Reggie Rockstone, the pioneering force behind the revolutionary Hiplife genre that emerged in Ghana during the 1990s, has made a clear distinction between Hiplife and the Afro-Dancehall style popularized by Dancehall sensation Stonebwoy.

Speaking on Class 91.3 FM’s Class Morning Show on Friday, August 30, 2024, monitored by Blogger and Journalist Attractive Mustapha, Rockstone emphasized that while Stonebwoy’s work is impressive, it should not be categorized as Hiplife.

“That has nothing to do with Hiplife,” Rockstone stated during his conversation with host Prince Benjamin (PB). “That’s another fusion that he created. That’s not my road, I don’t know that [theme]. I know about the style. I’ve heard the style. I know what he did with that. But it doesn’t speak to the story of Hiplife. We’re talking about what he created – Afro-Dancehall.”

Rockstone, who is often credited as the “Godfather of Hiplife,” acknowledged the fluid nature of music, noting that most music genres are a blend of influences from different cultures and traditions. “If we want to be truthful, most music styles borrow from everywhere. A little bit here, a little bit there. Calypso… Even Highlife itself. We would have never had Highlife without the diasporic influence. They all borrow,” he explained.

He further elaborated on the adaptability of rap music, which forms a core part of Hiplife. “Rap in itself and Dancehall – what the Jamaicans deem chatting, you know, the whole style is nonconforming. You can translate Hiphop in so many forms. You can do Gospel rap… Rap is so flexible. You can [use it] to address issues… Nothing surprises me, thus,” he said.

Reggie Rockstone also touched on how earlier Ghanaian musicians like Yoggi Doggi and Samini incorporated Jamaican-style Patois into their music, often blending it with Ghanaian beats. He cited Samini’s hit song “Linda” as an example of how a Jamaican vibe can be merged with local sounds to create something that resonates with Ghanaians, thereby fitting into the Hiplife category.

However, he was adamant that Stonebwoy’s Afro-Dancehall, while innovative, represents a different musical path. Stonebwoy has recently expressed dissatisfaction with an article listing 10 essential artistes in Hiplife, which failed to mention him, highlighting his belief in the significant impact of his music within the Ghanaian music scene.

Reggie Rockstone’s remarks offer a reminder of the distinct origins and stories behind each genre, even as they continue to evolve.