The Ghanaian Chronicle – With songs from Eugene Zotar, Cwasi Oteng, No Tribe, Ohema Mercy, just to mention a few, which have become entrenched songs which Ghanaians have come to love.
Yet it was some few years ago that we enjoyed songs from CeCe Twum, Gifty Osei, Pastor Josh Larye and Esther Smith, were the hallmark of gospel music in the country.
THE BACKGROUND…
Delving into contemporary gospel music, the www.oxforddictionaries.com defines gospel music as a fervent style of Black American evangelical religious singing, developed from spiritual song in Southern Baptist and Pentecostal Churches.
Www.wikipedia.com explains it as a type of music genre that varies according to culture and social context.
Though both definitions give a fair idea of the origination of gospel music, some music connoisseurs have widely argued that gospel music isn’t a genre but a concept as compared to other genres like reggae, highlife or pop music – which have specific rhythms and instrumentation.
Little did critics know that, the trend of what music lover’s call as gospel would have the trend of hip pop, RnB and metal drums in it as a form of gospel music.
The question which is asked is: Why can’t we maintain our highlife rhythms of gospel songs and yet still have the trend of current gospel music?
This question creates a lot of doubt in the minds of critics in the music industry, as to whether the musicians pushing this new trend are wasting this kind of gospel music and forgetting their root of origin.
Among top industry critic who were among a panel of discussant during the Entertainment Review on Peace FM this past weekend, Mark Okraku, Akwasi Aboagye and Socrates Safo gave their best shot on the issue as to why current gospel musicians want to sound foreign gospel.
And yet South African gospel music still has its origin of instruments and lyrical content ever since they began composing music in their country.
But now it seems like the new trend of gospel music has taken a new turn or a swipe at the traditional way of which Ghanaians are use to.
Assessing the form and trend that gospel music has assumed today, one will attest to the fact that the established gospel style (slow tempo-spirited hymnals) has greatly drifted into a more contemporary mode (fast tempo beats and rhythms fused with rap).
The likes of Cwesi Oteng, Nii Soul, Preachers, Royal Priesthood, Esaias, Edy C Radio, Chosen Listowell, Lil Zig, KingsKid, KODA and many more, are chalking enviable feats with the new trend.
Also, gospel songstresses Herty Borngreat and Esther Smith have recently released songs with the urban gospel feel.
So, looking into the future, it gives an impression of churches experiencing some serious biblical rap lines from the pastors, elders and even Sunday school children.
