Recommended Items
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More Than My Scars: The Power of Perseverance, Unrelenting Faith, and Deciding What Defines You
The first thing you will notice when you meet Kechi Okwuchi is her scars. One of just two survivors of a devastating plane crash that killed more than 100 people, 16-year-old Kechi was left with third-degree burns over 65 percent of her body. More Than My Scars is her incredible story. A story of not just surviving impossible odds but thriving in a world that is too often caught up with how we look on the outside rather than seeing that our true value is within.
Now in her early 30s, Kechi has spent the last 16 years refusing to be defined by her trauma. Follow her as she decides for herself what role her scars will play in her life before society decides for her. Her strong sense of identity, rooted in seeing herself the way God sees her, has allowed her to live authentically in a world that constantly seeks to define us by its ever-changing (and ever-shallow) standards. Kechi’s story will inspire you to love and accept yourself as you are and confidently present your true self to the world.
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Methodist Hymn Book with Tunes – Stave Notation (Hardcover)
First published in 1933, this contains the hymns in the Methodist Hymn books accompanied by their staff notations. It also includes tunes for the Canticles, Psalms and other Bible passages included the Beatitudes. It is a useful resource for church choirs and all music lovers.
₵320.00 -
From Britain to Bokoor: The Ghanaian Musical Journey of John Collins
Highlife, a popular West African genre, is easily the soundtrack to the life journey of the nation Ghana. And if there is one personality who has contributed the most to documenting it, it is Professor John Collins, a naturalized Ghanaian of British descent and a professor of music at the University of Ghana, Legon. Collins originally accompanied his parents to Ghana in 1952, when his father was setting up the philosophy department at the University of Ghana. Returning to Britain with his mother, Collins was educated in Bristol, Manchester and London, earning a science degree. He was also playing music and then he returned to Ghana in 1969 to study archaeology and sociology at the University of Ghana.
Eventually he himself became an academic teaching and researching popular music. This book captures the life and music career of Collins. What makes him an enigma is his personal involvement on the road as a guitar playing member of concert party bands. His working relations with Fela, E.T. Mensah, Kofi Ghanaba, Victor Uwaifo, Prof. J. H. Kwabena Nketia and many legendary names in the music space of West Africa make him a legend in his own right. This is the story of a “white man” man who came to Africa to legitimize the place of highlife as consequential to world music
₵250.00 -
Highlife Time 3
Highlife is Ghana’s most important modern home grown dance-music that has its roots in traditional music infused with outside influences coming from Europe and the Americas. Although the word ‘highlife’ was not coined until the 1920s, its origins can be traced back to the regimental brass bands, elite-dance orchestras and maritime guitar and accordion groups of the late 19th and very early 20th centuries. Highlife is, therefore, one of Africa’s earliest popular music genres.
The book traces the origins of highlife music to the present – and include information on palmwine music, adaha brass bands, concert party guitar bands and dance bands, right up to off-shoots such as Afro-rock, Afrobeat, burger highlife, gospel highlife, hiphop highlife (i.e. hiplife) and contemporary highlife.
The book also includes chapters on the traditional background or roots of highlife, the entrance of women into the Ghanaian highlife profession and the biographies of numerous Ghanaian (and some Nigerian) highlife musicians, composers and producers. It also touches on the way highlife played a role in Ghana’s independence struggle and the country’s quest for a national – and indeed Pan-African – identity.The book also provides information on music styles that are related to highlife, or can be treated as cousins of highlife, such as the maringa of Sierra Leone, the early guitar styles of Liberia, the juju music of Nigeria the makossa of the Cameroon/ It also touches on the popular music of Ghana’s Francophone neighbours.
There is also a section on the Black Diasporic input into highlife, through to the impact of African American and Caribbean popular music styles like calypsos, jazz, soul, reggae, disco, hiphop and rap and dancehall. that have been integrated into the highlife fold. Thus, highlife has not only influenced other African countries but is also an important cultural bridge uniting the peoples of Africa and its Diaspora.
