History
Highlife is a musical genre that originated in Ghana around the turn of the 20th century. It is a fusion of African rhythms and melodies with Western instrumentation and harmony, and it became popular throughout West Africa in the 1930s and 1940s.
The term "highlife" was coined in the early 1920s by a group of musicians that performed at the seaside town of James Town in Accra, the capital city of Ghana. The term referred to the high-class lifestyle of the British colonial officials and wealthy locals who lived in the area. Soon, the name was adopted by other musicians in Ghana and neighboring countries, and it became associated with the new style of music that was emerging.
Highlife was influenced by a variety of musical traditions, including West African rhythms and melodies, American swing and jazz, and European classical music. It was played on a variety of instruments, including brass and woodwind instruments, drums, guitars, and percussion.
One of the pioneers of highlife was E.T. Mensah, who formed his first band, the Tempos, in the early 1950s. Mensah and the Tempos became one of the most popular highlife bands in West Africa, touring extensively throughout the region and recording many classic songs that remain popular today.
Highlife remained popular throughout the 1950s and 1960s, and it underwent some changes as new styles of music emerged. In Ghana, the influence of American soul and funk music led to the development of a subgenre called "Afrobeat," which was characterized by heavy rhythms and complex arrangements.
In the 1970s and 1980s, highlife began to decline in popularity as other styles of music, such as reggae and hip-hop, gained more prominence. However, in recent years, there has been a renewed interest in highlife, with young musicians and producers incorporating it into their work.
Notable artists
E.T. Mensah: known as the "father of Highlife," E.T. Mensah was a Ghanaian musician who helped popularize the genre in the 1950s and 60s. His band, the Tempos, released numerous hits and he continued to perform well into his 80s.
Osita Osadebe: a Nigerian Highlife musician, Osadebe was known for his smooth vocals and unique guitar playing style. He released numerous albums throughout his career and was a major influence on the genre.
Victor Uwaifo: a Nigerian musician and multi-instrumentalist, Uwaifo is known for incorporating elements of Highlife and Afrobeat into his music. He is also a visual artist and sculptor, and has won numerous awards for his work.
Sir Warrior: the lead singer of the Nigerian Highlife band Oriental Brothers International, Sir Warrior was known for his powerful vocals and lively stage presence. He was a major figure in the genre in the 1970s and 80s.
Rex Jim Lawson: a Nigerian musician from the Niger Delta region, Lawson combined elements of Highlife with traditional Ijaw and Urhobo music. He was a prolific songwriter and released numerous albums throughout his career.
King Bruce: a Ghanaian musician and bandleader, King Bruce was known for his energetic performances and unique vocal style. He was a major figure in the Highlife scene in the 1950s and 60s.
Bobby Benson: a Nigerian musician and bandleader, Benson was known for his fusion of Highlife and jazz music. He was a key figure in the Nigerian music scene in the 1950s and 60s.
Pat Thomas: a Ghanaian musician and bandleader, Thomas has been active in the Highlife scene for over 50 years. He has released numerous albums and continues to tour internationally.
Lijadu Sisters: a Nigerian musical duo, the Lijadu Sisters combined elements of Highlife with funk and soul music. They released several albums throughout the 1970s and were known for their powerful vocal harmonies.
Bola Johnson: a Nigerian musician and bandleader, Johnson was known for his fusion of Highlife with Afrobeat and funk music. He released numerous albums throughout the 1970s and 80s and was a major influence on the Nigerian music scene.
Broader context
There have been numerous books written about Highlife, each offering a unique perspective on the genre and its significance. One of the most notable is the 2017 book "Ghana's Highlife Heritage" by John Collins, which provides a comprehensive history of Highlife, ranging from its origins in colonial Ghana to its modern-day iterations. Collins describes Highlife as a "modern African social dance music," that reflects the "cultural ingredients that have made West Africa so rich and resourceful." Through his work, Collins seeks to celebrate the enduring legacy of Highlife and highlight the contributions that the music has made to Ghanaian and African culture.
Another important book on the subject is "Highlife Giants: West African Dance Band Pioneers" by John Collins and Professor Carp Matley. This 2016 book tells the stories of the musicians who created and popularized Highlife in the 20th century, including E.T. Mensah, Victor Olaiya, and Bobby Benson. Through their music, these pioneers helped to establish Highlife as a distinct African genre that could stand alongside other international musical styles. One of the most notable quotes from the book comes from composer and arranger Phillip Gbeho, who said of Highlife, "It is Ghanaian music that has taken the world by storm," a testament to the genre's widespread appeal.
Other notable quotes about Highlife come from musicians who have been influenced by the genre. Fela Kuti, the Nigerian Afrobeat pioneer, described Highlife as "the first African pop music that I heard in my life," and credited it with inspiring some of his most famous compositions. Manu Dibango, the Cameroonian saxophonist, has also spoken about the impact that Highlife had on his music, stating that "Ghanaian Highlife was one of the main roots of African Jazz, which has since become Afro-Jazz and Afro-Beat of which I am one of the pioneers."
In recent years, there has been renewed interest in Highlife, with musicians incorporating elements of the genre into their own work. The band Ibibio Sound Machine, which combines Highlife with Ibibio folk music and electronic dance beats, has been hailed as one of the most exciting new groups to emerge from the West African music scene. In an interview with The Guardian, lead singer Eno Williams stated that Highlife represents "a positive remembrance of the past, and at the same time [has] the potential to allow new and exciting possibilities for the future."
Socially, Highlife emerged during a period of significant social and political change in West Africa. Colonial powers had ruled the region for many years, and the struggle for independence was in full swing. This was reflected in the lyrics of many Highlife songs, which often spoke of issues such as freedom, unity, and national pride. Highlife also played a significant role in the social lives of many people in West Africa, particularly the middle and upper classes, who enjoyed dancing to the music at high-profile social events such as weddings and parties.
Culturally, Highlife drew from a range of traditional African musical styles, including rhythms and melodies from Ghanaian and Nigerian folk music. It also incorporated elements of Western music, including jazz, swing, and other popular genres of the time. This fusion of traditional African and Western music styles helped to create a unique sound that was distinctively African, but also showed the influence of global musical trends.
Technologically, the development of Highlife was heavily influenced by the recording industry, which played a critical role in bringing African music to a wider audience. Highlife was popularized through the work of record labels such as Decca Records, Philips West Africa, and EMI West Africa, which recorded and distributed the music throughout the region and beyond. These labels also played a key role in promoting Highlife through live performances and tours, as well as through the media, where journalists and other cultural figures helped to publicize the genre.
Notable figures associated with Highlife include musicians such as Bobby Benson, E.T. Mensah, and Osita Osadebe. Benson, a Nigerian saxophonist and bandleader, is often credited with pioneering the style of Highlife that became popular in Lagos during the 1950s. Mensah, a Ghanaian trumpeter and composer, was a major figure in the development of Highlife in Ghana, where he led the Tempos band and recorded dozens of hit songs. Osadebe, a Nigerian highlife singer and guitarist, was known for his distinctive style of highlife, which blended traditional Igbo melodies with modern instrumentation and arrangements.
In addition to these musicians, Highlife was also championed by journalists such as Fela Ransome-Kuti, who wrote extensively about African music and helped to promote Highlife through his newspaper columns and radio programs. Other notable figures in the Highlife scene included club owners, promoters, and dance instructors, who helped to shape the social and cultural context in which Highlife flourished.