Throwback: Tommy Wiredu – Wo Do Mu Y3 Du


First things first, RIP to Tommy Wiredu, one of the most beautiful voices that graced the Ghanaian music scene in the late 90s till his untimely his death-through suicide on April 7th 2003.

The circumstances surrounding his death wasn’t readily confirmed-albeit speculations suggested he was driven to his untimely death by debt. Tommy Wiredu had before his death become a household name on the contemporary music scene for his soft voice and his openness to new musical influences, mostly R&B cum hip-hop productions.

One of his incredible songs was ‘Wo Do Mu Y3 Du’ (Your Love is Real). The song was produced by Zapp Mallet. Tommy Wiredu drafted Okyeame Akoto and rapper, Freddy B for this tune. The song carried a Teddy Riley new jack swing quality (Zapp Mallet modeled most of his productions on Teddy Riley’s productions) with Tommy Wiredu, in his signature emo-tinged voice confessing his love for a lady. He admitted to being a casanova in his previous life; giving it up upon realizing its vanity.

He finally met the ‘one’, for whom he shall be a good husband to as the chorus indicated: Afe na me hyia me do a/ Wo do mu y3 dur o/Menso me y3 ne de3 e/ Na menso me do mu y3 dur. (I’ve finally met the love of my love/ Her love is real/I’m forever hers/’Cos my love is for real).

The Video:

Tommy Wiredu recruited Terry Bright (DART) to direct the video. Like any other DART video, his signature video features – choreography, colourful background (cringed at the colour combinations watching it again) and low budget look- were present. The video followed the story of a man who lost his girlfriend to another rich guy.

Like the era it was shot, the video showcased Tommy Wiredu and his friends in both their corporate and street guy look as was the case with many R&B/hiphop videos from the US. Also present were the baggy jeans and durag culture.

Tommy Wiredu broke into the music scene in 1999 following the release of his debut gospel/inspirational hit, ”Enso Nyame Y3” . He released three studio albums  Enso Nyame Y3′ (It’s Not beyond God) ”Fa Odo Bo Odo Mu” and ”Susubribri”.

The highlife crooner left us some fifteen years ago but as the Akan adage goes: the body of a man rots after death, but not his tongue. His memory is forever preserved in the tons of music he left behind.

RIP Tommy Wiredu.


Throwback: Noble and Sandra – ”Ayalolo”


You can’t run
The time is now, do what you can don’t you know
Look at us now, our ancestors have seen Canaan
But we are just seeing things in this world”

The above lyrics is part of the opening lyrics to “Ayalolo”, a song performed by Noble and soul singer Sandra Huson. The lyrics portray a song about patriotism and the need for us, as a country, to take responsibility to better our lot.

Noble and Sandra Huson recorded this song somewhere around 2010/11. The Jayso produced song can be classified under ‘criminally underrated song’ category.

Noble Nii Nortey was part of Black N Peach, consisting of Noella Wiyaala and Emma Orleans- Lindsay, the 2012 winners of the of ”Vodafone Icons Mixed Edition”. But, this song was released prior to him joining the ranks of the music reality show.

Sandra Huson, on the other hand belongs to the Skillions camp and has built a reputation over the years as a soul/blues singer. In 2010/11, she was a young voice occasionally making appearances on songs by her fellow label mate.

“Ayalolo” was the first collaborative efforts publicly released between Noble and Sandra . The song carried a soulful tone and began with a series of keyboard notes and mellow bass line pierced by a sucked out horn throughout the song before the kick and bass dropped. The horn seems to be the foundation around which the soundscape was built.

The contrasting vocal expressions and language of choice also added a ton of flavour to the already engrossing song. Nobel, with his timbering voice sang mostly in Ga, bringing to the fore thought provoking messages. Noble had a voice belonging to an older male. Sandra’s vocals exuded a charming warmth that balanced the heaviness that Noble’s delivery had kicked up. Their vocal display on the interlude and chorus emitted chemistry and blatant passion.

Noble’s lyrics reminded us of our history and the legacy left behind for us by our ancestors and Kwame Nkrumah to build on; something we are failing to do.

Why, why, why have we relaxed ourselves for poverty to cause us death
Nkrumah come and see what you have left
Your children are crying and calling unto you
Don’t relax on this earth because you have got the power
Heaven we going, Heaven we going, we going higher
At your field of work and your doings let’s see the fire
If this country will succeed it depends on you, your desire
What are you waiting for? The journey is long? We still going

Sandra, on the second verse urged us to stay focused, believe in ourselves and put our collective strength together and build a better future.

