Jay E wants to prevent others from getting played in the music industry.
There have been numerous reports from top producers who have exposed the fact that labels are not paying producers their rightful pay and are trying to find ways to cut their budgets. Wiz Khalifa’s producer, E-Dan, publicly claimed that Atlantic Records underpaid producers by re-titling rappers albums as mixtapes, “Even when they are full albums.”
In a series of tweets, Metro Boomin went on a rant complaining about Artist Partner Group due to his experience. The “Producer of the Year” tweeted, “PSA to producers everywhere, don’t let Atlantic Records steal your soul” — later clarifying that he was only speaking specifically about Mike Caren, who spearheads APG calling Caren’s company “vultures.” Mike Will Made It and London On Da Track replied to the thread agreeing with Boomin, who said APG “basically just want to slave you and steal your music to make hit.”
Despite the millions of dollars in profit generated by labels from the backs of producers and songwriters, why aren’t hit makers getting their fair share? Even further, how can producers and songwriters protect their music and get paid in full?
I sat down with diamond-selling producer, Jason “Jay-E” Epperson of Basement Beats, the production company that has dominated hits out of the Midwest. The trio has worked with Nelly, Diddy, DMX, Tef Poe, Chingy and more.
They are one of a few producers who probably never have to worry about finances for a few generations to come based on his residual income, royalties and publishing checks. Epperson’s body of work began with the diamond-selling “Country Grammer”, and stretched out to Nelly’s current discography.
He has also worked with Triple 6 Mafia, Good Charlotte, and J-Kwon, and is currently working on that very anticipated Tef Poe project that the whole industry is waiting for. By connecting with one artist in the beginning and building with them, Jay-E’s Basement Beats production company never really had to submit tracks to projects and cross their fingers to be on albums. They may not want to say it themselves, but Basement Beats (Jay-E, Wally Yagnam and Koko Bridges) have been kind of comfortable for the last fifteen years.
Those royalty checks are not expiring any time soon, but Jay-E is driven by his love affair with music, “I never started this for the money. I love music. Even if we had never attained the success we did I would still be making music. You just don’t stop what you love. Now we really want to give more opportunities to young producers and artists who deserve a shot.”
Wally added, “When we made it we were really young and the first in our city to reach that type of success so we didn’t have anyone guiding us so we definitely want to help and educate the up and coming producers and artists now.”
Basement Beats currently dropped The “Jay-E” presents album which features all of St. Louis best artists including Nelly, Chingy, J.R, Fresco Kane, Murphy Lee, J-Kwon and more. “I wanted to do something for my city and show people that we could all really work together. There is a lot of talent here too and amazing up and coming artists that I wanted to give a platform too. As far as business, It is possible to live off of just one hit if your paper work and business is right,” says Jay-E.
Jay continued, “At the same time the music business has changed from when we were teenagers making hit records. I think streaming changed the dynamics but you can still get paid your worth. I strongly recommend that producers and songwriters find an artists or a couple that they can really build with. It just makes it easier for you when you create that chemistry and bond with an artist and you’re able to have a long lasting relationship with them. This way you’re not running around wishing for placements in order to make up for your publishing advance.”
Wally’s top 5 Basement Beats tracks are “Country Grammer”, “E.I”, “Ride Wit Me”, “Shake Ya Tailfeather”, “Batter Up” and “Over and Over.”
Check out Jay E’s tips below!
Copyright your work. Stop submitting tracks and getting tracks shopped if you haven’t even registered your work with the U. S Copyright office. If you have have pride in your creation protect it. You can get the info and fill out the forms yourself online. If you have a body of work they give you option to register multiple works so that can help you from spending too much money.
Create and register your own publishing company. Most of your income is going to come from the publishing checks you receive for your work. The songwriter is entitled to half the publishing of a song and the producer gets the other half. Don’t just sign always your publishing without really reviewing with an attorney what you are doing. This is critical! If you want to know what publishing is check out the link here. Do your homework.
You can do a publishing deal or not. It’s your choice. If you get a publishing deal sometimes it allows you to just be creative because you have a check that you’ve been advanced while youre trying to make hits and get on projects. There are a few different publishing deals but only you know what your situation is. If you own your publishing or a good percentage and have a hit that goes number one, that’s a lot of money you’ll have coming in from radio play, performance, sales etc. You have to examine the deal first and don’t spend your publishing money on stupid stuff, use your money to live a little but invest it into your business, your attorney, and your publicist. Those are the most important people in your career. Your attorney will protect you, your publicist will keep you relevant and visible in the media. You’re going to need certain equipment, studio things and probably traveling expenses to work with artists. Be smart.
– Royalties: Sign up with Ascap or BMI so that you have someone constantly collecting royalties on your behalf and stay on top of them too. Also get your team to get those TV and Film placements for you. That’s always great money!
Watch Jay E and Tef Poe’s “Smokers Anthem” video below.
