THE CUTS: EP 02 VOL 09

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


             Sammy Forson – I’m Tired

It was a matter of time before he made his formal entry into the music space by having his credits on a song. The pull factor to be an ‘artiste’ grows very strong especially when you’ve been around artistes and music for decades. For radio presenter and artiste manager Sammy Forson, ‘I’m Tired’ is his first official record. The Live FM Mid-morning radio host goes for some top cherry MCs like Cabum, EL, Kojo-Cue, Obibini and LJ on this hard hitting hip-hop beat. And they both slayed, with each teasing out some identifiable tiring experiences. 

Thebeat is too inviting for any MC not to dream of hopping on. Obibini and LJ (his name isn’t familiar to many) were incredible, holding their own against the other three certified MCs. ‘ I taya say underground MCs just dey suffer/ the money dey but Miss. Malaika s)) dem dey sponsor’, Obinini makes his tiredness known. As Sammy Forson himself did intimate before the beat kicked in: ‘The people all around the world try to make a difference. Just like me, they’re tired’. THIS IS HIP-HOP

Adomaa – BRA

Watching this video, I kept wondering what could top having your girl invite you to an afternoon date where she offers not food but some nice musical performance as a way of assuring you of her love. That’s precisely what Adomaa did in the video for ‘Bra’. Shot entirely at the Kona Cafe, Osu, Adomaa takes centre stage and croons to her boyfriend whose identity is hidden for a few minutes. The video is simple, appealing and colourful. It’s very clear that the three (Adomaa, her boyfriend and the saxophonist) had extreme fun on set. It’s also a nice advert for Kona Cafe. If you’ve not been there, better check it out. 

Juls feat Nonso Amadi & Maleek Berry – Early

There couldn’t have been a better first video after the release of ‘Leap of Faith’ EP than this standout track ‘Early’. A warm, well toasted love song has a video that carries such same clout. It’s another date themed video with Juls and Maleek Berry on what appears like a vacation trip to the beach with girls they picked up a night ago. Even though the visuals isn’t as evocative as the song, seeing the characters in full bliss is in itself superb. Makes you want to take a trip at the beach with the one(s) you love for a good time.

Eboo – Good Life

https://www.audiomack.com/song/teameboogmailcom/good-life

It’sbeen almost a decade since afro dancehall artist Eboo captured the attention of Ghanaians with his debut single. Many may remember the hook to ‘Once, Twice’. After a very long hiatus, Eboo makes a return a new single ‘Good Life’, a dancehall, tune with a this-is-why-I-love-you theme. ‘Good Life’ is an average yet decent output (compared to his decade old single). It’s a forgettable song.  Wth backing from Empire Entertainment (which his big brother media mogul Bola Ray runs) you may find yourself singing along to it before long.


Tony Bryte ft Serge – Aaliyah

If you are expecting some crazy, ‘put me in my feelings’ type of lyrics due to the title of the single, sorry for leaping before watching. Tony Bryte abandons his R&B scales for something far off his comfort zone. For what the lyrics fail to offer, the beat provides thanks to it’s spikey, experimental sound. ‘Aaliyah’ is a love song where Tony Bryte and Serge serenade and confess their love to their ‘Aaliyah’. Forgive me Tony for thinking you were a Nigerian all along. Just got to know you are Takoradi abrantie. 

Bryan The Mensah is moving at his own pace on ‘Friends With The Sun’ EP

 

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Knowing how to move in this young and vibrant, yet fast changing Ghanaian music industry is an advantage. Knowing your worth as an artist is the gunpowder to your survival. While some break through by following the latest trends, those who adopt the often long and arduous road to success need to have the patience of a Buddhist monk.

Veterans like Jayso took their time to build their profile before releasing a body of work. Newcomers such as Worlasi, AYAT and to an extent, Adomaa entered the music scene through the ‘backdoor’- they stuck to a certain style and cracked the code. Bryan The Mensah has joined this list.

‘Friends With The Sun’ (FWTS), his eight track EP released on August 5th, is an invitation into Bryan The Mensah’s world and musical journey. He side-steps the usual narratives that rappers of his age indulge in- wild shenanigans, boastful talk, wealth flaunting (which is mostly a faux). Bryan The Mensah rather shares his philosophy in life, friendship, career and his resolve to stay and steer a certain course he deems comfortable.