‘’So, c’mon now, let make it work

Cos we all want to be the first

Take my hand and show the world, we do survive the worse’’

 “Ayalolo’’ isn’t a political song albeit the theme of building a better country or place is largely considered a political issue. Inherent in the song, however, is the fact that, we can all help in building a better future for us and the next generations by playing our part with excellence.

Many years after its release, “Ayalolo” still sounds fresh and relevant, like old wine as the cliché goes. The vocal deliveries are still lush, the theme very relevant and the production is exceptionally amazing. (Of course it’s a Jayso produced track). The decision to sing in both Ga and English was meant to have a broader reach. Unfortunately, the song didn’t attain that traction. But, one thing is always clear: a great song would remain a great song, notwithstanding the number of ears that hear it.

Throwback: Sony Achiba – ‘’Domera Wo Yare’’

Somewhere in 2004, Ghanaians became aware of a certain Sony Achiba, a rapper based in Kumasi.

Sony Achiba earned a notable presence within the hip life space for two reasons. First, his abortive attempt to create a sub-genre under the big umbrella called hip life. He emerged on the scene with a sound he named ‘Hip-Dia’, a fusion between hip life and Indian musical elements. Second, his appearance coincided with a new wave of influence from Kumasi, heralded by some notable rappers and producers.

His contributions has resulted in his music becoming a staple for DJs who curate old school hip life tunes.

His well-known song is ‘Nipa Boniayefour’, a fusion of hiplife and Indian musical elements. As stated, Sony Achiba’s rise coincided with a new wave of music from Kumasi. Armed with a new crop of producers lead by Max Morris ‘Babyface’ Twumasi and top ranked artists like Lord Kenya, Akyeame, Komfo Kwadei, Kontihene.
These Kumasi based artists were indeed working their way into national spotlight around the turn of the year 2000 and 2001 (except Akyeame). One of them was Sonny Achiba, a non-gifted rapper who believed he could rap. An innovator who thought he could not introduce a style of rap. However, he scored some big hits during his tenure as a musician.

One of his popular songs is ‘Domera Wo Yare’ produced by Morris Babyface. Carrying a catchy, recognizable beat-a blend of hip-hop, RnB and highlife influences- the dancer-turned-rapper narrated a story about finding his way to fame. The song was found on the A-Side of his album, Indian Ocean Vol. 1.

On the first verse, he talked about teaching Reggie (Rockstone), Slim Buster and Azigiza (former dance champions) how to dance. He further claimed his ‘students’ they abandoned him after chalking success (to be taken as a jocular).

Economic despair led him to seeking greener pastures in America but ended up on a Jamaican plantation. In hindsight, Achiba’s lyrics on the subject of immigration and colonialism (his journey to America ending up on a Jamaican sugarcane plantation) ties in today with the dreadful news of Africans and Arabs fleeing war and famine areas in search of good life in Europe, and the sad news of human trafficking and slavery. (Did you catch the Mallam Issa “I’ll consult” and Coach Ernst Middendorp references?)

On the second verse, he alluded to how his self-belief led to his own success despite the initial overlook from televised music/entertainment shows like Gold Blast, Agoro and National Theatre.

‘Domera Wo Yare’ exposed Achiba as an artist in training. His rhymes were sometimes off beat and songwriting flaccid as hell. However, one can’t overlook the beauty of that Morris Babyface crafted drums,snare,RnB flavoured beat. The beat switch that accompanied the interlude after the second verse still rings in my head.

There were many who considered Sonny Achiba a prop in the hip life scene. His ‘Hip-Dia’ wave died with his short career. His biggest record, ‘Nipa Boniayefour’ examplified how hip life and Ghana music in general,has largely been this huge receptacle of various musical influences like salsa, RnB, Soul, Reggae and Rumba music.

Long before the Indian Government built for us our Presidential Residence,Sonny Achiba had been a worthy musical emissary.

Give the man his props!

Throwback: Joe Osei – Mepe W’asem

One of the profound effects of music is how it transport you back to the very moment, the very minute that you heard it first. That nostalgic transportation is something many who loves music may have experienced.

