“Right dee, ibe Tema fever wey dey blow// But the money dey Accra 'cause we all sign Glo// Glo kraa when them go come// I wanna know, enti Tinny, Edem we go play show? //
Who said Asem would never speak on the Glo deal. Well, he did at last. Though he didn't give details, he looks concerned about his absence from stage. On Monday evening, a few members of the media fraternity received in their e-mail inbox fresh songs of Obour and Asem. Both songs contain lyrics that are controversial but catchy as well.
Obour's titled, "Where the money go dey" was from a Family Tree Entertainment source and Asem's titled, "2010 Fylla" was sent by Albert Mensah, Manager at Lynx Entertainment.
While Asem's "2010 Fylla" is a critical looks at haps in and around showbiz, Obour's "Where the money go dey" was just an echo of the current financial prevailing in the country and the world at large. Both songs were produced by 2010 GMA Producer of the Year, Richie.
Asem touched on almost all the issues that have been making headline since the year started. The Obrafour/ Guru: Obour/Okyeame Kwame controversy, the 3 Ghanaian actresses involved in the alleged sex tape story by NewsOne; nude pictures circulating on facebook and the current dominance of Tema-based artistes in Ghana music were some of the areas he touched. The instrumental sounds similar to a Kwaw Kese song. No doubt, he referred to Kwaw as “Asem's PRO” for mentioning Asem in all his tracks.
At a point, one is left wondering if he sampled part of Bra Kelvin Beats (Skillions) on the track or he deliberately imitated him to make his song funnier. Whichever case, he succeeded because people who have heard the song including Sammy Forson (Y-FM) and Ameyaw Debrah (ghanaweb.com) have started commenting on facebook about its hilarity.
Socially-correct Obour's 'Where the Money Go Dey' has already started dominating radio peak time and other such conversations. "These days money make scarce pass virgin", is how he starts the song. In the song he makes reference to real life "hustling" situations like driving an air-condition car but still sweating in the traffic because one wants to save fuel, hence money. The rhythm is fit for the dance floor; high on creativity, unlike Asem's low on glee but also high on controversy.
Obour raises more questions than answers like wondering if money was gone on strike or someone was hiding it.
So in the coming weeks right up to Christmas, when you hear terms like “Where the money go dey?”, “At home eater”, “Check your dough”, “Cheque no abounce aye ka”, you know where they are coming from.
And guess who was among the first to play the Obour song same day it landed. Kwame Sefa Kayi. This chap doesn't take payola (that we know) and “would only play your song if he has a reason to”, says the producer of Kokrookoo, Kwame's Morning Show on Peace FM.
Whether you are a hiplife rapper, taxi driver, beatmaker, DJ, politician, school teacher or 'at-home-eater' (don’t know what that means), there is something for you in this song.
Both artistes are not new to controversy. In 2004, Obour's "Konkontibaa" almost got thrown out of the list of nominations for the Ghana Music Awards due to what the organisers described as "sexually suggestive content". He went on to generate more controversy last year, when he said hip-life was dead and calling for its resurrection in a song critics describe as "unhiplife", [Killing the Game]. That song started a debate that is yet to be settled.
Asem on the other hand stared up lots of controversies with the release of his very first single, "Give me blow". That song was trashed by the selection committee of the Ghana Music Awards in 2009 due to its "open display of sexuality." He is said to be having a "beef" with fellow rap artiste "Kwaw Kesse", something he affirmed on his "2010 Fylla" single by saying Kwaw Kesse has "become Asem's PRO, he is mentioning my name anywhere he goes.”
