Musical chairs in production houses

For the past five years, we have seen various local artistes switch producer in search for the perfect hit. But even so, there are those who have remained loyal to their production houses despite the numerous challenges, writes CAROLINE NYANGA

The year 2003 marked the biggest exodus in local production houses after a group of mainstream artistes decided to part ways with Ogopa Deejays, then considered the hottest recording label in East Africa. They included Redsan, Mr Googz, Vinny Banton, Deux Vultures and Longombas. Although Resdan decided to work with producer Maich Black at South West Records, the rest of the team formed Bad Man Camp and worked with producer Mashian among others. But then, hardly a year and a half, Longombas and Deux Vultures decided to return to Ogopa. Vinnie Banton and Mr Googs tried out different tunes with various producers before the later got saved and turned to Gospel music where he sings and has an album.

On the other hand, Redsan chose to build up his career further by establishing his own production house, Dirty Sounds where he produces many artistes.

As if that was not enough, in 2004, Kapuka rappers Habib and Manga quit Ogopa production house over some disillusionment that saw them record a single with Musyoka then at Homeboyz before the duo split.

Other producers Habib worked with included Tedd Josiah, Maji Maji, Philip of Bomba Clan and Ghost.

The years 2005 -2007 witnessed another mass exodus from Ogopa. Those who left included Wahu, Nameless, Big Pin, Mr Lenny and Kleptomaniacs. A few of them are known to be working with the new kid on the block Ulopa.

To date, apart from the few new artistes who signed in 2008, by Ogopa, the only veterans left are songbird Amani and Col Moustapha, one half of Deux Vultures group.

Producer Lucas Bikedo of Ogopa Deejay explains that thehouse has one album contract after which an artiste has to decide whether they want to continue working in partnership with them or not.

"The only person we gave an exception of recording two albums at once was Amani. This is because she proved beyond reasonable doubt that she was serious with music as a career and indeed it has worked for her," says Bikedo.

But Ogopa was not the only production house that experienced the musical chairs. Calif Records famed for Genge music falso suffered the same tragedy when controversial rapper, Nonini, abandoned the recording label in 2004, over what he termed as ‘slow pace’ of doing things.

Soon Circute and Pilipili followed. And mid-last year former Calif Angels Rat-a-tat and Choku left for Herbal Records.

But just like Bikedo producer, Clemo says Calif has a contract, which expires after a certain period allowing an artiste to make up his/her mind on the way forward.

Another production house Jomino took Ogopa and Calif — the other major recording stables in Nairobi — by surprise after scooping the Production House of the Year award during the CHAT Awards breaking their dominance, which has no exception.

Internal wrangles erupted late last year as DNA and Kenrazy threatened quit Jomino over unclear circumstances.

While DNA went vocal saying that he was looking for his own manager, Kenrazy stated he did not want to be involved in any shows organised by Jomino.

In the meantime, P Unit was up in arms threatening to take legal action over Jomino producer whom they claimed had used their Una soundtrack for a radio commercial without their consent.

At a recent interview producer Eric of Jomino defended the production house saying: "Artistes are like eggs and need to be handled with care. Why would all those things happen at the same time? Don’t you smell some sinister motives behind it? Besides, Kenrazy and DNA are artistes we have grown with as a family and they would hardly turn against us."

He also dismissed claims that Jomino has been short changing artistes through ‘bad’ recording contracts.

This is what the artistes had to say: According to Collo, a member of Kleptomaniacs who left Ogopa after the release of their M4E album in 2005, it’s not about leaving Ogopa, but rather trying out new sounds from various producers.

"It is a fact that producers posses different ideas which help an artiste grow," he states.

While pointing out that there is no bad blood between Klepto and Ogopa, he nevertheless reveals that they are more comfortable working with Ulopa, adding that he is doing a good job.

Collo, who has worked with many producers for his solo projects says they always disagree to agree.

"This is the secret to working successfully with different producers and making it known to them that you are serious about your career."

He also stresses the need to have a strict working relationship based on business devoid of pleasure."

Klepto also reveals that unlike other producers working with Ogopa was more tasking because they wanted to be a ‘part of everything,’

"In other words, Ogopa’s system was different in that they controlled everything from the release plan and the sales of the album which we found difficult considering this is business. We believe it is the artistes who are known to employ producers and not vice versa."