I once crowned Joe Osei the best highlife artist in Ghana, at least in 1999, after hearing his song, ‘Me P3 W’asem’ for the very first time.  I even dubbed the song once from the radio on to cassette tape. To clear the voice of the presenter, i had to blow air over it.

I was living in Cape Coast then, and Skyy Power Radio in Takoradi was my favorite radio station. I used to tune in to the show hosted by Bob G from morning till Mid-day (that’s the only time the radio waves were strong). I was done with Junior High School (as they call it now). There was no better way to fill the boredom of being home than listening to radio and watching TV. And, Mr. Osei’s song was a constant tune on the station’s Mid-morning programme- ‘Highlife Jam’ hosted by Paa Kofi Abronoma. That was how I got attached to the song.

Later, I began to see the video on Metro TV’s ‘Advertising Cycle’. And each day, I made a conscious effort to watch the video of the song (due to the few number of video clips, Metro used to replay videos of some songs especially when it’s a new video).

I didn’t know who Joe Osei was till I heard the song. What drew me to ‘Me P3 W’asem’ (I Love/Admire You) was the melody of the song, the soothing, soulful voice that crooned over those horn spluttered, keyboard adorned, luxurious highlife grooves. And of course, the love -centred lyrics of the song.

Two scenarios bubbled to the fore listening to the song. In one instance, Joe Osei seemed like a man musing about a lady he admired. The other scenario is him exalting the lovely attributes of his lover is and his willingness to do everything for her.

Until ‘Me P3 W’asem’, I’d never heard of his name. In my mind, he was a new voice on the scene. But, as the song grew in popularity, albeit the album, which was titled the same as the lead single (album’s  poor performance in Ghana was attributed to its poor promotion in Ghana), it became clear he was an ‘old guard’. Legendary musician, Gyedu Blay Ambolley, I recall mentioning him in an interview as his contemporary.

Joe Osei wasn’t to become a musician, as his parents had hoped. Hence, their reason for sending him to England for further studies in 1979. He formed a group, ‘Jagado’ two years into his studies at Waltham Forest College. In 1972, when Ghana hosted Ike and Tina Turner and others at the ‘Soul 2 Soul Concert’, Joe Osei, who had formed the ‘Coconut 7’ with Yaw Barimah, were among the opening acts.

‘Me P3 W’asem’, unfortunately was the only song I’ve heard from Joe Osei till date. And anytime I hear it, my mind goes back to 1999 when Metro TV’s ‘Ad Cycle’ and Skyy Power Radio weren’t only my go to sources of entertainment, but also introduced me to Joe Osei, whom I still consider the best in 1999.


Throwback: Pat Thomas – Sika Y3 Mogya


‘Let me remind you again, (that) money is not a beast as they proclaim, money makes a man, money is blood (life)’. 

The opening words on one of the most beautiful composed, well known highlife song of all time. ‘Sika Y3 Mogya” (which translate as money is blood) happens to be, arguably the biggest song by legendary highlife crooner Pat Thomas. For those born in the 80s and early 90s, the song was a soundtrack to their lives by virtue of it being the theme song of the then popular National Lotteries sponsored TV show. An apt song choice if you ask me.

“Sika Y3 Mogya” sounds like a response to the well-known mantra of ‘money being the root of all evil’. Pat Thomas challenges this notion by underscoring the point that, money isn’t evil. Rather, it is blood; it’s a livewire to man’s existence and sustenance. And that, all must strive to be financially comfortable.

He makes this very clear by highlighting the ‘magic’ that (a) bag of money conjures: good health, good relationship, respect, and finest things in life. He further points out a very interesting fact: when misfortune strikes in a family, all decisions and suggestions are put on hold till the opinion of the wealthiest family member is heard. This sad truth holds since as the Akan saying goes ‘for all that would be said, it takes money to do it all’.


The song’s title doubles as the album title of his six track LP.  Recorded in 1991 at the Oketeke Studios, the qualities of the song rise beyond the central theme of being rich as expressed by the ‘Golden Voice of Africa’, Pat Thomas. It’s your quintessential highlife sound: the unmistakable warmth of the Yaa Amponsah guitar rhythms (defining instrument in highlife), the seductive mellowness, the sparsely arranged instruments and the generous ‘dance time’ on the song.

