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NEW JOINT: Tee Phlow – Ash3daa



It is the opening seconds of the song’s layout – which came in typical Hammer of the Last Two style – that gets you to stay on for some few more minutes.

And then when Tee Phlow, Hammer’s newest cool kid jumped on it, he gets it off to a start that is blissfully grand.

Boasting an incredible lyrical prowess that is comparable to any on the open market, he carefully chooses his words – composed in fine Fante diction, and takes it home.

Tee Phlow goes uptempo on this one, and is aided by an instrumentation that was adroitly arranged well.

Hammer is bent on securing a mainstream appreciation for him; and on this one, Tee Phlow more than anything indicates his preparedeness to play big.

As if he’s been told to go hard or go home, he shows signs of a cat hungry for some respect in urban music.

He’s got it – at least on his first outings – The Warning (LISTEN HERE), and on Kwaw Kese’s Swedru Agona. (LISTEN HERE), he proved that.

The release of Ash3daa precedes two others, one of which will feature Kwabena Kwabena.

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LISTEN: Jason El-A releases classic song ‘Things’ featuring Kwesi Arthur



Jason El-A, host of the influential entertainment show on Tv “Rythmz on Ghone Tv” and campus show on Live FM “YWNF” who is also an artist drops new single with Kwesi Arthur and He calls this new Hit Single “Things”

Things is a song that basically talks about what people do for Love.The song’s video is expected to be released in February.

Jason El-A promises that this year, Ghana and the rest of the world are going to hear a lot of his work Musically”. Nana Dope “Right hand” Man of Jason El-A confirms that the musician has a lot of songs that When released, Africa will understand that He is in to Create Something Iconic with his Music because Music has always been El-A’s first love.

He also confirmed that Jason El-A has songs with Darko Vibes, Kurl Songs, Kofi Kinata, Medikal and others yet to be released with their Videos.

Listen to the song below:




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Patapaa drops long-awaited video for “One Corner” – WATCH!



Swedru native, Patapaa Amisty, whose  breakout single “One Corner” proved to be the biggest song in Ghana last year, and hugely influential across the sub-region, has finally published visuals to the song.

Featuring viral footage from various celebrities and regular folk alike, partaking in the cultural phenomenon through dance, crouching, or climbing up structures, the video was directed by APOGA Studios and AFRIKABA.

Produced by Morgan Beat, “One Corner” exploded into national prominence along with its accompanying dance after Patapaa first performed it at the Akwambo Festival in the Central Region sometime in 2017.

Watch below:


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“Pleassssse marry me for 51 years more” – Okyeame Kwame extolls wife in anniversary message



For thirteen years, rapper Okyeame Kwame and wife Annica have demonstrated the Ghanaian fairytale like no other.

Through the many hurdles that come with being married, the pair, who are parents to two lovely kids, have remained resolute in serving as both a model and beacon of hope to aspiring partners.

Via social media today, the musician has reiterated what a real treasure Annica has proven to be for him over the years. Extolling her exemplary qualities in an extensive ode, he lauded her role in their family, and her place by his side as wife.

He crowned the beautiful write up by asking that she marries him for “51 years more”.

Okyeame Kwame’s works include Bose Ba (2004), Manwesem (2008), The Clinic (2011), and The Versatile Show (2012). His laurels are numerous, including the topmost award in Ghana music —VGMA Artist of the Year (2009). His recent singles include Best Rapper Alive (B.R.A), Saucing (ft. Sir & Sante), and Hallelujah (ft. Aboki). He is also set to release a new album in coming months.

Read the entire post below:

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Stormzy and Maya Jama Are Changing the Face of London’s Music Scene – VOGUE



Park Chinois, an absurdly over-the-top Chinese restaurant in Mayfair, London’s most chichi neighborhood, is exactly the kind of place you expect to find your average celebrities and wannabes. So it is very much not the kind of place true originals like grime superstar Stormzy, 24, and his girlfriend, Maya Jama, 23, a rising TV and radio presenter, usually hang out.

“No, not at all, man,” says Stormzy, known to his mother as Michael Ebenazer Kwadjo Omari Owuo Jr., surveying the restaurant’s purple, gold, and velvet decor when we meet in the downstairs bar. It is not, he says, their “kind of scene.”

The reason we’re here is that it is now almost impossible for the couple to go out in public in London, where they are harassed for selfies at every turn. Grime—which can, very roughly, be defined as British hip-hop—is still pretty niche in America, but in Britain it is absolutely huge, and this is in large part thanks to Stormzy. His astonishingly catchy and surprisingly beautiful album, Gang Signs & Prayer, released last year, was the first full-on grime album to reach number one in the British pop charts.

