adminLAST week, during a chit-chat with Zim dancehall enthusiasts, a poignant question was raised and I found myself doing some homework.
One of the genre followers asked: “What exactly should be done for Zim dancehall producers to enjoy the fruits of their labour?
At face value, it sounds like one of those ordinary questions, but that is not the case. It is indeed an issue that requires serious consideration.
Zim dancehall producers are arguably the greatest contributors to the movement yet they are getting a raw deal for their efforts. A huge gap has developed between the riddim producers and artistes despite having been in the trenches for a similar period.
Riddim is Jamaican patois derived from the English word rhythm in the dancehall/reggae genre referring to the instrumental accompaniment to a song.
Sometime last year the producers made public their displeasure with the obtaining situation. Some even went on to threaten to “go slow” on riddim production. Fortunately they did not go along with their planned action.
Worrying though is the fact that their dilemma remains the same or has rather worsened. There appears to be no solution to the challenge.
The producers are responsible for most of the riddims, among them the “Body Slam”, “Xmas Money”, “Zimbo Flavour”, “Kick Yard”, “Moment of Truth”, “Silent Killer”, “One Clan” and “Pure Niceness”.
The riddims have helped create hits and subsequently stars, but that has not transformed into any tangible benefit for the producers. Hit songs that have come out of the producers’ work include Soul Jah Love’s “Ndini Uya Uya” and “Kuponda Nhamo”, “Zvakaitika kuMbare” by Killer T, Tocky Vibes “Ndini Ndinorira” and Ras Caleb’s “Tokwe-Mukosi”, to mention just a few.
The only credit the producers get is when their names are chanted in the songs. Most people are familiar with the names PTK, Levels, Jippers, Mad P and T-Man, but are not conversant with their contribution to the genre.
This somehow explains why an award-winning producer like Levels, who has made huge contributions to the Zim dancehall genre, is currently struggling to complete renovations at his stable, Chill Spot Records.
The gentleman has been searching for an estimated US$3 500 for the past year or so, but with no luck.
“We get a bit of recognition for our work, but things are still tough. It appears it’s going to take a bit long for us to start reaping the benefits of our efforts. However, we remain committed to this movement and hope the heavens will smile on us sooner rather than later,” remarks youthful producer Levels.
Veteran hip-hop producers like Timberland, Swizz Beats and Just Blaze in the United States have become household names. But for them, fame has easily transformed into fortune. And it is our wish that local producers reach such ranks. Admittedly, this is not going to be an overnight thing but we have to start pushing in a positive direction for success to be achieved. Certain measures have to be adopted and put in place to ensure that producers equally benefit from their riddims just as the artistes who ride on them.
Traditionally, a producer is supposed to get his money through a riddim launch that features all artistes on the sound. He is not supposed to pay them for their act on the day, but that is proving to be a challenge with the set-up that we currently have.
Producers want top artistes like Winky D, Tocky Vibes, Terminator, Seh Calaz, Ras Caleb and Soul Jah Love to feature on their riddims for value addition purposes, but unfortunately they struggle to have the stars perform on launch dates.
Usually the artistes demand appearance fees that the producers will not be able to raise unless they receive funding from elsewhere. This has somewhat created an avenue for well-oiled promoters to hijack riddim launches.
But Godfather Templeman notes the genre is self correcting. He argues every movement goes through various stages of development.
“It has not been long since Zim dancehall went commercial although it has been around for about a decade. In short, there is no money as yet to cater for everyone. There shall come a time when people will start looking for sound producers just like was the case in Jamaica,” argues Templeman.
A solution out of this predicament might be for producers to focus on developing new talent rather than focusing on the established brands. It will be much easier and beneficial for them to create separate riddims for rising stars and established brands.
Budding artistes will be more than ready to perform during an album launch for whatever agreed amount. However, the situation should not also help create a new producer/artiste challenge through exploitation.
For established brands, the deal has to be purely commercial with legally binding contracts from the onset. Lawyers just have to be involved to make sure those that renege are duly punished.
Gentleman’s agreements do not work, particularly with the mischievous characters that happen to be most Zim dancehall stars.
In Jamaica, producers like Stephen “Di Genius” McGregor, Donovan “Don Corleon” Bennett, Dave Kelly and Jordan McClure now have their efforts recognised, but, of course, after going through a bruising battle.
It has taken an average of five years for almost all the mentioned international producers to get recognition and realise huge financial benefit from their work.
And today, the most dynamic and recognised artistes all have one producer in common, Don Corleon. This is so because the guy has never lost sight in developing raw talent, a game he is good at. The undisputed veteran producer and highly respected engineer spends much of his time working with aspiring superstars who display the work ethic necessary to hold their own in the competitive world of music. The move has guaranteed him a healthy pool of artistes to work with – meaning he is never short of business. His effort is well spread across the genre.
Reigning artiste manager of the year Jonathan Banda believes producers should be treasured. Without them, he argues, it will be gloom for the Zim dancehall genre.
“Some have criticised the producers for monotony in their sound, but I feel they have done a great job.
“They have tried their best to come up with sounds that can be appreciated by everyone. The producers are contributing in a big way to the growth of Zim dancehall. In fact, they are a major component of the dancehall engine and must be kept happy,” he noted.
Online Reporter