There’s a lot that has changed about Bryan The Mensah, both physically and mentally since I met him some years ago. This was during his time with the collective called TH’ FRVNCHMN’. Since his transition from ‘Denny. MadeIt’ to ‘The King of Tea’, Bryan has shown glimpses of a wise and matured rapper as evidenced by songs like ‘’The King of Tea’ and ‘Sharp’.

For those who have paid attention to his singles prior to ‘FWTS’ won’t be surprised by the content heard on the EP. For those who followed the rollout of FWTS on twitter, it compares to those done by AYAT and Worlasi. The inspiration behind the EP is summed up in these words:

I really wanted to introduce people to a more unique, personalized and innovative approach to music and creative art in general. I want this EP to inspire anyone who comes across it in anyway possible to be able to find growth from whatever their current predicaments may be.

‘All This Life’, with its brightly laid sounds (hip-hop, electro, house elements) has Bryan The Mensah shifting through the essence of living and striving for the best: ‘Some people wanna live life/some people wanna leave legacy’. As the verse progresses, he comes with the reminder ‘people go feed you with choices but you nor you for make am officially’.  This message is further emphasized on another Seyyoh assisted tune ‘Good Design’, a song that seems to be inspired by the notion of ‘we were created in God’s image or perfection’. Here, he aims for perfection: ‘I no really get time for temporary goals/ Everything I do is going gold’. Seyyoh, who I’m hearing for the first time, spreads her soulful vocals over the track.

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FWTS isn’t only a display of Bryan’s bravery in terms of sound experimentation. He also brings on board fellow young rappers like Tim Lyre, Fii, Tano Jackson and Kwesi Arthur, who joins him on ‘Darling Falling’; a song that doesn’t deviate from the theme of being great. ‘We come from greatness I know it’, he raps on the song. ‘We ain’t alive to just sit around and congratulate other dudes’. Kwesi Arthur questions the mindset of some Ghanaians who ‘sell our country for coins’ and those who ‘still dey sit on the fence’, watching the rot that is crippling our country.

In the game of love, being real is a must. On ‘Jesse’, he put on display all his cards to the girl he’s after. Tim Lyre with his The Weeknd-esque vocals and Fii help make this radio formatted, afro-dancehall tune a jam. Even in his sleep, his subconscious self keeps reminding him not to fail on ‘Last December’ which features Tano Jackson. Staying focused, knowing what you need and putting in the necessary work is the fuel needed to ignite the fireball of success. Both are expressively laid in its true form on the introspective ‘See The Move’ where he denounces fair-weather friends: ‘Ewiase (world) as you know it is a single man journey/ That be why I dey put only conscious men near me’. On ‘Wallabow You’, he tells a relatively successful guy to leave him alone to his own ways- moving at his own pace, direction and systematic growth: this thing no be competition/If you get your wave masa go catch fish with it’, he raps.

It’s on the deep cut, a potential anthem that he declares his true intentions. ‘Pop Mandem’ carries an infectious vibe thanks to its catchy hook. It reveals a self-conscious Bryan who knows his worth: ‘I’ll always stay true…you can’t mix me with the fake dudes’. Putting veteran artiste/producer Jayso is clever. Jayso is one of the few artistes who has stayed on the periphery of fame albeit his enormous contribution to today’s rap scene. Whilst Bryan talks about steering his course, Jayso is a believer in building a compelling catalog and not live for the moment: ‘lately rappers acting phoney here… dropping all these radio singles but they last just for a year’. ‘Pop Mandem’ is Bryan’s own version of ‘Light Up’, where he plays Drake and Jayso takes the role of Hov.

‘Fake it till you make it’ is an unwritten rule in showbiz. Bryan The Mensah isn’t sold on it. He believes in himself and his own greatness as his comments below indicate:

I was inspired to make friends With The Sun by some life experiences of mine. They helped shape my perspective of life now and I really wanted to share them. The purpose of the EP was for me to have an opportunity to fuse all creative concepts with real life situations. I really wanted to introduce people to a more unique, personalized and innovative approach to music and creative art in general. I want this EP to inspire anyone who comes across it in anyway possible to be able to find growth from whatever their current predicaments may be.