Even though Pat Thomas used ‘blood’ as a metaphor in his song, the significance of blood in Akan culture can’t be overlooked. In the Akan concept of ‘Man’, three elements constitute the make of human beings (Nipa): the Spirit (sunsum), the Okra (soul) and mogya (blood). According to the Ghanaian philosopher Kwesi Wiredu, the blood, despite science pointing to it as essential in man’s survival (through the supply of oxygen and other essential nutrients to vital organs), is nothing but a family lineage determinant. In the Akan cultural system, kids inherit maternally and by custom belong to the woman’s family since the child inherits the mother’s blood. But, Pat Thomas, a Fante (an Akan) wasn’t referring to the significance of blood in the Akan composition of humans as stated earlier. Rather, his reference seems to draw from the scientific perspective where blood matters very much if you are to scrap it off any metaphorical reference.

“Sika y3 mogya/)nsh3 wo ho a na 3yare” (money is blood/ you feel sick when you don’t have it), he expresses his observations with such open candidness. Indeed money is life. Money is important. Money is essentially why we work hard. Money guarantees comfort. In short, money matters.

This Pat Thomas release is and shall remain such a classic song not only because it’s based a poignant statement of fact and exquisite production works. “Sika Y3 Mogya” is a sampler’s four course meal.

Throwback: Paapa Yankson – Ebei


The melody from the saxophone glides over the soft and mellow percussion drums exquisitely. And for 35 seconds, the only thing one hears is beautiful music: horn sections colliding with riffs from the bass guitar, voices rising in unison on the opening hook. These are some of the enchantments of “Ebei”, a song by highlife legend, Paapa Yankson.

An incredible musician with many years of experience, this gifted baritone voiced, highlife musician released 15 albums during his over three decades of making music. Paapa Yankson was destined to be a singer-his father was a trumpeter for the Apam Brass Band and mum, a singer. He, venturing into professional singer happened by accident. He was snatched by the famous Carousel Seven Band after hearing him sing at his mother’s funeral.

Renowned for his classic ballad, ”Tsena Men Kyen” with the amazing Paulina Oduro, Paapa Yankson’s career went through the musical phases that existed during that era: join a band, rise to become the lead singer, branch out as a solo artiste. After years of playing with the Carousel Seven under the tetulage of legendary C.K. Mann, Paapa Yankson helped form the Western Diamonds Band in the early 90s. After helping grow the band into one of the biggest around, he left after two years. He helped form the Golden Nuggents Band, the resident band for then Ashanti Goldfields. His solo career killed off in the mid-90s and the results were over 15 albums.

I had the pleasure of seeing Paapa Yankson play twice in the mid-90s as a teen in Cape Coast. He headlined two concerts, on two different occasions, at the Coconut Groove Hotel and Elmina Beach Resort respectively. My oldman was a fan so he dragged his kids along to such rendezvous.

His album, “Ewiadze Mu Nsem” (Issues of the World), was one the family owned. Out of the many great songs on the album- Jealousy, Bebia Odo Wo, Nyame N’adom Ntsi, Obiara Na Ne Dofo, Ye Hia Wo Mboa- ‘Ebei’ (Otan huno Ara Kwa) was one of the outstanding songs. The composition, the laid back feel, the voice and the beats added to its beauty. It was the song’s message that resonated with many.

 The Message:

Jealousy, hatred, greed, hypocrisy were the issues addressed by Paapa Yankson on “Ebei”. (The title is an expression of shock or displeasure at an incident or action). Our egregious traits as humans lead us to bond with others outside our immediate family. We develop relationships with others. Like the humans that we are, we tend to also harbour certain traits which, if not curtailed derail our relationships.

One can’t really point to the inspiration behind ”Ebei”- whether it was from personal experience or observation of life. On the song, Paapa Yankson was addressing some of the flawed character traits of humans and how these negativities retard one’s own progress. He was literally throwing shade to all the haters, hypocrites, fake friends. One outstanding thing about the song was the manner the message was conveyed: the calmness in his voice. His tone didn’t carry any spite or condescension.

The soulfulness of the song, its relatable message- mainly anecdotes of life- aggregate to make “Ebei” such a priceless composition. It didn’t gain attention on radio as other songs on ‘Ewiadze Mu Nsem’, which I suspect was down to its ‘insinuatory’ tone. But one thing remains: the song is a work of perfection: beautifully composed and gorgeously executed. It’s one of those songs that steal you right when that sax opened the song. If there’s a producer or artist reading this piece, “Ebei” is the song you should sample or remix for many reasons. Listen to the song and find out. But, make sure you don’t ruin it.

