The Dilemma And Problems Of The 'Hi-Life' Musician (Part 2)
By Kwabena Asamoah
In this concluding article KWABENA ASAMOAH ventures into details which would enhance the marketability of hi-life music and improve the financial resources of the musician and Ghana.It would sometimes appear unreasonable to expect products from poorer countries to be of a quality as high as in the richer ones but musicians of the poorer countries must understand that the average music fan in the richer countries is either unaware of problems elsewhere or has no duty to be sympathetic; like a typical consumer irrespective of national background he is looking for a product equal or less in value to the amount of money which he is spending. With this in mind the hi-life musician must pay attention to technical details.
Ghana is blessed with many fine musicians but due to lack of adequate recording facilities and modern instruments and equipment the musicians have had to travel abroad sometimes to record and sometimes to settle almost permanently. It is said that the only fairly well equipped studio in Ghana at the moment - the Ghana Films Studio is almost always fully booked. This is obviously likely to frustrate the musician and some good compositions may never see daylight at a time when the world is eager to listen to hi-life.
The quality of recording, mixing and mastering greatly enhances the market- ability of the record especially on the competitive market.
Sleeve design is also part of the public relations of the record. One of my friends once told me that whenever he went to see a football match between teams unknown to him he usually chose to support the team clad in the more appealing jersey. This goes for records as well; one can be tempted to buy a record for the beauty of the design on the sleeve. One is relieved to see that many hi-life musicians are paying attention to such technical details as sleeve design and concept.
MANAGEMENT AND PROMOTION
Just like any commercial activity, musicians need to be managed to produce good results. More often than not the musician himself assumes a role in management. It stands to reason that if football teams and boxers in Ghana and elsewhere have coaches and managers, hi-life musicians too should seriously consider engaging the services of music managers well versed in the music trade activity. Such calibre of people may be difficult to come by but the music industry can either consider training or encouraging people with such potential to develop.George Darko & 'Bus Stop' already have an excellent impresario in the person of B. B. Ossei who granted me an interview (to be published soon in this magazine) when he was recently in London to finalize arrangements in connection with the group's dances in the U.K. and France in April this year. It is expected that with almost 25 years experience in the music and advertising industry behind him, B. B. will pave the way for other African and Ghanaian music managers and impresarios to follow.
The prestigious Ghanaian singer Pat Thomas - brought out a beauty of an album - 'Pat Thomas 1980' - but it was never backed by any promotion. The album consequently never reached its rightful place on the charts. The lesson is clear for all musicians of Africa. No doubt, money is involved but hard work, planning and sustained effort are essential. DISCIPLINE The music industry is profusely demanding but the rewards are great. Self-discipline is one of the keys to musical success. Life-styles of some musicians in some parts of the world tend to discourage parents from encouraging their children to take up music seriously even though it is a profession like any others. Smoking of whatever, excessive drinking and sexual promiscuity are not uncommon These excesses of life tend to shorten the musical career of most musicians. The temptation is great but African musicians are not obliged to ape foreign habits which are detrimental to the progress of their career.
ATTENTION TO LEGAL ASPECTS
The hi-life musician cannot hope to tackle all the various facets of the music activity, hence the need for a manager or management team to advise him on matters concerning copyrights, royalties, commercial law, company law and investment in the music industry. Financial planning too is an important part of the music activity which cannot be ignored, especially in the competitive market of the 'West'. In short, the musician needs full education and training.Partly out of adventure and partly due to economic, material and even sometimes political reasons, some hi life musicians have left Ghana in pursuit of their career. Some have been disappointed abroad, others have achieved greatness. Hi-life bands have been formed in the U.K., Germany, Switzerland, the Ivory Coast, Nigeria and other countries. France is yet to speak with hi-life sounds.
The place of residence has an influence on the type of hi-life produced especially when it comes to the lyrics. Observers believe that the atmosphere and ideas prompting the lyrics contribute better if the musician is ordinarily resident in Ghana. This is highly contentious but stands to logic in certain respects. However, will logic work in music?
It is said that some hi-life musicians living abroad take occasional trips to their 'roots' to pick up ideas and 'traditional' inspiration. 'Osibisa' are one example but appear now to invite the remnants of their 'roots' to travel overseas to join and educate them.
Don't be surprised if you see the Hi Life Stars again in London this summer. These exchanges between the 'roots' and the 'branches' have obvious advantages; the 'roots' may have tradition and the 'branches', technology and sophistication.
THE MUSIC INDUSTRY IN GHANA
The music industry has known several upheavals but with the thirst among fans in Europe for hi-life, Ghana music will see more somersaults perhaps in the right direction.The nation has seen a music brain drain since the mid-seventies due primarily to frustration in the industry. The international music scene has benefited most from this because one can count at least one Ghanaian in most bands abroad, not talking of some which are one hundred percent Ghanaian.
Shortage of spare parts and essential materials such as vinyl and matrixes have driven some important figures out of the music industry. Others have settled in other countries. The discos have had their turn and piracy has not completely stopped. Gospel hi-life has not yet died down and traditional music is too powerful to yield even in the face of problems. However, efforts are likely to come to nothing if heavy investment and concrete commitment from the Government are not made now.
It is said that the Ghana Ministry of Culture is planning to build a modern 24-track studio for recording and it is hoped that it would not be one of the usual bureaucratic promises. The international music market is anxiously waiting for hi-life records otherwise it is producing its own from the hi-life bands abroad. The Government cannot hope to receive any returns if it does not invest now as a matter of urgency.
Critics also believe that the Government must not overlook the importance of the contribution of the private recording and producing businesses; they must be allocated reasonable amount of foreign exchange (of course, with the necessary checks and balances) to import their essential needs to rehabilitate their infrastructure in order to sustain the music industry; after all, the private sector has got recording contracts with most of the good musicians. They would not have to hold the Ministry to ransom in spite of everything. Discussion is necessary. The world is waiting for hi-life music and records and it is hoped that Ghana as a nation will take advantage of that.
