A lot of factors come to play on this subject matter about who is
appropriately deserving for the credits to a hit song, whether it
is the music producer or the artiste. The way our industry
operates, it is undecided, the strings that determine the hit status
of a song. It goes beyond just having panache vocals, a
popularly known producer giving mad beats and Suka Sounds
in the mix. There’s even songs that never saw the light of the
charts simply because no proper hype was attached to it,
notwithstanding the fact that it checked all the right boxes. In
some shores outside of here, songwriters even demand music
credits as part of their rights considering they’re the ones
responsible for the lyrical framework.
More times than not, when a song becomes a hit, the artiste is
extolled for his (or her) level of genius exuded on the track and
so for the purpose of this post, I shall be focusing on the two
parties involved in making the music (sounds), which has
largely become the basis for our judgment – the artiste and the
music producer. In furtherance to adjudging this matter, it will
be noteworthy to always consider the prominence of both artiste
and producer, their technical knowledge of their art (singing
and music production) as well as the hit songs in question. Let
me start with Don Jazzy (I bet you already guessed it), his heavy
involvement in music matters not only brought him to the
forefront of affairs but has kept him as a constant front row
player, which continues to set him apart from his colleagues in
the industry. This also explains why almost everyone wants to
get him on their track because his records speak volumes. Is it
Korede Bello or Dr Sid, even D’Prince, Di’Ja and then Reekado
Banks? The trend stays consistent as he continues to churn out
hit productions for his Mavin crew. I obviously won’t forget to
mention D’Banj and Wande Coal, and how their different paths
have swiveled since severing ties with Don Jazzy.
Cobhams is another producer whose art is equally vested in the
music. His trend isn’t any different and that’s why Timi Dakolo,
Dare Art Alade, Bez especially haven’t looked else where since
realizing he had already developed a penchant for making their
individual magic tick. Even Banky W, when he feels pressed to
go back to his roots, he looks no further than Cobhams.
Samklef would be the producer that founded the Wizkid sound
and tailored it into some level of consistency. Back then, you
hear Wizkid and you just think… “this is Samklef!” The excuse
now is that Wizzy’s sound has gone international, yet there’s
that Samklef fine-tune in Wizkid’s songs that we really used to
love but no longer get anymore since he parted ways with him
for good.
Could I possibly forget OJB and J. Martins? Never! These two
are responsible for a large amount of hits from the early to mid
millennial era. And their discography covers works from 2face
Idibia, Ruggedman, D’Banj, Wizkid, Durella, Goldie,
Resonance, Yemi Alade, Waje, Nolly B, P-Square, Flavour and Bracket
(just to mention a few) respectively. OJB is that guy whose
production launched a fine crop of today’s a-list artistes into
fame and J. Martins has never relented in well-doing since
since. Many artistes owe these two real big!
There’s also Masterkraft, Tee-Y Mix, Pheelz, D’Tunes, Young
John, DJ Coublon and their likes who amidst the tight
monopolistic turfs associated with the industry, they still shone
through like diamonds from their rough to stealing seats at the
high table and eventually becoming the most sought after
producers of today. Alternatively, there are instances with some
producers where the artiste has succeeded in building a
personality that will always overshadow the producer’s works.
This is evident with the likes of Selebobo and Shizzi whose
stellar works can be tied to unarguably Africa’s best artistes,
Yemi Alade and Davido. No matter how epoch their inputs are
in the music, we might never really get past overlooking Ms
Alade and Davido to herald their producers solely for the genius
work done on their records. Leriq suffered this feat with Burna
Boy as with Del’B who still experiences same with Chidinma,
Flavour, Wizkid and even Kcee. For those of us conversant with
industry trends, you must have noticed that more producers are
turning artistes in a bid to fight this anomaly. Those with vocal
prowess have taken to singing while others who have crafted a
signature sound, task themselves with doing collabos. Oh, I just
remembered Sarz now. He was quite the bad guy then and
calling the shots. Although he remains respected but he is
hardly ever remembered seeing as he has almost fizzled out into
oblivion now. The thought is indeed very painful.
Thankfully, this isn’t an ill that has befallen only us here in
Nigeria, it’s a global fight that has been on for decades.
Producers all over the world are not duly recognized or well
appreciated for their efforts and contributions to building the
industry. This would explain the movie “Straight Outta
Compton” starring Dr Dre, Ice Cube and a couple other
international producers trying to pass a message across
although from a racial angle but we get the big picture. Some
producers never get any attention and the little recognition a
few others get, is sometimes not even enough. Now, they have
all resorted to lacing their sound tags on every production they
ever laid their hands on by a means of announcing themselves
(and their works) to the world. Will that ever be enough?
Obviously not. Even if it’ll suffice on the interim, how long
really will it last?
It’s over to you guys… care to join me speculate?
Written by Nolly B.