This piece was written two days ago. Just today, news filtered in that Paapa Yankson had passed away. May he rest in peace.


Throwback: MzBel feat Castro – Yoopoo


IMG_20170706_171524Today marks the third year since Castro disappeared. Till date, no concrete news has been adduced for his disappearance. Whatever has been in the news reel is based on plausible speculations. Today’s throwback isn’t deliberately to celebrate Castro, even though it would not been out of place. It’s just a coincidence that the throwback song for this week features him. 


For starters, let me state emphatically that I’m a MzBel fan for two great reasons: one, she has consistently worn her sexuality with such offending resplendence since she first emerged on the music stage a decade and half ago. Two, MzBel is a strong person who hasn’t allowed her past to define her. She has been raped, abused and judged negatively by society, yet the singer/rapper, Nana Akua, walks with her chin high and her upper lip tight.

Of course, she hasn’t been very professional in expressing her opinions on certain subjects, be it political or social level. Her comments have always been more stronger than her physique. The backlash her actions often court is self-inflicted.

These notwithstanding, MzBel is a trail blazer. She succeeded in shattering the ceiling as far as how female artistes were suppose to carry themselves. She entered the music scene when being ‘descent’ was the general expectation. She, however chose to show that moral code the middle finger and bring her baddest behavior to the fore.

The Sassy Girl’s showbiz persona was heard in her music, seen in her videos and during performances. The lyrics of her songs were explicit and suggestive, her performances ridiculously rauchy and her videos, often steamy. MzBel wasn’t a good girl who went bad. She was damn bad from the onset. 

One of her songs that confirmed these qualities was the 2004 hit song ‘Yoopoo’. From every angle you look at it, ‘Yoopoo’ (a slang which loosely translate as excellently done) was bound to be a hit. From the production to artistes featured to the music, ‘Yoopoo’ was a hit from the first day.

MzBel had prior to the song established herself as the foremost female artiste on the secular music scene. Her debut single ‘Ade d33d3’ (Sweetest Thing) had earned her deserved popularity. The producer behind ‘Yoopo’, JQ, was also establishing himself as one of the hit makers in the country (he was adjuged the best producer at the 2004 Ghana Music Awards). JQ was then managing a young, vibrant and multi- talented singer/rapper Castro. Also, Screwface, a rising dancehall artiste was also sliding atop the dancehall wave.

MzBel ensured she showcased her bad behaviour on the song. ‘Yoopoo’ is very sexually toned yet claded in metaphors to conceal its true meaning. The Two language employs a lot of metaphors especially in expressing sexual thoughts making it easy for artistes to incorporate in their music. 

But, despite this observation, MzBel was MzBel on the song; singing and rapping about her sexual encounter/intentions for a man as the chorus indicated : he loves it when I’m sitting on him but gets mad when i get up and leave/ my love do it quick/I don’t have capa (the strength)’.

Castro also took the baton from MzBel and painted a nice picture of MzBel’s fearsome sexual abilities which could get you confused: ‘get me my cigarette to light up my matches’. In a trade-off of verses, she emphasized her naughtiness again: ‘i’ll ride you to heaven when I get you’. Screwface’s verse completed the narrative. He was indicative of her sex is the magic that keeps him staisfied.

JQ’s production was absolutely splendid. His signature beat which combines elements of highlife and Ga Jama rhythms (with it’s soft bubbling drums) and trombone (horn) placements gave Yoopoo an element of catchiness. This jama influenced sound made JQ a go to producer for artistes seeking that big commercial tune. 

It has been more than 10 years since Yoopoo was released. Yet, it still sounds evergreen and nostalgic. Not only would you sing along the memorable hook, if not the entire song, it still carries the magnetic pull that would get you to twirl around even if your dancing is as depressing as mine.

MzBel has a place in my heart still. She made some of the best music of her career songs from the early 2000s to around 2010. Songs that still sounds timeless. And in my eyes, MzBel shattered the ceiling and inspired some of today’s female musicians like Ebony to let the sexuality pervade the music they make. After all, there’s nothing shameful about being slutty on wax and videos.

And for that single act, MzBel deserves her praise. Yoopoo, just like other songs by her is certainly a classic tune.