Being talented isn’t enough to succeed. Being aware of who you are, knowing the obstacles on you path and embracing them is equally crucial in surviving. Bryan The Mensah is aware of this hence his friendship with the Sun (a metaphor for life’s obstacles). ‘Don’t listen to the ones wey dem no dey agree/(Don’t) listen to the ones dem no dey see/ They just want a life/We just wanna fly/ They just under pressure cos they don’t believe’. A profound reminder.

I Told You So: Curating a Piece of Ghanaian Storytelling through Artistic Experimentation

On Sunday, August 6th, a predominantly young audience sat ready to be taken in by Abdul Karim Hakib’s stage adaptation of Bob Cole’s classic film, I Told You So. Those familiar with his work know that Abdul Karim usually uses artistic experimentation to re-familiarize his audience with the ordinariness of humanness that we seem to run from, especially the not-so-beautiful parts. I witnessed this when he staged Eve Ensler’s Vagina Monologues, (twice in two years) at University of Ghana’s Efua Sutherland Drama Studio – he held the emotions of the audience at ransom, conducting it however he pleased. 
Clad in their Kente the Hi-Life/Afrocentric band, Palm Wine, regaled the audience before the play began. Their melodies, like a good shepherd, guided the audience throughout the play. In this way a sort of unconscious tribute was paid to the chorus of Ancient Greek Tragedies. Yet, the play is not necessarily a Tragedy. It is probably closer to a Tragi-comedy than anything else.

Palm Wine’s contribution to the actual play as far as addressing events in it, was limited to musical fables. Songs that hang on folk music traditions; songs like “Ɛdwen Dɛ Ɛreyɛ Me” and those of Akan Nwomkrɔ traditions such as “Takoradi Police”. The few oldies among the audience could do nothing to wipe the nostalgic grins from off their faces. 

Artistic experimentation, especially of the kind that Abdul Karim is known for, always wraps itself in a cloth of uncertainty. Many plays have been adapted for stage long before Abdul Karim, and some like August Wilson’s play, Fences, have been successfully made into stunning films. The challenges of adapting a film, especially a classic like I Told You So, are many. During one of the embryonic scenes, a relatively substantial number of characters flood the stage. They collectively play the role of customers at a restaurant. While it would have been easier for a smaller number to play this role, more numbers provided cover for those among them who stylistically doubled as stage hands. 

In the same scene, these characters become involved in very articulate and deliberate dancing. The dramatic experience was here enhanced by the very fact that the dancers were many as opposed to few. By the simple tactic of inflating cast size, Abdul Karim conveniently tackled what would otherwise have been a loophole of stage adaptation – transition of scenes. So instead of the audience being bothered about characters they were expecting to act setting up a scene, their attention was fully arrested by this time-saving strategy. And once their attention had been surrendered, they were thoroughly amazed by the theatrical display that occurred.

In keeping with bringing to the fore the ordinariness of the human condition, the set of the play was bereft of any flamboyance. The use of the simple and plain reflected the penury of the majority of the characters, both in economic and psychological terms (Mr. Jones is a wealthy man and yet no time is wasted in redecorating the set to convey his wealth during those scenes that are clearly in his house). It also emphasized the pervasiveness of human ordinariness when all else is stripped away. 

The play, in a subtle way, presents a reimagining of Henrik Ibsen’s modern realism ideas in a retro-Ghanaian setting. Like Ibsen, the characters in Abdul Karim’s adapted play are influenced by their environment and what society expects of them. Rosina considers herself worthy of a rich man, marriage with whom would up her social status and reputation in the eyes of her peers and the community at large. It is for this reason she aligns herself with her uncle, Esuoabroboɔ and her mother, Araba Stamp, to prepare for her marriage to Mr. Jones.

Again, in typical Ibsen realist fashion, the characters are psychologically motivated and their actions expose their socio-economic standing. Esuoabroboɔ and Araba Stamp see Rosina’s marriage to Mr. Jones as a way out of their poverty. They stop at nothing to ensure that the marriage goes through. In several instances the patriarchal set up of the times is alluded to. In a scene where Araba Stamp expresses her contradiction of Esuoabroboɔ’s opinion, the latter tells her, as more of a reminder, that women have brains but are not known for their thinking. This psychological disposition dictates how the women in the play are expected to behave. The cultural trait of matrilineal inheritance among the Akans, provides a kind of psychological boldness to Esuoabroboɔ. He is thus motivated to supersede his brother-in-law’s decision to not give his daughter Rosina’s hand in marriage to a rich man.

