Rap on the Radio

Matt Altstiel
11/09/06
GLOS 3900

Rap on the Radio?

When one listens to the radio, one is usually struck with the slick formatted productions, the incessant list of shout-outs and the amount of collaboration. The producers running the Hip Hop game today not only have their names prominently featured within an album’s liner notes, but within the individual songs themselves. Many rap records feature a slew of different producers, all lending a somewhat different vision in sound. Interestingly, some of Hip Hop’s most illustrious duos have been rapper/producer combos. In groups such as: Pete Rock & CL Smooth, DJ Hi-Tek and Talib Kweli; it is no coincidence that the producer’s name appears first.

For me the role of the producer has always been somewhat enigmatic. As a rapper with the ability to record my own music on my own computer, I have always wondered how studio production would change my overall sound. Producer Will Ways helped answer some questions, but created new questions in the process. For example, the creative end and the business end, while distinct, are virtually inseparable. I realized that while I have written many lyrics, recorded over fifty songs and created many completely unique beats, I do not actually own any of these. Copywrites, royalty agreements and publishing agencies have assumed paramount importance in the Hip Hop industry.

Ways showed a true passion for making beats for Hip Hop music, that is, the meat and the bones of any good Hip Hop song. I liked the process he used to show how he began with a foundation beat and gradually added distinct elements. As with an individual rapper, the beat projects a certain image. The beat coupled with delivery creates a certain mood and intends to give the listener a certain feeling. Ways believes any good beat should to a climatic sound and continually draw the listener through all of the dynamic elements of the track. Moreover, the producer must be flexible to incorporate what the artist has already created and adds to the overall value by masking artistic flaws. However, it is quite obvious that ways producer heavily formatted commercial music, as the emphasis on both content and delivery is largely neglected. Ways assumes that the average listener is not trying to draw a message out of a Hip Hop song and is just looking for a party track to vibe with.

Ways spent a good deal of time explaining the business end of production and in turn, much about the nature of the Hip Hop business itself. He stressed the importance of getting published, copywriting music and establishing creative legality. Patent law, so to speak, allows for back royalties, but really only ensures the allowance of court action. Therefore, as a producer, or for that matter, as an artist, it is critical to enter into contractual agreements between artist and producer, in order to decide who receives what of the financial pie. Similarly, royalty points and royalty agreements are all a matter of negotiation. Ways explains, “the business element of Hip Hop is almost important than the creative end.” The nature of the business allows for separation between the legal and moral aspects, with Ways learning the hard way the importance of industry practices.

Listening to Ways’ previous productions, one cannot argue with the positive change in recording quality. The vocals come off clean and distinct, the delivery matches the beats, and climatic elements of the beat help propel the track forward. Clearly, in order to be taken seriously as a rapper, one must find a producer who truly complements that artist. However, while the insight Ways provided is invaluable, I almost questions ways intention for producing music in the first place. Which came first, the passion for the music, or the drive to make money?