₵250.00Highlife Time 3
₵250.00 -
Joyful Way Incorporated: Teruah – Shouts of Praise (Pen Drive in Box Case)
Tracks
- TERUAH PRAISE – MI DOE DE DZI [Frederick Otto, 2022] | TSATSƐ LE [Mary-Priscilla Anderson, 2022] | YƐ WƆ NYAME [Nana Yaw Ofori-Atta, 2021] | JESUS, MY LOVE [Emmanuel Amoako Munanu, 2022] | JESUS REIGNS [Emmanuel Amoako Munanu, 2018] Lead Vocals: Seth Justin Acquah Studios: Groove House Studio & Joyful Way Studios Arrangements: David Ofori Atta & Prince Anderson Engineering, Programming, Mixing, Mastering & Drums: Francis Kweku Osei Vocal Recording: Andrews Amon Kotey Keyboards: David Ofori Atta Bass: Bright Osei Boadu Guitars: Dominic Quarchie Horns: Richmond Lamptey Bilson (Nii Djata) Percussions: Emmanuel Kuntu Blankson
- WƆNGBA ABO [Theophilus Aryee, 2022] Lead Vocals: Edwin Komey & Calvis Hammond Studio: Jerbette Productions Studio Arrangements: Jerby Djokoto Engineering, Programming, Recording, Mixing, Mastering & Keyboards: Jerby Djokoto Bass: Bright Osei Guitars: Enoch Owuraku Drums & Percussions: Francis Kweku Osei Programmed Horns: Jerby Djokoto
- ALPHA OMEGA [Herbert E. Crassie, 2022] Lead Vocals: Nana Yaw Ofori-Atta Studios: Music Klinik & Joyful Way Studios Arrangements: Herbert E. Crassie & David Pinkrah Engineering, Programming, Recording, Mixing, Mastering & Keyboards: Herbert E. Crassie & David Pinkrah Additional Vocal Recording: Andrews Amon Kotey Guitars: Dominic Quarchie Bass: Gaddiel Amoah Drums: Richmond Botchey Jr. Horns: Richmond Lamptey Bilson (Nii Djata) Percussions: Francis Kweku Osei
- ƆYƐ ONYAME [Emmanuel Amoako Munanu & Prince Anderson, 2022] Lead Vocals: Daniel Grant Andoh Studios: Koded Studios & Joyful Way Studios Arrangements: Kofi Owusu Dua Anto, Emmanuel Amoako Munanu & Prince Anderson Engineering, Programming, Mixing, Mastering, Keyboards, Bass & Lead Guitar: Kofi Owusu Dua Anto Vocal Recording: Andrews Amon Kotey Drums & Percussions: Francis Kweku Osei Horns: Richmond Lamptey Bilson
- LORD, WE NEED YOU [Joshua Amoah & Prince Anderson, 2022] Lead Vocals: Prince Anderson, Joshua Amoah & Jane Yawson (Afima) Studios: Koded Studios & Joyful Way Studios Arrangements, Programming, Engineering & Keyboards: Joshua Amoah Mixing & Mastering: Kofi Owusu Dua Anto Vocal Recording: Andrews Amon Kotey Additional Vocal Recording: David Pinkrah Bass: Aaron Orleans Thompson Guitars: Dominic Quarchie Drums: Emmanuel Bludo Horns: Richmond Lamptey Bilson (Nii Djata)
- JESUS CALLS [Elvis Bentil, 2020] Lead Vocals: Elvis Bentil Studios: Music Klinik & Beulah Studios Arrangements: Prince Anderson, Elvis Bentsil & Herbert E. Crassie Engineering, Programming, Recording, Mixing & Mastering: Herbert E. Crassie Additional Vocal Recording & Keyboards: David Pinkrah Bass: Daniel Pinkrah Guitars: Jesse Kwaku Boateng & Emmanuel Essiamah (Symonds) Drums: Emmanuel Bludo
- HALLELUJAH FOREVER [Joshua Amoah, 2022 | Seth Justin Acquah & David Ato Ribeiro, 2022] Lead Vocals: Luigi Adotey Maclean & Jane Yawson (Afima) Studios: Joyful Way Studios & Murya Studios Arrangements, Programming, Engineering & Keyboards: Joshua Amoah Mixing & Mastering: Kofi Owusu Dua Anto Vocal Recording: Andrews Amon Kotey Bass: David Ato Ribeiro Guitars: Selorm Dornyoh Drums: Emmanuel Bludo