Regarding plot, there were causally related scenes, just like in Henrik Ibsen’s plays of Modern Realism. When the play began, those present seemed to be the typical non-responsive Ghanaian audience. In their defence, everything seemed rather hazy in the beginning as the audience was unsure whether this was a Ghanaian musical or something else entirely. As the play progressed however, everything made sense (Is that not how stories usually go?). 

The songs the characters sang at the beginning were the same musical fables that guided the audience throughout the play. Scene after scene, the play kept getting better. The humor grew and the auditorium’s ricocheting laughter with it. Much like Beethoven’s 5th Symphony, the play floated on a steady crescendo until at the end there was an undeniable wave of immense satisfaction at what had transpired.

Perhaps the most ingenious element of Abdul Karim’s experimentation with Bob Cole’s I Told You So, was the way he employed anachronism. Throughout the play, Mr. Jones magnanimously doled out cash to anyone who would take it. While this may have served to provide a hint at the ill-gotten source of his wealth, it appeared to hold a more profound role. Mr. Jones was giving out modern Ghana Cedi. It could be that attempts at finding money from that era proved futile. But the brilliance of going ahead to use current Cedi notes is this: by so-doing Abdul Karim conveyed the idea that just like in those days, the psychological structure of our humanness has not changed. We are still motivated by money and many, especially the poor, are still too afraid to speak up for the things they believe in and would rather leave it to fate. These flaws define the ordinariness of our humanness. They are pervasive in our lives today as they were in the days of Esuoabroboɔ and Araba Stamp.

The play adaptation of I Told You So, was a well-executed endeavour.  The themes and lessons portrayed are relevant for our time and will likely remain so for posterity. The boldness of the entire enterprise cannot be overstated and neither can the praiseworthiness of the performance. 

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Akyempo is a poet and writer whose poems and essays have been published by Brittle Paper, African Writer, Kpodola, Three Sixty Ghana and Circumspecte. His poems have also been anthologized by Afridiaspora. He is the 2016 winner of the Three Sixty Writers’ Challenge. His latest works are available on his personal literary website – greymural.com. He can be found on both Twitter & Instagram via the handle: @Akyempo

Video Review: Darkovibes – Tomorrow

It’s always a tricky situation for new artistes after breaking into the mainstream music scene. There is the pressure to prove their breakthrough isn’t a fluke (their new releases must be as hot as the one that won them attention). This pressure from such expectation could sink a new artist. 
But for Darkovibes, the pressure or expectations are not weighing on him. Following the release of his classic (yes I said it) single ‘Tomorrow’, the perioxide hair artiste has sustained his modest fame through features and respect number of performances. As @stingg_ of Harmattan Rain said in a tweet, is ‘unwise’ to invite Darkovibes to your gig since he’ll out-perform everyone.

Few days ago, he released his long-awaited video for the most notable song from his catalog: Tomorrow. The gorgeousness of ‘Tomorrow’ translate into it’s visuals. The video reflect the theme of the song- his lover being his buddy and confidant.
Babs Direction (the director) had Darkovibes and his lover on a date at a waterfall with them doing what lovers comfortable with each other do- the swim, the walks, hugs, ass grabbing. The visual, shot in black and white carries an excellently chromed tone (the outstanding thing about the video). The scenic view of the waterfall and the capture of the running water add significantly to the overall warmth of the video.

Was Darkovibes having a seizure or was feeling cold towards the end of the video as he laid in the water? (I know, acting but it’s kinda funny in a way).

Watch the video for Tomorrow below.

Concert Review: The Glow never faded at the ‘Mother of Heirs’ Concert.

Concerts. 

They conjure an image of wide stages, glitzy setup, eye piercing lazer lights and thousands of people ready to cheer and dance along with the artiste(s) headlining the event. In Ghana, provision of chairs is ever present.

But, that wasn’t the case last Sunday, at Lokko Warehouse, where the ‘Mother of Heirs’ concert, an initiative by Black Girls Glow was staged. The audience were denied the comfort of chairs- the best thing to do as far as a concert goes. For over one-and-half hours, they were on their feet; dancing, singing, applauding, on the night, the six female performers- Poetra Asantewa, Dzyadzorm, Fu, Adomaa, Cina Soul, Ria Boss.

