CONFLICTS OF INTEREST
by Cedric & Victor Caldwell
continued...

The producer is called into this situation to satisfy both the label and the artist. Can you really be all things to all people? Experience has taught most record labels that artists, (especially new ones), cannot be trusted with a recording budget. This statement is not used to ruffle the feathers of gospel artists, but merely to give one some insight into the mentality of the record label executive. Labels feel that most artists don’t have the studio experience to produce the record themselves so they appoint a producer. In the contract it states the artist will, “at the artist’s expense, hire the producer. Hence, we have our second big “conflict of interest”. The producer’s advance and royalty points come out of the artist’s share, which legally qualifies the artist as the boss. The conflict of interest occurs when the record company pressures the producer to deliver a commercial recording at the expense of the artist’s individuality. The record label wants to sell things in large quantities. They want to reach the masses and possibly crossover into other markets. They reduce risks the same way television networks do by imitating past successes. Therefore the record should be “user-friendly” to the ears.

Let’s give an example of this from another genre of music. Kenny G., the jazz saxophonist, delivers very “user-friendly” records as opposed to most of his counterparts in the jazz arena. His music is superb from a sonic standpoint. The sound quality is second to none, and the simplicity of the arrangements lends itself to the masses. He is frowned upon from the majority of the jazz world as a “sell-out” artist. His simplistic approach to playing has earned him millions of fans, as well as a great deal of criticism from his peers.

The producer is also obligated to the artist “to protect his uniqueness”. This is the area where many conflicts begin. Does this dialogue sound familiar?

Artist: No, No, No! I don’t like that groove on the verses. It sounds like everything else on the radio.
Producer: All right, it’s your record. I don’t want to ruin your vision. I’m just trying to tap into what people want to hear.
Artist: Man, I’ve got to be me! They’ll love my sound. Just wait and see.
Producer: We still have to make an effort to reach people where they are. The label is investing a lot of money on you.
Artist: That’s there job-to invest money. My job is to come up with the “new sound”. Remember Prince and his new “Minneapolis sound”? It took over. I’ve got the vibe for the next generation.
Producer: I’m sure you do, but what if it takes a while for the public to catch on to your new sound? Your record company could lose a lot of money in case your “new sound” doesn’t take the airwaves by storm.
Artist: Are you kidding? That’s why they signed me in the first place. They like the new vibe on the demo. I’m here to rock the boat.

Here lies the fundamental dilemma of the producer: How to make a commercial record and still be original and faithful to the artist’s sound. Successful producers end up being masters of psychology as well as expert musicians with great ears. We have many in our field, which we are proud to know that are great in walking this musical tightrope. Percy Bady, Steven Ford, Kevin Bond, Fred Hammond, Tommy Simms, Buster & Shavoni, Donald Lawrence, and Kirk Franklin are just a few of the producers that we can name that successfully bounce from style to style yet maintain the integrity of the artist, as well as deliver record sales to the labels.

You see, the essence of a producer’s job is to be impartial. He must be able to see the whole picture. He must satisfy the “ego” of the artist by giving him or her something fresh and innovative and yet give the record company the security they need to sell records to the masses. He is somewhat of a “musical fortune-teller”. The producer looks into the future and tries to make the record sound like music will be sounding six months from now. With present trends and fads, this can be like rolling dice. That’s why spirit-led producers have the advantage over the secular producers. God gives us special insight and spiritual discernment, which is invaluable in these type situations. Christian producers don’t roll the dice. God directs our decisions and gives us wisdom to successfully handle the conflicts of interest. With God’s insight, we can be all things to all people.

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