February 01, 2017
Record producer Smoodface says the Jamaican music industry lacks professionalism and the requisite quality control that are necessary for practitioners to earn big bucks from the music.
“The local space has a crab inna barrel culture that is hampering the growth of the music internationally. This is why the foreigners are using our content and making millions from it while we fight against each other for peanuts. Two key factors separate our industry from our more successful American counterparts, one is professionalism and the other is quality control," Smoodface said.
Smoodface is known for his work on hits like Tom Cruise by Don Andre and Mek The Money by Alkaline.
The producer said that when artistes choose money over quality it will ulultimately destroy Jamaica’s rich musical heritage and undermine the work of other acts who are trying to make a positive impact on the world.
In a recent interview with THE STAR, Smoodface highlighted recent attempts by some overseas media outlets to re-brand dancehall with new labels like Tropical House. He is of the view Jamaican musicians should be working overtime to hone their craft so as to reduce the level of exploitation from foreigners.
"As a body we need to stop this. As a group we need to be more consistent as it relates to ensuring that the music we release is always properly recorded, mixed and mastered. We need to ensure that quality is not a limiting factor and we also need to do the required paperwork to ensure that what is due to us we will receive,” he said.
Artistes like Drake, Rihanna, Tory Lanez, Magic, Adam Levine, Justin Bieber, Sia, Major Lazer among others have managed to climb atop the Hot 100 Billboard chart with reggae/dancehall hits. However, despite releasing millions of records per year, Jamaica-based dancehall/reggae artistes are rarely visible on that chart. Smoodface blames the quality of the Jamaican product.
“Many of these overseas based major labels simply copy our content and produce it at a higher quality. They then successfully market it to an undiscriminating dancehall-thirsty international market simply because we failed to do our homework and have our house in check,” he said.