The faces behind big hits

Behind every successful strategic plan, there is a strategist and behind every big song or club banger, there is a producer who may have burnt the midnight oil to make it. They may not appear on stage during award ceremonies but these are the guys behind the beat. DAVID ODONGO and MATILDA NZIOKI caught up with some of them.

That System ya Kapungala and Tobina by Daddy Owen, Kiriro by Allan Aaron and Daddy Owen, as well as Kubackslide by Dunco took the country by storm and raised the popularity of gospel music several notches higher, is not in doubt. One common factor in the songs was their infectious beats. The songs went ahead to earn the artistes awards and accolades, and especially Daddy Owen who had his hands full of awards this year and opted to give some out.

While the songs flourished in the market, the man behind the beats was tucked somewhere in Rift Valley and those who sought his Midas touch had to board an Eldoret Express bus to try their vocals on the guy’s beats. He was later forced to move closer to the city to meet the demands of the musicians so he moved to Thika. It is none other that Dr Eddie, who also won the producer of the year award in this year’s Groove Awards.

Dr Eddie: Dreamland Entertainment

Born Edward Omondi in 1985, Eddie developed interest in music in 1994 while still in primary school. He kept developing his skills, singing in the school choir and in church. While in high school, Dr Eddie would learn how to play the piano, which heightened his interest in music. He also discovered that he was talented in song writing.

In 2002, after finishing his O levels, he decided to do what he thought he was good at — music.

According to him, an artiste needs a good producer to succeed. "We have seen great singers with talent get wasted because they didn’t have access to a good producer," he notes.

"A producer is the one person who will bring whatever is in the artiste’s head into reality. He must have the ability to interpret what the artiste wants," adds Dr Eddie. From a business point of view, unless an artiste is signed into the music label, Eddie points out that a producer cannot do much for him or her. On the other hand, if the two parties have an agreement, then it is the duty of the producer to market the product he has made and make sure it reaches the consumers.

"It’s quite unfortunate that we don’t have a school in Kenya which teaches real music production classes. The available few only teach basics, which in the real sense are only ten per cent of what ought to be taught. The tuition fee for music school is very expensive and very few people indeed can afford it," points out the producer, adding that those who want to learn the art are reduced to trial and error method which is both time consuming and has no success guarantee.

Not that producers do not suffer ‘nightmares’. Eddie says ‘someone going to a producer with loads of cash yet they have no slightest idea of what’s singing is all about’ is an absolute headache. Let’s unmask other faces behind your favourite beats.

Patrick Mbaru Aka Saint P: Homeboyz Productions

Saint P is a gospel music producer who believes music is ministry hence is content that he can attract someone to a life-changing decision through a song with an alluring beat to it. "Making a good beat for me is a spiritual thing, I hit the machines and things just happen, I credit God with my good work," the producer talks of his prowess.

Saint P took a two-week basic course on audio production at Homeboyz before embarking on the art. He is the brains behind the beats of the hit songs: I Live For You by BMF, Me and My House by Eko Dydda and Manyunyu by Jimmy Gait and Rufftone among others.

Babz: Underdawg Records

Babz is credited with the groovy beats on Get Physical by Alphayo, Mnafeel Aje by Chiwawa, Mabingwa by Abbas, Nate and Ukoo Flani and Pages za Bible among others.

"I got started when I was in high school playing the piano for particular functions such as church service and school assemblies, and pursued the interest to sound engineering school where I got my degree in audio production," says Babz.

Babz says he helps artistes find a direction in what they ultimately want to achieve and grooms upcoming and underground mindsets. "I sign up a few artistes, under whom we work on an arrangement in terms of endorsements and album sales," he explains.

According to him, the level of seriousness in an artiste comes first, and then the skill follows. A dedicated artiste will sacrifice many hours just to get the right job done.

Babz notes that a serious producer has to have immense knowledge in business administration, artiste management but a mind of physics and mathematics puts the icing on the cake.

"I get my inspiration from listening to all sorts of music so as to know what to do or not to do," Babz notes.

He says that the money is good and the experience an eye opener, but to him, the hardest part of the job is dealing with sloppy artistes’ performance, failed albums and drug addiction in some artistes, which ultimately lowers productivity.

Steve: Jomino Entertainment

You may have spotted Steve in numerous Jomino music videos. He conceptualised the beats in club bangers Banjuka by DNA, Tichi, Rudia and Whoop by Kenrazy, Una by DNA and P-Unit, Namtaka by Kaya, Kamua by DNG, DNA, Kenrazy, Kaya and Leduc, and also Fire by Size 8.

Steve got into music production while hanging out in different studios in Nairobi. "I have always loved music and I was always fascinated by being behind the computer. I remember as a kid recording mix tapes for guys in the hood so it’s always been a big part of me, and I have never looked back," he gives insight.

Steve goes the extra mile of doing back-up vocals for the artistes to make things perfect. "I take an artiste as a partner and once we sign, I always tell them that it’s like we have started a business together and we need to make it work," the producer notes.

To him, there’s no school that will teach creativity. Sharpening production skills and getting a firm grip on some business know-how is all a producer needs.

"When I started out, there were people who thought I was just here for fun, but I’ve stuck around and now I’m expanding and doing things that weren’t in my initial business plan," concludes Steve.

Jesse Bikindu: Ketebul Studios

Jesse’s name is pinned on the beats in award-winning tracks such as Si lazima by P-Unit, all songs by Bobby Mapesa, as well as the latest Suzzana Owiyo’s album amongst others.

"I learnt to play the guitar and piano while in primary school. From there it was a slow progression into making beats, and finally being a producer," he explains. Music production and sound engineering diploma or degree are education requirements he deems important for every producer. Jesse also thinks that the biggest misconception about music producers is that they make a lot of money off artistes.

" I like the game as creating something from scratch to hearing it three months later topping charts is an awesome feeling. The worst is when you do some amazing job and someone denies you credits to the song, especially if it is a hit," he says.

Although prior to recording an artiste Jesse considers talent, he admits sometimes the need to pay the bills leads producers to record anybody and later try to make them sound better.

Michael Mukama Alias Othole: Ndani Ya Nyumba Productions

We celebrate Othole for the beats in the chart topping Niko Na reason by Holy Dave and Eko Dydda and co-producing the remix of I Can Do It by Joey, Astar and Holy Dave. "I enjoy doing music production, I didn’t go to school for it, D-ice Mbuvi’s brother taught me the trade. Othole felt that most producers who were doing their songs as a rap group were worse than what the group did in the demo tapes, so he decided it’s something he wanted to pursue.

Apart from finances, artistes not understanding that Othole specialises in urban hip-hop are a challenge. "I’m a professional and I prefer specialising so as to be the best at what I do, I always refer the artistes who want other genres to relevant producers.

He agrees with Dr Eddie that an artiste who knows what they want made the work for a producer so much easier.