i wonder why with these RnB artist that be flashing all kinds of cashing, buying expensive things, why theydon't spend the money and hire super producers like a quincy jones, teddy riley, babyface or jimmy jam and terry lewis to produce some tracks for their albums. I understand many may not be able to afford them in their primes but these dudes are not in their prime and probably got a few more hits in them. Seems like an easy win. Why pay wannebe beatmaker $$ when you could hire anyone of these superproducers for the same $$ and get not only a hit but the privilege of saying "so&so" produce this song.
Why not hire superproducers?
- Thread starter dasailr03
- Start date
You answered your own question. More affordable to put on an "up and coming" than an established name who most likely gonna take most of the credit and the money for your song.
Most of the people you named were not only producers, but renowned songwriters.
All those hits that Babyface wrote for Toni Braxton.....all the ones that Jimmy Jam and Terry Lewis wrote for Boyz II Men......
whenever those songs get played on the radio......Babyface, Jimmy Jam and Terry Lewis get paid for it..............not the actual artists.
These new artists would rather write the crappy shit that they do in order to keep more of the money for themselves.
All those hits that Babyface wrote for Toni Braxton.....all the ones that Jimmy Jam and Terry Lewis wrote for Boyz II Men......
whenever those songs get played on the radio......Babyface, Jimmy Jam and Terry Lewis get paid for it..............not the actual artists.
These new artists would rather write the crappy shit that they do in order to keep more of the money for themselves.
Makes sense to co-write and not have anyone have total control of your future earnings. I.E. Janet Jackson. Most 'producers' get paid upfront unless they also wrote or co-wrote the music. These 'beat makers' are making a killing just making beats! Not realing saving any money unless you find a local upcoming cat. Top beat makers are getting hundreds of thousands of dollars for beats which is fucking crazy. I should have gotten in the game. I was doing that shit for myself back in the 80's and 90's.
This is exactly it. I remember in the mid-90s at the height of Toni Braxton success she was fighting to get 50 cents a CD. 50 cents off of a $15 CD. She wasn't even getting that.
And what little she was getting she was paying motherfuckers off of that.
The entire music business is a fucked up model. Everybody and I mean everybody gets paid off of what the star does and the star gets what's left over. And some labels try to make the star pay for shit out of what's left
Remember the $1.87 New Edition had to split after the label sold out tours in the UK saying they had to pay for hotels and limos, etc, THAT SHIT WAS ALREADY PAID FOR BY SELLING OUT THE STADIUM or should have been negotiated to get the artist to play the venue.
Why do you think you see the one, two, three, Greatest Hits and then done model with almost every artist out there?
First CD is fire, second CD is not as good as the first, but still solid, the third CD is average to decent. In between the first and third CD is some fighting between the label trying to get more money and after the third CD there is a greatest hits and then the artist is gone , and most never even make it that far
Toni was just a voice. When you are able to write your own songs....it makes a hell of a difference with the money thats put in your pocket. If u can also produce....then thats even more.
Thats why shes continuously doing shows day in and day out. The majority of that show money comes to her. But she aint seeing a cent of whatever residuals come in from songs being played on the radio. Babyface pocketing all that shit.
To this day, i have yet to see one songwriter give up their rights and credit to a song just to make the artist feel better.
Why do that when their fans probably aren't paying attention to the lyrics anyway so paying these guys to write their shit is unnecessary and they can get some cheap producer to do their shit who is likely to jack some shit that the superproducer did years ago anyway.
My point of the question was.... why spend money on lets say a bently or lambo when you can take the same $$ and pay quincy or babyface produce a song for you and get a hit. hell, you can negotiate in your fee that you will get co-producing credit, this way if the song is a hit,you can eat also. If i was a singer and had $$ to blow, instead of buying jewelry, making it rain, a car i can't drive, I'd spend it on babyface to produce a track, hoping i got a hit too deepen my catalog.
-An artist with Bentley money already had a hit/hits
-big name production doesn't guarantee a hit song
-young artists target demos barely know who old producers are, nevermind being motivated to buy music because they made it
-stop counting niggas money
This whole premise all wrong honestly
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Those super producers don't want to work with non of these artist who come into the studio with a posse and want to use auto tune.
Why waste a great song on Chris Brown,let him keep his dancing ass where he's at.
R&B isn't dead it's just on the chitlin circut and a lot of artist need to do the independent route and if they can't that means all they are is a voice and everyday a star is born so you can't do much for them cause they need the machine to make them.
Why waste a great song on Chris Brown,let him keep his dancing ass where he's at.
R&B isn't dead it's just on the chitlin circut and a lot of artist need to do the independent route and if they can't that means all they are is a voice and everyday a star is born so you can't do much for them cause they need the machine to make them.
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right
Because time goes on and things change
The end
The end
Well….. its called recoupment. She got an advance and the machine worked its magic for her. U think they fronting all that money and it not be in their best interest?
Doesn't the artist get 25 or 50 depending on how they split the credits?
Artists don't get paid from radio play if they dont have writer credits.
thats why DJ Khaled makes sure he screams "Deeeejayyyyyy Khaleddddddddddddd...........................weeee da bestttttt musicccccccccccccccccccc" on
damn near every track so that he can get writer's credit eventho he doesn't rap a lick........so that he can get broke off from that radio revenue.
Whitney Houston didnt get a dime each time "I Will Always Love You" was played on the radio..........it was Dolly Parton gettin paid because she wrote it.
Khaled aint have to say nothing, he coulda just negotiated his split. Just like all artist can.
The dream be giving his baby mommas credits from his songs so they can be straight
The dream be giving his baby mommas credits from his songs so they can be straight
see below....
radio falls under performance royalties
the producer of a song gets 50% of royalties - song writers get the other 50%
Dream and DJ Khalid don't negotiate their production % unless they are sharing credit for the song's composition (melody beat etc - sample clearance)
The artist / performer if not writer or producer only gets mechanical royalties = % of sales
and if they have leverage and a bit of help they can negotiate % of master royalties
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Oh I get it. In America it's called business, it just doesn't really benefit the artist much if at all
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