After operating in the shadows and enduring accusations of copying Okomfo Kwadee?s style for a long time, Okomhyefour is out with another album to vindicate himself.

The release of his first album, Ohia in 2003, earned him some fame but this success was short-lived as people branded him uncreative following negative comments about his style on some airwaves.

Okomhyefour made his entrance in the music scene with good hits like Ohia, a reggae piece and Salamatu, a danceable jama-beat song on his maiden album.

He normally appeared on stage wearing a piece of cloth around his body with a dread-locked hairstyle and a typically Asante-accent style of rapping. He is well known for the use of proverbs and comic metaphors in his lyrics.

Known in private life as Raymond Asiedu Agyekum, the musician was disturbed by comments made on some radio stations that his way of singing and dressing in the industry were the exact imitation of Okomfo Kwadee?s style.

The situation was worsened by Kwadee?s opinion on this issue in two separate interviews on Adom FM and Peace FM respectively.

According to some hiplife musicians who refused to disclose their names, the musician is quoted to have said ?those who try to copy my dance would develop a twist in their waists.? They agreed that he was referring to Okomhyefour.

In an interview with Graphic Showbiz, Okomhyefour said that this affected his personality.

According to him, whenever he mounted the stage to perform, he felt so uncomfortable for fear of being seen as a ?thief of another person?s creativity? which, he said, was not true.

Though he admitted his style was similar to Kwadee?s, one thing was for sure, ? this is the style I feel comfortable with and it makes me unique. I do not care what people say.?

To prove this, the 20 something year old young man has introduced his new eight-track album which is yet to be launched.

On the album is Oga, an enjoyable reggae song with good instrumentation in which he employs the Nigerian style of singing fusing the pidgin English with his rap in Twi. This song castigates proud people with the fact that pride always goes before a fall.

According to Okomhyefour, many of the big names in hiplife music use their songs to exalt themselves forgetting to show gratitude to God.

The chorus suggests it all, ?Abi you say na you be the oga. The Aki and Pawpaw life wey you dey do, very soon you go turn yeye.?

Another reggae piece, which has a similar rhythm to that of Ohia on his previous album, is Mayasi Edimi Abro, featuring Kwaata. One draws a great lesson when he or she carefully listens to the lyrics of the song.

In essence, it talks about the negative consequences of having multiple sexual partners. Osofo is a slow-paced song preaching against hypocrisy.

Apart from enjoying the song, listeners are treated to a good laugh as the lyrics narrate a sad incident in which a man, despite a pastors advice, decides to divorce his wife who claims to be a Christian but always steals his money. One song on the album of great interest is 419.

It uses the exact beat and style of American-based Senegalese-born Akon?s Lonely but with different lyrics. The song talks about the unfaithfulness of one lover to the other.

Okomhyefour?s style of rapping on all the songs suggests another Okomfo Kwadee in the making but he denies this assertion with the claim that he was using this style way back in Akim Swedru Secondary School where he used to perform under the name ?Crime Lord? in the late 1990s.

A native of Akim Oda, Okomhyefour is an HND graduate from the Ghana School of Survey and Mapping and now works as a Technical Officer Grade 2 at the Survey Department in Koforidua.

Other good songs on the album are Tofiakwa, Sodongodongo, Odompo Nie and Daakyi Asem which features Reggie Zippy.