Ghanaian music and lyrical decency – an incompatible couple?

But today, about 20% of lyrics of most secular songs are muted during radio and TV airplay.

The question is, how did we get here?

I wasn’t born early enough to catch up with the classic songs from the late Highlife King, E.T Mensah, but thanks to technology, I’ve enjoyed most of his records.

His music inspires many, brings love and joy, and most especially binds couples.

Even though he has long departed us, his music still lives. His records get airplay today, not only because of his influence per se, but the beauty of his records conveyed through his clear and wise lyrics.

E.T Mensah’s noteworthy lyrics covered a wide range of life experiences. From relationships to social issues, the seasoned vocalist and instrumentalist touched every aspect of life, leaving an enviable legacy behind.

His style influenced the likes of A. B. Crentsil, Alhaji K. Frimpong, Ben Brako, C.K. Mann, Charles Amoah, Koo Nimo, Ebo Taylor, George Darko, Joe Mensah, Nana Ampadu, Osibisa, Kakaiku, King Bruce, etc, to churn out similar records of quality and relevance.

As a result of this, they had the opportunity to travel around the world, selling Ghanaian indigenous Highlife music. Some made enough cash from royalties and stage performances.

But, along the line, the narrative changed.

What went wrong?

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Highlife experienced a sort of lyrical dilution due to the influence of the new genre, Hiplife. Hiplife represented a new wave of lyrical rebelliousness and carelessness at its extreme.

The likes of Daddy Lumba, Ofori Amposah, Papa Sheee, Dada KD, Ofori Amponsah, etc changed the focus of the genre and began churning out daring content that bordered on the indecent.

Even though legends like Amakye Dede, late Daasebre Gyamena, Kojo Antwi, Nana Acheampong and others used their voices to maintain the sanity of the genre, it was somehow influenced by Hiplife -- considered to be the Ghanaian version of Hip-hop.

As time went on, Afro-Dancehall, Hip-hop, Crunk and Afrobeats came into the picture, worsening the situation. A new crop of artistes who were only interested in popularity and tends rather than quality were birthed in the system, growing up in numbers.

How does it affect us?

Long before the introduction of the new school of artistes and western-influenced genres, Ghanaian culture - conservative in its nature - had always frowned on indecent lyricism. But today, motivations for profitability has fuelled a disregard for this cultural prohibition.

Violent and sexually suggestive lyrics became widespread when rappers like Obrafour, Lord Kenya, Sarkodie, Kontihene, Kwaw Kese, and others gained grounds in the industry. Dancehall musicians like Yoggy Doggy, Shatta Wale, Borax, Stonebwoy and others also spat venom and waged wars characterized by foul content.

These artistes, via their massive following, have also exerted a negative influence on the youth.

Vices like smoking, excessive partying, alcoholism and drug abuse - which have normally been the lifestyle of the artists behind lyrical profanity - seem to have festered among the youth, who constitute a majority of their fan base.

The way forward

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The obsession with explicit lyrics has done no good for the music industry.

Besides, the negativity repels investment as reputable corporate brands would not want to associate with inappropriate lyrics and behaviour.

It is indeed sad that our artistes continue to get starved of sponsorships, ambassadorial deals, international gigs, label and distribution deals, royalties amongst others just because of their stubbornness in sticking to "dirty content".

Ghanaian musicians need to start thinking of creating tidy, quality music that projects positivity and growth and to stop copying the indecency from the abrasive genres of western music.