It’s lunchtime, but Stormzy and Jama ignore the dim sum and extensive tea selection on offer. “Nah, we’re all right,” Jama says, smiling up at the waiter so prettily, he barely notices the rejection. But aren’t they hungry? Jama has it sorted: On the way to our interview she ordered some pasta from a popular takeout chain, and it is now waiting for them upstairs, having been delivered to Park Chinois’s presumably somewhat surprised receptionist.

As smart food moves go, this trumps the time last September when she tweeted at Stormzy around 3:00 a.m. to request some McDonald’s: “2 double cheeseburgers and 9 nuggets with dips thanks love you,” she wrote.

“Drink?” was his unfazed response.

“Coke please,” she replied, with a kiss emoji.

The exchange made the British tabloids, and their fans couldn’t get enough of it: “Stormzy and Maya Jama are actually goals,” read one typical tweet.

They are seen as the premier couple of grime, but their appeal goes deeper than that. Both are from immigrant families—he is of Ghanaian descent; she is Swedish/Somali—and have made good, which feels like a satisfying riposte to the Brexit politics in Britain and Trump’s rhetoric in the U.S. When Stormzy came out to support Jeremy Corbyn, the leader of the left-leaning Labor Party, in last year’s British election, newspapers reported this as a genuinely crucial political development. It suggested that the youth vote was behind Labor—which turned out to be the case. Corbyn, 68, returned the favor by describing Stormzy as “one of London’s most inspiring young men” and dropping some grime lingo; Corbyn was referred to by his supporters as “the absolute boy” (i.e., “the main man”) during the campaign. If there was a moment when grime truly went mainstream in Britain, that was it, and it came from Stormzy.

“I feel like there was a period when music was about the industry. People worried about whether a radio station would play them,” he says in his basso profundo voice, referring to a fear among artists of speaking out politically. “Now people are just walking their truth.”

Stormzy’s truth, from ordering McDonald’s to making political statements, is what his fans love about him, and not just in Britain. Kanye West is a big grime fan—Stormzy performed live with him in London in 2015, which helped raise Stormzy’s American profile. He played Coa­chel­la and Glastonbury last year, and while the crowd was smaller in the U.S., it was no less passionate. To Stormzy’s visible astonishment, the audience shouted his distinctly London-centric lyrics right back to him. For example, “I’m so London, I’m so South/Food in the ends like there ain’t no drought,” a reference to his origins in South London and his brief career as a small-time drug (“food”) dealer.

“You’ve got Lady Gaga, Kendrick, Radiohead—all these superstars just walking around,” he says of the experience. “It’s like, Flipping hell, I’m just Stormz from South London; I don’t know if it’s gonna work out here!” He still has the humility of a London boy who can’t quite believe this is happening; when he hears that Zadie Smith loves Gang Signs & Prayer, his eyebrows shoot up toward his hairline: “Wicked, wicked, wicked! Wow, she said that? I’m honored, just truly honored.”

Yet he clearly has major ambition. He chose Fraser T Smith, a producer for Adele, to work on his debut album and cites as his inspirations Jay‑Z, Ed Sheeran, Kanye, Prince, and Bob Marley. (“Stormzy’s musicality and the depth of his references stood out to me from the start,” Smith reports. “He reminds me a lot of Adele in terms of his work ethic and his vision.”) Adele herself is impressed. “He has a charisma about him that not many people have,” she says. “There’s a joyous familiarity to him and his music.”

Stormzy and Maya Jama’s careers, style, politics, and candor have redefined cultural currency in the U.K. He wears a Dolce & Gabbana jacket and T-shirt. She wears a Christopher Kane coat. Photographed by Anton Corbijn, Vogue, February 2018

Occasionally dressed by Burberry, Stormzy is more often in streetwear—today he’s in his favorite outfit, an all-black tracksuit by Blanks Factory and black Adidas trainers. “In my head no one can see me, but if you’re walking down the street and there’s a six-foot-five guy who’s all in black, you’re probably going to notice that,” he admits.

“You look like a spy,” says Jama, smiling.

“Yeah, or a ninja,” agrees Stormzy.

A pinup for young women, Jama is known on the red carpet for fun, short dresses in bright colors. “I’m flying tonight, though, so I’m not very fashion today. I’ve gone for comfort,” she says, but she looks terrific: She’s wearing glittery hoop earrings, a short fake-fur jacket, a fashion-forward oversize hoodie from ASOS, black leggings, and white Adidas sneakers. Together they make a supremely cool pair.