- NYAME YE MEDLEY [Emmanuel Amoako Munanu & Prince Anderson, 2020] Lead Vocals: Nana Adwoa Amofa Obeng & Elvis Bentil Studios: Music Klinik & Joyful Way Studios Arrangements: Herbert E. Crassie, Prince Anderson & Emmanuel Amoako Munanu Engineering, Programming & Recording: Herbert E. Crassie Mixing, Mastering & Keyboards: David Pinkrah Bass: David Ato Ribeiro Guitars: Emmanuel Essiamah (Symonds) & Jesse Kwaku Boateng Drums: Richmond Botchey
- YI N’AYƐ (SPOKEN WORD) [Kwame Ntow Atua-Ntow & Benedicta Adobea Asare, 2022] Lead Vocals: Kwame Ntow Atua-Ntow & Benedicta Adobea Asare Studios: Jerbette Productions Studios & Joyful Way Studios Arrangements: Jerby Djokoto & Prince Anderson Engineering, Programming, Recording & Keyboards: Jerby Djokoto Mixing & Mastering: Kofi Owusu Dua Anto
- YI N’AYƐ [Stephen Otoo, 2022] Lead Vocals: Emily Nartey, Elvis Kambo-Dorsa & Zoe Okain Studios: Jerbette Productions Studios & Joyful Way Studios Arrangements: Jerby Djokoto & Prince Anderson Engineering, Program- ming, Recording & Keyboards: Jerby Djokoto Mixing & Mastering: Kofi Owusu Dua Anto Additional Vocal Recording: Andrews Amon Kotey Bass: Elvis Yarwood Jr. Guitars: Prince Hakeem Drums: Emmanuel Bludo Programmed Horns: Jerby Djokoto
- GREAT I AM [Siyanqoba Mthethwa, Theophilus Aryee, Franklin Eleblu & Prince Anderson, 2022] Lead Vocals: Prince Anderson & Xolly Mncwango Studios: Siyanqoba Mthethwa & Joyful Way Studios Arrangements, Engineering, Programming, Recording & Keyboards: Siyanqoba Mthethwa Mixing & Mastering: David Pinkrah Vocal Recording: Andrews Amon Kotey Additional Keyboards: Emmanuel Amoako Munanu Guitars: Selorm Dornyoh Bass: David Ato Ribeiro Drums: Emmanuel Bludo
- YE BE DZI NYIM [Theophilus Aryee, 2022] Lead vocals: Theophiline Baaba Mills Studios: Koded Studios & Joyful Way Studios Arrangements: Kofi Owusu Dua Anto & Prince Anderson Engineering, Programming, Recording, Mixing, Mastering, Keyboards, Lead & Bass Guitars: Kofi Owusu Dua Anto Vocal Recording: Andrews Amon Kotey Drums: Emmanuel Bludo Horns: Richmond Lamptey Bilson (Nii Djata)
- YENNSURO [Stephen Otoo, 2022] Lead Vocals: Stephen Otoo Studios: Music Klinic, Beulah Studios & Joyful Way Studios Arrangements: Herbert E. Crassie, Stephen Otoo & Prince Anderson Engineering, Programming, Recording & Keyboards: Herbert E. Crassie Mixing, Mastering & Additional Keyboards: David Pinkrah Additional Vocal Recording: Andrews Amon Kotey Bass: Prince Sennah Lead Guitars: Jesse Kwaku Boat- eng Drums: Emmanuel Bludo
- ASEYE [Theophilus Aryee, 2022] Lead Vocals: Emily Nartey Studios: Koded Studios & Joyful Way Studios Arrangements: Kofi Owusu Dua Anto & Prince Anderson Engineering, Programming, Recording, Mixing, Mastering, Keyboards, Bass & Lead Guitars: Kofi Owusu Dua Anto Vocal Recording: Andrews Amon Kotey Drums: Emmanuel Bludo Horns: Richmond Lamptey Bilson (Nii Djata)
- ME YƐ WO DE DAA [Diana Kukua Dwamena, 2022] Lead Vocals: Nana Araba Grant-Andoh Studios: Koded Studios & Joyful Way Studios Arrangements: Kofi Owusu Dua Anto & Prince Anderson Engineering, Programming, Recording, Mixing, Mastering, Keyboards, Bass & Lead Guitars: Kofi Owusu Dua Anto Vocal Recording: Andrews Amon Kotey Drums: Emmanuel Bludo Horns: Richmond Lamptey Bilson (Nii Djata)
