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Ataa Music / Blog

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Quality Recording is Now Expensive

A good of number of people in our music industry especially those in the highlife world are complaining that recording highlife songs is now expensive than before, therefore their inability to record more highlife songs for their followers.

Last last week in edition 257 of your favourite Flex newspaper, prolific highlife artiste Adolf Tagoe put it in another context where he added that highlife is a difficult genre.

This topic provoked a discussion on Channel R`s Total Entertainment and popular Kumasi based sound engineer George Forest was called for his views as an industry player and the way forward.

During the interview, he stated categorically clear that it needs to happen as such because highlife music cannot be recorded with only computers like some engineers are doing. Unfortunately, because of the processes it goes through, it makes the recording a little expensive.

In our last interview with another highly respected highlife artiste in Ghana Oheneba Kissi, he also revealed that he is currently about to release a single track for his fans because the industry has changed.

He added “the times have changed therefore I also need to change. These days people don't buy albums so I have decided to also follow that trend by releasing singles. Moreover, it is now expensive to record highlife albums so if you are not sure of the sales, then the best one can do is to release singles to keep you relevant in the industry” Oheneba Kissi is on record to have told your most authoritative Flex newspaper in an interview.

Sound engineer George Forest who is known with some hit gospel tracks as well as highlife hit songs like Nana Acheampong`s “anka ebeye den na aye wo ya” explains why recording highlife songs might come across as being expensive. “It is just normal that a highlife song will be expensive because so many people work on the song and they all need to be paid.

For instance, you might need to bring on board professional guitarist, basist, saxophonist and even sometimes extra people to contribute on the album to make it rich.

Even these days, some of the gospel songs need these enhancements as well therefore making all sorts of recording expensive. It can only be cheap if you want to do computer recording which I think is not what some people like us want to be doing” George Forest told Adu Boahene: host of Channel R 205 Total Entertainment on 92.7.

Musicians who want quality recording should therefore check this because no quality recording in the game will be cheaper again.

Courtesy of: SAMUEL A. BAAH, FLEX NEWSPAPER

Album News

Thanks for your patience. I have been working on my new album "BACK FOREVER" for quite a while now, I am happy to announce that it is ready for the public.

I will be uploading singles and posting information about the songs all week. Blogging about it, and where to purchase the CD online. Thanks much..

1947: Decca in Africa

Decca sets up its Decca West Africa subsidiary in Ghana, releasing over 20 records in local languages in the first year. By 1952 they had released over 100 78s and had Ghanaian artists like E.T. Mensah, the Black Beats, Onyina, the Builders Brigade, Broadway, the Red Spots and Gyasi’s guitar band on their roster, plus performers from Nigeria and Sierra Leone.

In the 50s Decca set up a recording studio in Accra and was sending engineers to Lagos regularly to record. By the early 1960s Decca West Africa was selling 250,000 records a year.

With the collapse in the Ghana economy in the 1970s, Decca moved its West Africa operations to oil-rich Nigeria, setting up a studio in Lagos and a sister label, Afrodisia, managed and part-owned by oil tycoon (and later presidential candidate) Chief Moshood Abiola. When Decca fell apart in 1979 and got taken over by Polygram, the rights to the West Africa catalogue were sold to Afrodisia.

Scroll down for an E.T. Mensah track issued on the Decca West Africa label in 1953.

Courtesy: folkcatalogue's blog

Ataa Music
Ataa Music  (over 1 year ago)

I spent most of my youthful days at the Decca studio in Accra at the time. My father was the executive producer, managing all the productions and the record releases and distribution for Decca and Philips records of West Africa.. I enjoyed my days watching all the activities taking place in the studios.