Wednesday, February 22, 2006
[I found this article and lot of other timely, relatively accurate info from GhanaMusic.com, by far the best website about Ghanaian music imaginable. The guys who run it are pretty chill too.]
Right now, no one seems to be happy. Not the musicians, not the producers, not the fans, not even the radio DJs (who are probably making the most money out of the whole movement).
MUSIGA, Ghana's musicians' union, and a few other musician/artist groups, have suffered from power struggles, in-fighting, and corruption, not to mention the lack of a solid plan on how to deal with hiplife. After all, a great many of the union's members are traditional, highlife, gospel, and reggae musicians. Few hiplifers are involved. But this is changing to some extent, as some of the bigger names' managers and producers are connected to the larger network of powers in the industry who makes sure things basically remain the same. There are some less-than-transparent processes involving royalties collection and distribution. Let's just leave it at that for now...
Maybe just one example, if you like.
Payola, which is money paid to DJs to spin your music, is commonly noted as being a central factor crippling the industry. The letter linked above basically gets to the point: there's something serious flawed with the system of how music gets heard in Ghana, and this ultimately affects the quality of the music. If people pay the DJ to play sub-par music, people will get used to the music and eventually create music like it in hopes of also being heard.
Some people in the industry were also complaining that the top stars have become lazy and complacent. They know they can put out a certain level of record and it will "hit," so they rarely attempt to take things further, musically or conceptually. They will usually get paid a pre-determined amount by their executive producer for the rights of the recording outright.
This is clearly happening in some cases. How else to explain the relatively shallow slope of improvement in production over the past years? They should have tons of money from the record CDs they claim to sell and big shows they play outside of Ghana. Hey, I thought all those big guys (Obour, VIP, Tic Tac) were loaded with cash?!
Not the case...More on that soon to come.
Monday, February 20, 2006
Ghana is a big country. Well, it's actually not that big (it's only about the size of Pennsylvania or Oregon), but it has a whole lot of distinct regional flavors for sure. Most of the music discussed on The Hiplife Complex comes from the southern third of the country. Most of the major cities are there, down by the coast in most cases. But what about the rest? What does life sound like up there in the North?
Things are quite different in Northern Ghana. The air is dry. It's usually quite hot. And, the landscape is sparsely occupied by a mix of scrawny trees, fields of yams, which are individually planted in little conical mounds, and round houses built sporadically in clustered compounds. Northern Ghana is home to most of the country's Muslims. Linguistically and culturally, this part of the country has more in common with Burkina Faso and Southern Mali. But, thanks to Africa's colonial legacy, this region belongs to Ghana, and therefore reflects an enormous amount of Ghanaianness, no matter how you cut it.
Not surprisingly, there's enough localized hip-hop, hiplife, and reggae up there to warrant a full investigation. So that's what I did. Beginning with my first foray into the North in 2002, a larger town called Tamale to be exact, I made friends with a whole crew of musicians and artists. Intertwining the sounds and styles of Greater Ghana eminating from urban centers Accra and Kumasi (located 8 and 12 hours down the road respectively) with the long-standing sensibilities distinctive of their Sahel-side region, these artists are consciously creative whilst lying at the fringe of Ghana's commercial music industry. Although some of Tamale's musicians have numerous albums to their credit, pack clubs around the region, and can be heard on all the radio stations in the area, the vast majority of their songs have never been heard (much less heard of) by the rest of Ghana.
Why the separation between Northern and Southern music/musicians?
It's a long story that I certainly don't have down pat, but, for starters, the British underdeveloped that part of the territory from the very beginning of colonialism. While the area beginning at the coast to just north of Kumasi (more or less the center of Ghana) was valuable in terms of resources like gold, bauxite, and timber, the dusty North was not a big concern. While the south became peppered with churches and schools and railways and roads, the North was left to itself. Islam took hold and long-standing socio-linguistic closeness to peoples of Burkina, Mali, and Togo kept Northern Ghanaians in a completely different bag, creatively and aesthetically. It was only later, as Ghana built up nationalistic steam during the post-independence period of the late-50s and early 1960s, that northern towns like Tamale, Bolgatanga, and Wa were reallyincluded in the new and diverse identity of Africa's first post-colonial nation-state.