- HYERƐÑ [Rev John Egyir-Croffet, 1984] Studios: Music Klinik & The ManCave Arrangements: Ace Anan Ankomah & Herbert E. Crassie Engineering, Programming, Recording, Mixing, Mastering & Keyboards: Herbert E. Crassie Percussion: Oko Amarteifio
- DAA NKWA [Stephen Otoo, Herbert E. Crassie & Joshua Amoah] Lead Vocals: Stephen Otoo & Sheila Marian Adamptey Studio: Music Klinik Arrangements: Herbert E. Crassie, Prince Anderson & Joshua Amoah Engineering, Programming, Recording, Mixing, Mastering & Keyboards: Herbert E. Crassie Bass: Gaddiel Amoah Drums: Emmanuel Bludo Lead Guitars: Dominic Quarchie & Ace Anan Ankomah Percussions: Oko Amarteifio
- ƆNE YƐN WƆ HƆ [Frederick Eli Otto, 2022] Lead Vocals: Frederick Eli Otto & Jane Yawson (Afima) Studios: Joyful Way Studios & Koded Studios Arrangements: Frederick Eli Otto & Emmanuel Amoako Munanu Engineering, Programming & Keyboards: Emmanuel Amoako Munanu Mixing & Mastering: Kofi Owusu Dua Anto Vocal Recording: Andrews Amon Kotey Bass: David Ato Ribeiro Guitars: Dominic Quarchie Drums: Emmanuel Bludo Horns: Richmond Lamptey Bilson (Nii Djata)
- {BONUS TRACK} CELEBRATION PRAISE – HEOWE [Soul Winners, 2003] | IBE KPALE | YƐ WƆ NYAME [Nana Yaw Ofori Atta, 2021] | SING UNTO THE LORD | NNWOM BI ASHƐ M’AKOMA MA [Church of Pentecost] | OWURA BI DE YESU [Church of Pentecost, ] | MO YESU MO [Church of Pentecost] | W’AMA M’AKOMA ATƆ ME YAM [Church of Pentecost] | S’ANKA ME TU ME [Jack Kwaw (Jak Alolome)] Lead Vocals: Seth Justin Acquah Studios: Joyful Way Studios Arrangements: Prince Anderson & Seth Justin Acquah Programming: Emmanuel Amoako Munanu Recording, Mixing & Mastering: Outluk Records Engineering & Additional Vocal Recording: Andrews Amon Kotey Keyboards: David Pinkrah, Emmanuel Amoako Munanu & Daniel Owusu (Berry) Bass: Aaron Orleans Thompson Guitars: Dominic Quarchie & Emmanuel Essiamah (Symonds) Drums: Gerald Selorm Hiagbe Horns: Emmanuel Ohene (BRASAG), Justice Agbenyor & Isaac Abizie Percussions: James Nana Kojo Seibu
Pre-Production Team: Abigail Addison, Nathaniel Taylor, Mrs Maana Ampa-Sowah, Fred Buame, Siyanqoba Mthethwa
Song Arrangements & Production: Prince Anderson, Seth Justin Acquah, Joshua Amoah, Daniel Grant Andoh, Elvis Kambo-Dorsah, Emmanuel Amoako Munanu, Ato Ribeiro, Andrews Amon Kotey, Herbert E. Crassie, Siyanqoba Mthethwa, Kofi Dua-Anto, Jerby Djokoto, Franklin Eleblu & Francis Osei
Consulting Team: Ace Anan Ankomah, Frederick Otto, Barnabas Otchere-Keelson, Geoff Anno, Theophilus Aryee, Calvis Hammond
₵200.00 -
The Heart of God’s Music
The Heart of God’s Music is a well-researched and inspirational book on music that touches God’s heart. The author summarizes this exciting and engaging work in the following words: “As I continue towards my destination and expected end my desire is that God will be pleased and blessed by the sound of continuous music being offered in His name and for His glory on earth. God’s music ministry is a high calling which is founded on and ought to be saturated with Biblical truth, a sound blend of doxology and theology.”