Even though the event started an hour and a half late, fans weren’t bothered (technically they weren’t late since performance was to begin at 7 pm). The time ‘wasted’ was compensated for by the phenomenal DJ, KEYZUZ (half an hour for her set wasn’t enough). Her cross genre mixes set the mood for the six ladies to take the energy up a notch.

Backed by the four member Protege band, the ladies performed the twelve tracks that make ‘Mother of Heirs’ album, and more. With Fu beckoning the crowd to pay attention to the opening lines of ‘Power To Power’ (Power to the power/ Power to the femmes), the audience were certainly caught in the whirlwind of the performance by the end of the first song. For over half an hour, the performances peaked, one song after the other. There wasn’t a moment of pause. The performance was a continuous one and that got the audience cheering with genuine admiration and keen interest. 

There were captivating moments on the night, including the sudden aura of silence when Dzyadzorm performed her emo- drenching poem ‘MissUnderstood’. Her emotions were nakedly displayed (you can’t talk about sexual violence with a smile). Fu won many hearts with her thrilling deliveries especially her untitled track with Ria Boss. And who can forget the ‘dance contest’ between Cina and Adomaa?

      Watching  KEYZUZ behind the DJ set is art

Things did hit a crescendo when Cina Soul teamed up with Fu to perform ‘Julor’.  Same reception greeted Adomaa’s performance of ‘Traffic Jam’, which had the crowd literally taking over like they co-worker the song. Earlier, Poetra had performed her single ‘Coroner’, a string of musings about life (a favorite of mine). Hearing Ria Boss sing is great. Watching her perform is surreal. Her performance of the outrageously inspiring song, ‘Flame On’, was one of the grand performance on the night. The ladies also gave a live demonstration of how they created the songs on ‘Mother of Heirs’ – one party raises a melody, others drop in with their own thoughts on a subject.

Good performance is non-negotiable. Same can be said about the technical bits of events. Technical flaws can ruin good shows especially live performances. But, on the night, everything worked to perfection. The Protege band were incredible to a fault. And as Poetra indicated, they had just three days of rehearsals (I wonder what the outcome would have been if the rehearsals had been a week long). The sound providers, Other1, deserve plaudits for their work (no echoes, sound was kept within the four walls of Lokko Warehouse) likewise the team that handled the lighting on the night. 

The stage was perfect too- the provision of chairs for the artistes on the stage was a good idea. It avoided the clumsiness associated with walking off and on the stage after each performance. The venue offered a deserved intimate session between the artistes and the crowd. The shared energy between them was symbiotic.

The flawless rollout of “Mother of Heirs” deserve praises. Within a space of three weeks, they hosted an album listening, released the album and capped it up with a concert.

Leaving the venue that evening, three thoughts rushed to my mind: there’s power in collaborative work as exhibited by the six artistes in making the album. Good efforts would be supported by many, either directly (resource wise) or indirectly (encouragement). Lastly, it’s good to have huge concerts but the intimate feeling small concerts offer makes a difference. I hope other artistes would borrow from the glowing black girls. 

All photos used in this article was sourced from the Black Girls Glow (@BlackGirlsGlow) twitter page.

Album Review: Mother of Heirs

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The 21st Century woman isn’t one to be dictated to. Or led, like a lamb to a destination the shepherd thinks is good. The 21st century woman is staging a revolution in which self-determination, self-love and assertiveness is of prime importance. The revolution wouldn’t only be televised but documented across various media outlets- with social media as the prime avenue- to millions, both the present generation and the next.

Patriarchy has always been one of the stumbling blocks to women’s progress, especially with its doctrine on capping the sexual desires or expressions of women. That need to break free is starkly addressed by Fu on the chorus of “Power To Power’’, the third track: ‘’before you speak, make sure your head is right/Before you speak, make sure your tongue is right/ loud it, no more intimidation’’, she raps. This is after asking her legion of femmes to ‘fuck the count (body count)’’; a very disturbing measure of a woman’s sexual prolificacy. Her point is given extra boost courtesy Ria Boss when she sings ‘there are diamonds in between my thighs/Phenomenal am I?’.

‘’Mother of Heirs’’ is a genre bending, 12 track album that features six (6) female artistes (2 poets, 3 singers and a rapper), who share various anecdotes about the struggles of being a woman. Even though what is shared could be said to reflect their individual views, they could be extrapolated as those reflecting those of other women.