@Iam_NollyB
appropriately deserving for the credits to a hit song, whether it
is the music producer or the artiste. The way our industry
operates, it is undecided, the strings that determine the hit status
of a song. It goes beyond just having panache vocals, a
popularly known producer giving mad beats and Suka Sounds
in the mix. There’s even songs that never saw the light of the
charts simply because no proper hype was attached to it,
notwithstanding the fact that it checked all the right boxes. In
some shores outside of here, songwriters even demand music
credits as part of their rights considering they’re the ones
responsible for the lyrical framework.
More times than not, when a song becomes a hit, the artiste is
extolled for his (or her) level of genius exuded on the track and
so for the purpose of this post, I shall be focusing on the two
parties involved in making the music (sounds), which has
largely become the basis for our judgment – the artiste and the
music producer. In furtherance to adjudging this matter, it will
be noteworthy to always consider the prominence of both artiste
and producer, their technical knowledge of their art (singing
and music production) as well as the hit songs in question. Let
me start with Don Jazzy (I bet you already guessed it), his heavy
involvement in music matters not only brought him to the
forefront of affairs but has kept him as a constant front row
player, which continues to set him apart from his colleagues in
the industry. This also explains why almost everyone wants to
get him on their track because his records speak volumes. Is it
Korede Bello or Dr Sid, even D’Prince, Di’Ja and then Reekado
Banks? The trend stays consistent as he continues to churn out
hit productions for his Mavin crew. I obviously won’t forget to
mention D’Banj and Wande Coal, and how their different paths
have swiveled since severing ties with Don Jazzy.
Cobhams is another producer whose art is equally vested in the
music. His trend isn’t any different and that’s why Timi Dakolo,
Dare Art Alade, Bez especially haven’t looked else where since
realizing he had already developed a penchant for making their
individual magic tick. Even Banky W, when he feels pressed to
go back to his roots, he looks no further than Cobhams.
Samklef would be the producer that founded the Wizkid sound
and tailored it into some level of consistency. Back then, you
hear Wizkid and you just think… “this is Samklef!” The excuse
now is that Wizzy’s sound has gone international, yet there’s
that Samklef fine-tune in Wizkid’s songs that we really used to
love but no longer get anymore since he parted ways with him
for good.
Could I possibly forget OJB and J. Martins? Never! These two
are responsible for a large amount of hits from the early to mid
millennial era. And their discography covers works from 2face
Idibia, Ruggedman, D’Banj, Wizkid, Durella, Goldie,
Resonance, Yemi Alade, Waje, Nolly B, P-Square, Flavour and Bracket
(just to mention a few) respectively. OJB is that guy whose
production launched a fine crop of today’s a-list artistes into
fame and J. Martins has never relented in well-doing since
since. Many artistes owe these two real big!
There’s also Masterkraft, Tee-Y Mix, Pheelz, D’Tunes, Young
John, DJ Coublon and their likes who amidst the tight
monopolistic turfs associated with the industry, they still shone
through like diamonds from their rough to stealing seats at the
high table and eventually becoming the most sought after
producers of today. Alternatively, there are instances with some
producers where the artiste has succeeded in building a
personality that will always overshadow the producer’s works.
This is evident with the likes of Selebobo and Shizzi whose
stellar works can be tied to unarguably Africa’s best artistes,
Yemi Alade and Davido. No matter how epoch their inputs are
in the music, we might never really get past overlooking Ms
Alade and Davido to herald their producers solely for the genius
work done on their records. Leriq suffered this feat with Burna
Boy as with Del’B who still experiences same with Chidinma,
Flavour, Wizkid and even Kcee. For those of us conversant with
industry trends, you must have noticed that more producers are
turning artistes in a bid to fight this anomaly. Those with vocal
prowess have taken to singing while others who have crafted a
signature sound, task themselves with doing collabos. Oh, I just
remembered Sarz now. He was quite the bad guy then and
calling the shots. Although he remains respected but he is
hardly ever remembered seeing as he has almost fizzled out into
oblivion now. The thought is indeed very painful.
Thankfully, this isn’t an ill that has befallen only us here in
Nigeria, it’s a global fight that has been on for decades.
Producers all over the world are not duly recognized or well
appreciated for their efforts and contributions to building the
industry. This would explain the movie “Straight Outta
Compton” starring Dr Dre, Ice Cube and a couple other
international producers trying to pass a message across
although from a racial angle but we get the big picture. Some
producers never get any attention and the little recognition a
few others get, is sometimes not even enough. Now, they have
all resorted to lacing their sound tags on every production they
ever laid their hands on by a means of announcing themselves
(and their works) to the world. Will that ever be enough?
Obviously not. Even if it’ll suffice on the interim, how long
really will it last?
It’s over to you guys… care to join me speculate?
Written by Nolly B.
@Iam_NollyB
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