It is our prayer that God will bless those who read this book and draw them to Himself in intimacy.
₵200.00The Heart of God’s Music
₵200.00
Best Seller Items
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Highlife Time 3
Highlife is Ghana’s most important modern home grown dance-music that has its roots in traditional music infused with outside influences coming from Europe and the Americas. Although the word ‘highlife’ was not coined until the 1920s, its origins can be traced back to the regimental brass bands, elite-dance orchestras and maritime guitar and accordion groups of the late 19th and very early 20th centuries. Highlife is, therefore, one of Africa’s earliest popular music genres.
The book traces the origins of highlife music to the present – and include information on palmwine music, adaha brass bands, concert party guitar bands and dance bands, right up to off-shoots such as Afro-rock, Afrobeat, burger highlife, gospel highlife, hiphop highlife (i.e. hiplife) and contemporary highlife.
The book also includes chapters on the traditional background or roots of highlife, the entrance of women into the Ghanaian highlife profession and the biographies of numerous Ghanaian (and some Nigerian) highlife musicians, composers and producers. It also touches on the way highlife played a role in Ghana’s independence struggle and the country’s quest for a national – and indeed Pan-African – identity.The book also provides information on music styles that are related to highlife, or can be treated as cousins of highlife, such as the maringa of Sierra Leone, the early guitar styles of Liberia, the juju music of Nigeria the makossa of the Cameroon/ It also touches on the popular music of Ghana’s Francophone neighbours.
There is also a section on the Black Diasporic input into highlife, through to the impact of African American and Caribbean popular music styles like calypsos, jazz, soul, reggae, disco, hiphop and rap and dancehall. that have been integrated into the highlife fold. Thus, highlife has not only influenced other African countries but is also an important cultural bridge uniting the peoples of Africa and its Diaspora.
₵250.00Highlife Time 3
₵250.00 -
God is Able
God is Able track list:
- Lala Hee [New Song] ft. Isaac Boadu(Abi Small)
- Ma Jie Oyi [I’ll Praise you]
- God Is Able ft. Curtis Quarcoo, Luigi Maclean
- Franco Jam ft. Musell Mensah
- Glorious in Majesty ft. Esther Godwyll
- No Rock like Our God
- Ma Jie Oyi (Live)
- None Like You
- Lala Hee Instrumental
₵10.00God is Able
₵10.00 -
My Yadah – Flavours of 50 – Ace Anan Ankomah
Ace writes music and plays several instruments but calls himself “just a sporadic songwriter and music hobbyist.” He is an Associate of the pioneering, contemporary gospel music group, Joyful Way Inc. and served as its Director of Music & Productions for several years, having a hand in every album produced by the group since 1991.
Flavours of 50: My Yadah is his first music album.