What makes them even cooler is the fact that both Stormzy and Jama have used their platforms to talk about personal subjects that matter to them. Jama has spoken of the pain she felt as a child when her father served multiple jail sentences. (She is no longer in touch with him.) “When I was starting out I felt a bit nervous about people finding out, because I thought they’d think less of me,” she says. “But then I decided I should be that person that speaks about it.” Last year she made a critically acclaimed documentary, When Dad Kills: Murderer in the Family, about children of fathers who are incarcerated, or addicts.

Stormzy, too, was raised without his father, who abandoned him, his two sisters, and his mother when he was a child. He revisits this relationship and his rage about it in “Lay Me Bare,” a track he has described as “cathartic.” Last year, in a TV interview, he also revealed that he had suffered from depression, which he has written about in his music: “Like, man, I get low sometimes, so low sometimes/Airplane mode on my phone sometimes/Sittin’ in my house with tears in my face/Can’t answer the door to my bro sometimes.”

Newspapers called this candor “a game changer” in reducing the stigma around mental-health issues. Today he still looks a little shocked at the impact his words had: “I’m superproud in the sense that what I said was able to touch people. But I really didn’t enjoy being the poster boy. I’m still going through it and trying to deal with it,” he says.

In conversation, Stormzy is serious and engaged. He considers each question carefully and answers slowly. Jama, by contrast, is bright and bubbly, talking nineteen to the dozen. When recalling how they got together in 2014, he says simply, “We met in October, then we were going out by January.” Jama, however, goes into endearingly girlish detail:

“We met at Red Bull Culture Clash,” she says, referring to the global-music event where rap, grime, and EDM crews compete against one another. “You know, if I’m really honest, I knew I fancied him from the start. But I didn’t want anything yet, because, you know, you’re trying to do the whole friend situation first, and then I’d do, like, obvious hints that I fancied him and then take it back because I didn’t know if he definitely liked me. It was a childish phase. And then one day we just kissed, and that was that!”

“It was three years and one month ago exactly,” adds Stormzy.

Jama, who grew up in Bristol, has steadily built a reputation as a front woman on TV and radio. At sixteen she moved to London, where she set up her own YouTube channel and was hired by MTV. She was recently a host for the popular Saturday-night TV game show Cannonball and is soon to appear on Sky One’s extreme-sports program Revolution.

Stormzy came to fame more abruptly. He attended a notoriously tough school in the London suburb of Croydon and worked briefly as a manager on an oil rig, watching grime videos during his lunch break. He’d always loved music and performed where he could. In 2014, he released an independent EP. Instantly, without even having a record deal, he began getting awards and bookings on national TV.

He and Jama have worked together several times: Jama interviewed him on her drive-time radio show, and she appears in the video for his single “Big for Your Boots,” in which the two of them are hanging out—where else?—in a takeaway fast-food joint. He dedicated his song “Birthday Girl” to her.

“It’s the nicest present you can get from someone because it lasts forever,” she says with a smile.

They live together in West London, though with both of their careers taking off, they’re rarely there at the same time: He’s now working on a second album. After our interview, she was due to fly to New York to shoot a campaign, her first American modeling job. So with such busy schedules, what keeps the two of them together?

“The fact that we love each other. That’s the main thing, right?” Jama says.

“Yeah,” Stormzy agrees.

And do they make plans for the future? Both recoil a little.

“We’re 23, 24 years old; we don’t make plans!” Jama laughs. “Just carry on floating. We’ll see where it takes us.”

In this story:
Fashion Editor: Lucinda Chambers.
Hair: Shon; Makeup: Lisa Eldridge; Tailor: Della George.


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Whispers of LOVE, Life & Living it… THE Kwabena Kwabena ‘Ahyɛse’ album – A REVIEW



Tragic amour is widely-held to birth the greatest songs, and true artists owe it to us to experience sour love. The unlucky lover, Kwabena Kwabena has more than honored this curious demand of art, and is therefore, master of love songs.

Now to the meat of the matter:

Sonically, Kwabena Kwabena’s aptitude has never been in question. Over five magnificent albums, via superior linguistic ingenuity and melodic virtuoso, the beloved crooner has proven indispensable, and therefore, is well on his way to the status of “highlife legend”.

Since Aso (2004), his songs have served as nectar to a huge constituency of loyalists, which primarily consists women. And why not? His music has always accompanied with it, a timeless eminence and soulful connection in how they navigate the theme of love.

Comprising a concise nine songs, his latest album, Ahyɛse, completes an exciting index of high-profile projects published in Ghana last year –other contributors being the likes of Sarkodie, Ebony, Stonebwoy, Akan, Joe Mettle, and Becca. Led with 3 well-received singles (Tuamudaa, Siwagedem, and Adansie), the album sees Kwabena Kwabena, born George Kwabena Adu, double back to the very beginning, which is what the album title translates into English as.