But Lucas dismisses their claims saying that all they want is the best for the business. He says contrary to what some artiste’s term as ‘too much control’ on Ogopa’s part, they believe in sharing. "We always make it a point to hear out the artistes, views and vice versa before making any decisions. This is because it is no secret that almost 80 per cent of local artistes do not know what good music is all about. They think it’s all about writing words."

While emphasising on freedom he says Ogopa production House tries to avoid being too drastic in their music.

"The fact that we are the ones who are investing in an artiste, we always want to make sure that the end product is good for the benefit of both of us. Unfortunately, this has not gone down well with most artistes resulting into a bone of contention."

The producer says it is sad to note that most of our artistes are focussed on the moment as opposed to the future."

But all said and done, Klepto feel they have matured over the years as far as their music is concerned. "Our music targets beyond the borders, far away from Haree and Swing Swing stuff we did four years back."

Rapper Circute echoes their sentiments.

Having worked with producers Clemo, Tedd Josiah, R Kay and Mandugu Digital, Circute feels there is need for a mutual working relationship between a producer and artiste. "It is time the two parties involved go beyond working relationship and developed a brother-like relationship. The fact that they understand each other well will enable production of a unique hit song.

Circute points an accusing finger at most producers saying it is unfortunate that they always want to force issues on artistes.

The artiste, who is independent, says his music is diverse devoid of monotony that is typical of many of those stuck to one production houses.

To date, the musician who has eight songs and videos under his cap, says he was forced to leave Calif Records due to its slow habit of doing things. His main concern was the fact that he had to share money accrued from his concerts equally with Calif.

"By giving the production house 50 per cent of my money I felt I was being exploited at my expense hence I stood my ground and did what any wise businessman would do." While denying any beef with Clemo he says they have since made up and are good friends.

Songstress Wahu, who is currently working with various producers to complete her debut album, says she is comfortable. "Disagreeing to agree on a regular basis is a normal thing and should not be mistaken for beef."

Wahu, who left Ogopa DJs due to ‘misunderstandings’ regarding the direction of her music at the time, says she is currently not tied up to any producer.

For her, the producer-artiste relationship is a two-way thing.

"All it takes is honesty and effective communication from both parties."

Female rapper, Rat-a-tat feels there is need for producers to pull up their socks as far as communication is concerned.

"It’s sad to note that there are certain producers who have a tendency of feeling underestimated whenever an artiste tries to air his/her opinion as far their music is concerned."

She says because of this some artistes have ended up pleasing their producers and releasing the wrong music."

The musician who left Calif after four years ,due to what she terms as issues pertaining to the production of her music, points out that she has no beef with Clemo.

"I had no problem with sharing money accrued from my concerts with Calif. After all, there are certain production houses that are known to take 70 percent while giving artistes the remaining 30."

Rat-a-tat who says she coping well is on the verge of releasing The Angels album in collabo with Choku later this year.

"This will be followed by my solo album."

Habib who left Ogopa and worked with various producers is currently back working with Ogopa but on different terms. " Let’s just say that there is no contract involved. Once I have paid for my package then we take it on from there."

Without being specific, Habib points out that there are many reasons as to why artistes may find it difficult to cope with certain production houses.

"There are those producers who make it extremely hard to avail themselves for reasons best known to them. Besides, there are also other production houses that do not allow collabos outside their entity making if difficult for the artistes in question."

Habib, an independent artiste, says seriousness on the part of the musician and knowing how to deal with one’s producer is the secret to a good a working relationship.

Colonel Moustapha who has signed a long-term contract with Ogopa DJs says he is doing well.

Moustapha says unlike many production houses, Ogopa believes in perfecting its work. Because of this, a project may end up taking longer than expected which many artistes may find difficult to adjust to. "Working with Ogopa means you need to be very patient and persevering." The musician believes the artiste/producer relationship needs to be given first priority for both parties to succeed.

"It is high time the relationship went beyond work and focused on brotherhood just like in the case of American rapper 50 Cent and Eminem.

Whichever way you look at it, there is no denying that most artistes — be it in the mainstream or up-coming — want to have a taste of Ulopa’s midas touch.

So then, what does Lucas think of artistes he has worked with? "Artistes will always be artistes and so one has to carefully learn them to understand and deal with them," he says.