Once Ghana had galvanized as a country, cultural and artistic concepts from the populous southern ethnic groups like the Asante and Ewe became dominant. So, Northerners heard highlife music from early on. They saw concert parties perform in remote Northern villages, as groups from Accra and Kumasi would travel far for audiences in those days. But the people of the three Northern regions (part of Ghana's 10 region system) had their own performance genres and traditions, not mention languages, religious practices, and family systems. At the time, Northerners (I use "Northerners" for expediency's sake, there are many distinct groups in the North) were creating and consuming a vast pallate of praise music, traditional dances, and even their own interpretations of popular highlife and foreign styles. Through Ghana Broadcasting Corporation, founded in 1935, everyone in Ghana theoretically had access to the same sounds. Of course, for people in the rural north, where there were few radios, there was less contact with cosmopolitan musical movements.
The first cassette release to include rap in Dagbani, the North's most commonly-spoken language, was a track on Sirina Issa's debut Cheer The Stars. The "Godfather" of Dagbani-language rap is Big Adams. Adams was only a kid when he was featured on Issah's incredibly surreal-sounding ode to Ghana's national football (soccer) team, the Black Stars. To me, this album is nothing short of genius. Primitive beats that are at once funky and cute, along with Sirina's almost grating vocals, make for a singular experience. Backing vocals by a ragtag cast of basically neighborhood kids make it sound like "outsider" music by people obsessed with early Prince and Stacy Q.
Considering how new to Northern ears these kinds of sounds were at the time, this recording is important. Down South, they'd been releasing plenty of records with hip, electronic beats for a long time, but the lyrics were almost always in Twi. With Cheer The Stars, Issah invented a new landscape for music in Tamale. This album was a hit up there, with the track featuring this new vernacular rapping hitting particularly hard. Recorded in 1993, released in 1994, people had been hearing rap in Twi for a few years now, here and there. But, for the youth of Tamale, rap in Dagbani was novel.
Below is the cassette cover, complete with spelling errors and amazing cut and paste design:
Big Adams evenutally put out his own debut on North Side Records a few years later. Nicknamed "Da Microhpone Prophet," Big Adams's name is unanimously invoked when discussing the roots of hiplife in the North. His album, entitled Asalamu-Alaakum, made clear the distinct identity he wanted for rap from the North (the phrase is a greeting used across the Muslim world).
This is the cover of Big Adams' first full-length. Note the Northern-style cloth, Muslim cap and prayer pose:
Big Adams today:
Watch a snippet of my interview with Big Adams, "Da Microphone Prophet"
The music stressed the melismatic vocal style found across the Sahel, something that brings closer to mind faraway Morocco or Egypt more than the predominately Christian Southern Ghana. Musically, Big Adams and his colleagues created a sound that blends equal parts higlife, indigneous praise singing (which utilize hourglass-shaped tension drums played under the arm with one hand), and Bollywood.
Why Bollywood? If you take a walk around any market in Northern Ghana, or Burkina or Mali for that matter, you'll find a good number of Bollywood videos and CDs for sale. For some reason, Bollywood has made headway in this unlikeliest of areas, where it is not uncommon get in a taxi or sit in a restaurant and listen to/watch Bollywood music/movies. Few in the South have interest in Bollywood, making this aspect of Northern hiplife a particularly unique element.
Again, the musical sensibilities relate more to the music of Mali and Burkina Faso, than of what you may hear on national radio. But, since radio became privatized throughout Ghana in the mid-1990s, Tamale-based stations promoted the new Northern hiplife songs. This music would never be heard or appreciated in the South, except in the handful of urban slums in Accra and Kumasi inhabited by Northerners.
More on all this to come...
Check out this article on Northern Music Awards in Tamale last December