Scooby Selah Claims Major Influence on Samini, Shatta Wale and Ghana’s Dancehall Wave

Veteran rapper and dancehall artiste Scooby Selah has boldly claimed responsibility for shaping the musical foundations of some of Ghana’s biggest reggae and dancehall stars, including Samini and Shatta Wale.

Speaking in an interview with Roselyn Felli, Scooby Selah responded directly to questions about comparisons between himself and Samini, and who influenced who in the early days of Ghana’s dancehall movement.

His response was blunt. “Oh, Samini copied me. Samini listened to my music to write his Linda song,” Scooby Selah stated.

He went on to extend the claim to Shatta Wale, referencing one of his own earlier tracks as an influence. “Shatta Wale listened to my Sass Squad song,” he said, quoting lyrics he believes later evolved into Shatta Wale’s musical identity.

When asked whether his influence extended beyond those two artistes, Scooby Selah maintained that many of today’s reggae and dancehall musicians emerged from his creative lineage. “Yeah, them all came from me. Them all came from TH4 Kwagees,” he said.

Reflecting on his early years as a rapper, Scooby Selah suggested that his lyrical complexity and delivery set him apart from his peers. “In school, if it be my rap way, they fear rap. Because my rap is hard to get,” he explained.

Despite the bold nature of his claims, the veteran musician stressed that he harbours no bitterness toward the artistes he believes followed in his footsteps. Instead, he expressed pride in their achievements. “I’m very, very proud of them,” he said, mentioning Kofi Kinaata and Ayesem among those he admires.

He also acknowledged emerging talent in the industry, noting that he welcomes the continued growth of Ghana’s music scene.

Scooby Selah further highlighted his broader contribution to reggae and dancehall in Ghana, recalling his time running a radio station and actively promoting the genre. “I wanted a lot of people to come into the industry,” he explained, adding that even when criticised for not playing his own music on air, he believed his presence alone was enough promotion.

According to him, that period marked a defining moment for reggae and dancehall music in Ghana. “Within my time, that was when reggae dancehall became big,” he said.