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Gospel Drill Shows Up In KobbySalm's 'Aseda'

KobbySalm is the fresh new name in gospel rap in Ghana.

Ghanaian rapper KobbySalm has released his first single of the year titled "Aseda." KobbySalm is the fresh new name in gospel rap in Ghana, and he's been buzzing ever since dropping his power-packed debut album In The Midst of Comfort in August 2020.

On "Aseda," KobbySalm featured three equally talented names in urban gospel—Belac360, Joe Kay and P.O Godson. The song, which sits on an amazing drill beat by Vacs, seeks to appreciate God for his goodness over the years. "Aseda" which means "thanksgiving" in Twi, talks about how grateful KobbySalm is to God for the gift of life.

This collaboration seeks to lead patrons in giving thanks to God in an urban and enjoyable way. KobbySalm had quite a busy 2020, from his album listening session, album release "The ITMOC Album Concert" and more, and "Aseda" sets the rapper up for an amazing run this 2021.

Watch the video for "Aseda" below and listen to it on streaming platforms here.


KobbySalm - Aseda Feat PO Godson, Joe Kay, Belac360 (Official Video) youtu.be

Music
Photo by Don Paulsen/Michael Ochs Archives/Getty Images

Hugh Masekela's New York City Legacy

A look back at the South African legend's time in New York City and his enduring presence in the Big Apple.

In Questlove's magnificent documentary, Summer of Soul, he captures a forgotten part of Black American music history. But in telling the tale of the 1969 Harlem Cultural Festival, the longtime musician and first-time filmmaker also captures a part of lost South African music history too.

Among the line-up of blossoming all-stars who played the Harlem festival, from a 19-year-old Stevie Wonder to a transcendent Mavis Staples, was a young Hugh Masekela. 30 years old at the time, he was riding the wave of success that came from releasing Grazing in the Grass the year before. To watch Masekela in that moment on that stage is to see him at the height of his time in New York City — a firecracker musician who entertained his audiences as much as he educated them about the political situation in his home country of South Africa.

The legacy Masekela sowed in New York City during the 1960s remains in the walls of the venues where he played, and in the dust of those that are no longer standing. It's in the records he made in studios and jazz clubs, and on the Manhattan streets where he once posed with a giant stuffed zebra for an album cover. It's a legacy that still lives on in tangible form, too, in the Hugh Masekela Heritage Scholarship at the Manhattan School of Music.

The school is the place where Masekela received his education and met some of the people that would go on to be life-long bandmates and friends, from Larry Willis (who, as the story goes, Masekela convinced to give up opera for piano) to Morris Goldberg, Herbie Hancock and Stewart Levine, "his brother and musical compadre," as Mabusha Masekela, Bra Hugh's nephew says.

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