₵20.00 -
Hosanna Live
Tracks in this album:
1. Hosanna
2. Ebube
3. Mensi den Intro Ft Charlotte Acquah
4. Mobo Wo Dzin Ft Uncle Ato
5. Ka Kyere Jesus
6. Yesu Nyame ba Ft Eugene Zuta / George Sekyi
7. Jesus M’agyenkwa Ft Esther Godwyll
8. Hymn Medley Ft Uncle Ato
9. Kristofo Ft Eugene Degadzor
10. The Name Jesus Ft Dulcie Yates / Felicia Crentsil
11. Jesus Jesus Ft David Crentsil / Charles Pettingle
12. Hosanna (Studio)₵10.00Hosanna Live
₵10.00 -
Tu Wo Ho Fo – Audio CD
Tracks in this album:
1. Yen ara Y’asaase
2. Gyato
3. Mr. Traveller
4. Tu wo ho fo (Immediate Effect)
5. Aduane Nyinya
6. Palm Wine Love
7. Dedeende Kwao ee/Nkete nkete nkete₵20.00Tu Wo Ho Fo – Audio CD
₵20.00 -
Ghana Praise: Tunes from Ghana, Africa and the World
African churches have inherited a rich tradition of hymnody from the West, but for too long the musical heritage of Asia and even of Africa itself has been neglected. Ghana Praise is a first step towards correcting this situation.
It contains 144 tunes by Ghanaian composers: 4 songs from Northern Ghana and 28 spirituals from Ghana’s Pentecostal churches. For the first time, the wealth of music by present and past generations of Ghanaian musicians is available in print for all to use; the geographical and denominational barriers which have discouraged the spread of hymn tunes in the past are breaking down.
In addition, Ghana Praise brings you 19 tunes from the rest of Africa and 33 from other parts of the world.
Ghana Praise is accompanied by a words book, Asempa Hymns, which contains words to fit the new tunes, as well as a selection of the most well-known Western hymns.
₵80.00
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Worshipful
Worshipful track list:
1. Yi Na Ye (Praise Medley)
2. Majie Oyi (feat. Abigail Nkansah)
3. Oda (feat. Afiba Vanderpuije)
4. Gye W’ayeyi
5. Creator, Redeemer, Lord
6. King of Kings
7. Interlude (John 3:16)
8. John 3:16
9. Mhb 400
10. Kwemo (feat. Evangeline Gbenartey)
11. Makpasa Le
12. Gye W’ayeyi (Reprise)
₵10.00Worshipful
₵10.00 -
Saving Hearts
Saving Hearts track list:
1. Revival
2. Mala
3. My Helper
4. Trinity
5. Saving Hearts (feat. Ijeoma Mekomam)
6. Faith of Our Fathers (feat. Ben Essel & Joycelyn Armah)
7. Boundary Lines (feat. Koda)
8. Coming Back Again (feat. Danny Nettey)
9. O Holy Night
10. Woana Na
11. Mokobe
₵10.00Saving Hearts
₵10.00 -
Hymns Unlimited
Hymn Unlimited track list:
1. Benedicite, Omnia Opera
2. Anwanwa Do (Come Let Us All Unite)
3. Anwanwa Do (Come Let Us Sing)
4. Anwanwa Do (And Can It Be)
5. Sing We the King
6. Adoremus (All Creatures of Our God and King)
7Adoremus (O Worship the King)
8. Adoremus (Praise to the Lord)
9. Adoremus (When Morning Gilds the Sky)
10. Adoremus (Saviour, Blessed Saviour)
11. Adoremus (Fairest Lord Jesus) [feat. Eyra Tamakloe]
12. Adoremus (Crown Him with Many Crowns)
13. Ko-Yi-Ko-Ko (O Thou Who Camest from Above)
14. Malaika (Hark, Hark My Soul) [feat. Dieu Donnee Anyekase]
15. Cathedral (A Safe Stronghold)
16. Cathedral (Jesus Shall Reign)
17. Cathedral (Be Thou My Vision)
18. Cathedral (Begone Unbelief)
19. Cathedral (Jesus of Nazareth Passeth By)
20. Happy Man
21. Altar Call (Come Sinners to the Gospel Feast)
22. Altar Call (Hark My Soul)
23. Altar Call (My Faith Looks up to Thee)
₵10.00Hymns Unlimited
₵10.00 -
Holy Writings
Holy Writings track list:
1. Fa Makoma
2. You Are Jesus (feat. Kwame Amihere & Harbour City Mass Choir)
3. Ayeyi Soronko in Eb
4. Shrine of Our Sanctuary
5. You Are Beautiful
6. Been a While
7. Meeba Lala (feat. Eugene Zuta)
8. Hello, I Still Love You
9. Owui Ma Me
10. The Way (feat. Cwesi Oteng, Koda, Ike Nanor & Sitso “Reazn”)
