Christened Roger Kwame Selorm (Kujdawo), the family never knew their 22nd January birthday son was instinctively growing up in the norms and do’s of music celebrities to one day alter his Christian name with a colloquial spelling tag by changing it from Roger to Raja (and even connect his brand surname to the fire element — Flame) until in his mid teen years when he freely hit the music highway and found it to be a destined one way ticket journey with no return plans. Roger Kwame Selorm is now famed in showbiz circles as Raja Flame, still seriously living and working his musical essences up the legendary ladder.
Sort of sold out to the inescapable forces of music, as he is deeply immersed into it full mind, young Raja Flame might have taken a solemn vow inside to make a very meaningful impact with his immersion such that he neither takes a pause nor makes a stop exploring the endowed depth of his amusing talent since the production and outdooring of his first official studio cut.
Growing up in Ghana on the capital Accra (Mamprobi, his precise childhood address), kid Raja Flame’s ever-receptive ears got lucky being excessively shot at with blasts of all kinds of music coming from corner pubs, discothèques, passing vehicles, neighbours, family and radio sets on a daily basis. Any child with a strong predisposition for a future musical career growing up in any part of Mamprobi, as a noisy music-loving community without any form of genre discrimination, would be forced into genre choice confusion due to the daily attractive blasting of several all of music, but teen Raja Flame rightly found a double major in reggae and dancehall. He gradually honed his craft covering favorite tracks by established musicians during his commute en route school or at leisure when he’s done with home chores.
The craft honing took a relatively serious mature turn when Raja joined the Kaneshie Methodist church youth choir, even at a young age.
His Methodist church days helped build his young charisma, moral characteristics, spirituality, humane consciousness and self-worth. The powerful combination of these virtue streams and the righteousness teachings he learned listening to good reggae music later translated into Raja’s permanent inclination for positive music themes, such that even while doing professional singing outside the church domain, he still sings about world peace, communal living, unconditional love, unity, political corrections, education, black consciousness, self-esteem, mother nature alongside a spectrum of other subjects that are relatable in real life. Whatever concept Raja chooses, he tactically builds it with clarity, fine melodies, relevant lyrics and expresses the right emotions to make beautiful mature piece that pleases the ear.
With a musical influence list comprising Afro Moses, Mustapha Tettey Addey, Fela Kuti, Rocky Dawuni, Shasha Marley, Alpha Blondi, Bob Marley, Kojo Antwi, Nana Yaa, Denis Brown, Gregory Isaac, Paapa Yankson, Awurama, Sizzla, Beres Hammond, Reggie Rockstone, and their equals, it’s a confirmed inference that Raja Flame has a wide listen that dates back from foundation superstars to present era contemporary big names.
Of course, Raja matured to full fledge by a significant musical influence that spans multiple genres, not just reggae and dancehall — this contributed greatly to his ability to satisfy several music fan preferences as he can jump on any one particular genre’s instrumental and still make a remarkable impact. Despite his major stance in reggae and dancehall, he’s that versatile enough to excel comfortably in any cross-genre collaborations.
Exhibiting a flexible but unbreakable poise for evergreenness, so he never loses his career significance, Raja Flame keeps learning new practices to refresh his craft. He surely knows music is dynamic and it is smart of a musician to move to the demands of the era in order not to get parked aside by music stakeholders and consumers, so Raja is on a constant watch for latest industry dynamics —– this he is doing to one maintain an evergreen nature and two to stay abreast with new practices until voluntary retirement.
Raja never dishonours a profitable collaboration request knowing that collaborations are a means of tapping another artiste’s fan base. His honouring has landed him some very neat collaborations, two of them being “Better Must Come” with Wan Row, “Independence Day” with Na U.
Currently Raja Flame won’t fake credit for a heavy discography, but can boast of a few good singles while in the studio working on his maiden album. He has more unfinished singles in the studio. Some of his singles are:
.Sandra (Attitude Riddim, Produced by Brain Beatz)
.Body Campaign (Many Mansion Riddim, Produced by Touch Paint/Elorm Beenie)
.True Colors (Produced by Irie Ites)
.Baby Girl (Produced by Gray Scale, Nigeria)
.Lazy Body (Produced by Gray Scale, Nigeria)
.Come Over (Teknikal Skillz Riddim, Produced by Kay Sam Teknik)
.Say Yes (Crossroads to Africa) (Produced by Jah Coustics, Germany)
.Tupke (Produced by Sonoh)
.Adoley (Produced by D2, Nigeria)
.That Be The Girl (Produced by Raja Flame, Zino, Commander Messiah)
Raja has performed in Germany, Denmark, Ghana and Switzerland. Down his concert performance record, he is credited with this laudable short list:
*Royal Reggae Festival, Switzerland
*Open Air Festival, Switzerland.
*Reggae Fest, Ghana (with Knii Lantey and the Big Hills Band)
Aside having a deft on the acoustic strings and still in the process of graduating to multi-instrumentalist, Raja Flame doubles in the arts as a movie star and has appeared in the following movies:
*Dada Boat (Media Gold Productions) Mickey Osei Berko.
*Campus Life (Media Gold Production)
*Agony of Christ (Venus Film Production)
*Wofa Kay Tv Series (Farm House Production)
Raja delights in playing with bands, but not yet a leader or member of one yet. He’s rather a co-head of Lifted Sound Sound (in Switzerland) with Redwan, Blenda, Mr Minister and Bongo.