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When: 29th April, 2018                  Time: 3PM         Where: Jamestown Boutique, Accra.

In the sand of love, the heart of the poet was buried.

The 2016 Universal Inspirational Poet honouree, Nene Tetteh Adusu is set to release his poetry collection – Heart in the Sand.

Heart in the Sand presents various shades of love and carries the reader on a journey line by line. Tetteh bares his heart on this collection with each poem inked with truth that the reader can relate. Heart in the Sand is a collection of lyrical poems. In the foreword to the book, Dr. Santosh Bakaya, poet and writer of Ballad of Bapu writes:

This powerful collection of poems, reminded me, at times of William Blake’s poem NEVER SEEK TO TELL THY LOVE. Love at times can be, like the gentle, soothing wind, invisible and silent.

“For the gentle wind does move

Silently invisibly”.

At other times, it brought to mind Andrew Marvell, pleading with his coy mistress,

‘Had we but world enough, and time

This coyness, Lady were no crime,’

This is second poetry book by Nene Tetteh Adusu after co-authoring Palm Leaves. Nene Tetteh Adusu, christened Solomon, is a playwright, poet and dramatist who believe in the transformational power of words. His works duels in existentialism and realism. His writing and performances are inspired by his culture.

The launch will feature performances by Nene, conversations with the audience and a book signing session.

For more copies and information about HEART IN THE SAND, contact 0243 830 944.