11. Hiding Place
12. Every Single Word (Asem Biara Meka No)
13. You
14. Thank You
15. Safe in You (feat. Rev Joe Beecham & Ewurama Dua Anto)
₵10.00Holy Writings
₵10.00 -
Highlife Time 3
Highlife is Ghana’s most important modern home grown dance-music that has its roots in traditional music infused with outside influences coming from Europe and the Americas. Although the word ‘highlife’ was not coined until the 1920s, its origins can be traced back to the regimental brass bands, elite-dance orchestras and maritime guitar and accordion groups of the late 19th and very early 20th centuries. Highlife is, therefore, one of Africa’s earliest popular music genres.
The book traces the origins of highlife music to the present – and include information on palmwine music, adaha brass bands, concert party guitar bands and dance bands, right up to off-shoots such as Afro-rock, Afrobeat, burger highlife, gospel highlife, hiphop highlife (i.e. hiplife) and contemporary highlife.
The book also includes chapters on the traditional background or roots of highlife, the entrance of women into the Ghanaian highlife profession and the biographies of numerous Ghanaian (and some Nigerian) highlife musicians, composers and producers. It also touches on the way highlife played a role in Ghana’s independence struggle and the country’s quest for a national – and indeed Pan-African – identity.The book also provides information on music styles that are related to highlife, or can be treated as cousins of highlife, such as the maringa of Sierra Leone, the early guitar styles of Liberia, the juju music of Nigeria the makossa of the Cameroon/ It also touches on the popular music of Ghana’s Francophone neighbours.
There is also a section on the Black Diasporic input into highlife, through to the impact of African American and Caribbean popular music styles like calypsos, jazz, soul, reggae, disco, hiphop and rap and dancehall. that have been integrated into the highlife fold. Thus, highlife has not only influenced other African countries but is also an important cultural bridge uniting the peoples of Africa and its Diaspora.
₵250.00Highlife Time 3
₵250.00 -
Ethnomusicology and African Music: Modes of inquiry and interpretation Vol 1
The volume in hand deals with modes of inquiry and interpretation broadly organised into sections on theory, and historical and creative studies. The section on theoretical issues comprises papers on: the problem of meaning in African music; musicology and African music; the juncture of the social and the musical; integrating objectivity and experience in ethnomusicological studies; the aesthetic dimension in ethnomusicological studies; universal perspectives in ethnomusicology; and contextual strategies of inquiry and systematisation.
The section on creative and historical topics covers the following: the history of music in African culture; history and the organization of music in West Africa; historical evidence in Ga religious music; processes of differentiation and interdependency in African music; African musical roots in the Americas; and developing contemporary idioms out of traditional music.
₵30.00 -
My Yadah – Flavours of 50 – Ace Anan Ankomah
Ace writes music and plays several instruments but calls himself “just a sporadic songwriter and music hobbyist.” He is an Associate of the pioneering, contemporary gospel music group, Joyful Way Inc. and served as its Director of Music & Productions for several years, having a hand in every album produced by the group since 1991.
Flavours of 50: My Yadah is his first music album.
₵20.00