The album opens with ‘Fresh Air’, a puncturing piano chord driven track produced by Keyzuz. With Ria Boss and Cina Soul’s vocals serving as the duvet, Poetra delivers encouraging words about embracing love but first, loving yourself: “forgive yourself for creating this architecture of doom and living underneath its lasting truth”. It’s such a hard journey for someone who has been disappointed, betrayed and berated for what she is- a woman- especially where love is concerned. It’s usually such a drag to see value in yourself. ‘There’s overflowing love lining up to engulf you’, Poetra pour out an assurance.

The theme of self-love is further explored on “Selfie”, where Dzyadzorm, Fu and Poetra team up to contextualize the phenomenon of selfie taking-an obsession of millennials. Whereas the older generation deems this action a worthless exercise, many millennials see it as necessary. For many, selfie taking is a time capsule: an exercise in documentation of growth: ‘’we fill our biographies with imageries of us and the times’’. It’s also a measure of appreciation of looks: ‘’when you take a selfie, you are just photocopying God’s version of today’s magnificence’’ (can I get an Amen!). Aside serving the social and physical purposes, selfies could take up a political role- an avenue for those long silenced to talk back to the world: ‘taking a selfie is reclaiming the meaning of self-love/ in a world that would rather we stay silent’’. If selfie taking is an act of narcissism, the girls here have a differing view point.

mohh‘You have to be twice better to get half of what they have’. That’s an advice females are told or get to realize with time. It’s a reminder of the patriarchal construct and in recent times, we have witnessed women fighting for equal pay for equal jobs (Serena Williams made her views known per tennis tourneys). ‘’Distractions’’ is the song a frustrated heart sings after putting in “200 percent and only get a 10 (percent)’’. The realization that you ‘put in too much truth’ in your work yet the manifestation of the result(s) ‘take this long’ can be daunting. Whereas, the solemn ‘‘Haystack’’ featuring Cina and Dzyadzorm talks about the need to be found and appreciated, the boisterous pop-rock influenced “Black Is The Power” is an ode to blackness- excellence and skin tone: ‘’The melanin is in control/ baby you got the black, now glow’’. Even where humour or playfulness exists, there’s an underlining sense of seriousness. On ‘’Child’s Play’’’, a medley of known Ghanaian lullabies, the lyrics are nowhere childish. ‘’Paul G never said this was his first time/ but, Mary been around so she took his nervous hands/ led a little lamb on the path of vice / she saw it in his eyes, this shit felt nice’’ is a peek into the ‘seriousness’ of the song. The album title ‘Mother of Heirs’ is an ode to womanhood; a reminder of their worth as well as a call to embrace and wear their magnificence with pride. ‘Mother of Earth/Heir to the throne/Daddy was gone/King overthrown/ Have you lost your way?/ do you know your name?’’, Ria Boss chips in the reminder.

‘Mother of Heirs’ is not a feminist manifesto. It’s six female artistes- Poetra, Dzyadzorm, Cina Soul, Ria Boss, Adomaa and Fu- bringing to the fore issues that affect and/or impede the growth of women-overtly or covertly as reflected by the themes covered: self-love/worth (Fresh Air, Dumb, Selfie), Femme Power (Power To Power, Black Is The Power, Mother of Heirs), Struggles (Doing The Most, Distractions, Conversations) and love (Haystack, Humpty Dumpty).

An idea sowed in Poetra after her one month residency in the US courtesy ”OneBeat’  resulted in the founding of Black Girls Glow, an initiative geared towards promoting the works of women in the arts. Its first output is Mother of Heirs, the album.

In an era where joint albums rarely make a great impression on listeners despite the big names featured (expect you are a Jay & Kanye or Nas and Damian Marley), it is worth applauding this album. The artistes involved aren’t recognized names (except Poetra and Adomaa, arguably) but they rightly shared the spot by showing off the very best in their talent box. The production works from the 11 producers-including Keyzuz, EDWVN, Nii Quaye and Alex Wondergem (some of my favouites) stretches between charming and astounding.

The world is skewed against women in many ways. The fight to claw back their rightful spot is indeed on. The obstacles would be present but it’s up to these women to realize that they merit more than just an iPhone as payment for work. It’s time to have that serious conversations (all pun intended).

Buy your copy for GHc 10 here

Stream album here