It makes sense that Kwabena would opt for Ahyɛse as title for this new body of work. For one, they say life begins at 40, and at 39, he’s preparing himself to start living. For another, 40 symbolizes the juncture in showbiz where artists generally take stock of their career, and contemplate legacy. How else can we tell that he’s there? Months before announcing the album, he published his memoire, “Past Days Ahead”, chronicling his compelling journey thus far.

Ahyɛse navigates mainly, love and coitus (Kwabena’s leitmotifs), but also, God, life and living it, sees the singer expertly amalgamate authentic rhythms from across the ages, and features a single guest appearance –rapper M.anifest –a decision which is only logical for the direction of the project…also because ultimately, he’s regularly thrived solo anyway. Whatever theme he tackles, Kwabena’s vocal style induces goosebumps, because his delivery is distinctly persuasive. Whether he’s proclaiming the almighty’s unconditional mercies (Adansie, Adonai), listing the many accolades of the Ghanaian damsel (Obaa), peddling adult music (Tuamudaa, Siwagedem), or imploring a lover to be patient as no condition is permanent (Ɛnsesa), a rich honesty is felt, making the message difficult to ignore.

Like everything he has previously submitted, Ahyɛse is made for lovers, by a lover. But it is as much to detractors too. When, on Efie Biara, he admonishes all that there’s a “Mensah” in every home, we know he’s addressing the impunity with which his private life is subjected to public derision. Measured, he resorts to trusted adages (and vintage trumpets) that have guided our society over millennia, to convey his message: “if you see a fellow’s beard in flames, fetch water near yours in precaution”, “have good thoughts toward your brother, so good deeds will follow you”, “when you throw a stone at a wall, it bounces back at you”, he sermonises in Twi. Nobody is without flaws, and often, another man’s woes make you ignore your own, instead of causing you to reflect on them.

Ɛnsesa is a sobering piece not just for its lyrics, but also for the instrumentation that transports them. Every note, every percussion placement, is deliberate and delicate. It’s almost seductive in how it draws one in. The heavy sigh that is induced in the consumer by the end of the song, is testament to what a loaded tune it is.

Women have arguably been subject of adulation even more times than God himself, and Obaa serves as a special addition without doubt. Introduced by fine strings and a Palm Wine aura, it is a tantalizing homage to the Ghanaian female. Whoever inspires music thus, is not ordinary, for she affects unknown depths of a man’s heart.

M’atwɛn Abrɛ evidences Kwabena Kwabena’s adaptability to varying rhythm, as well as the ease with which he owns it. Highlife isn’t static; unrestricted to a single beat pattern. If anything, it unites cadences from across the breadth of Ghana, from days of our forefathers, to sounds of our time. So must the highlife artist. Kwabena proves a vessel for the spirits, whatever generation, whatever corner. M’atwɛn Abrɛ floats on regal Adowa reconstructed by Kwame Yeboah and the OBY Band (who handle virtually the entire album), and adds to the many moments of authentic heritage and cultural pride on the album.

Other records that round up this exquisite body of work include Obi Asa, and Yedɔ Yɛn Ho. Both joints inspire heavy perspiration, but whereas the former is tailored for the dancing feet, the latter is designed  to facilitate the rumpy pumpy.

Whether his voice is slightly above a whisper, or his emotions arrive via the unique pitch of his falsetto, on smooth rhythm, or on rapid tempo, Kwabena shines.

Mature, seamless, and thoroughly edifying, this album makes a magnificent case for highlife and the model Ghanaian songwriter, and further indents him as Ghanaian ambassador worthy of the name. Though it is only months old, Ahyɛse is the kind of album that you would refer to as a classic. It is one to be handled gently, enjoyed repeatedly, and only truly available to them that seek.

Like the album cover, Kwabena bares it all, and embraces himself afresh, flaws and all. It is only when one accepts himself that he can truly impact others.

Ahyɛse – Kwabena Kwabena 2.0!

Artist:  Kwabena Kwabena

Album: Ahyese

Label & Release Date: KBKB MUSIK/ November 2017

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Qwame Gaby releases beautiful gospel song,”Fr3 No”



Gospel musician, Qwame Gaby has finally released his much-anticipated song,”FR3 No” with a colourful video to compliment it. 

The song released today 15th January 2018 is his first song to announce his major come back to music after few years of silence to reposition his music brand. 

According to the servant,”God’s calling is a necessity” that everybody must respond to. 

Watch the video below:

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