Lawrence Emmanuel (born May 12th,), better known by his stage name Jamix, is a Nigerian record producer. Jamix has produced albums and singles for a number of artists from the early-2000s to the present day. Jamix's first full credit production work was in 2002 on “LOD” for Hip-hop Rap Artist O.D and Ruleclean’s 2002 album “Pozitive Poetry”. After further successful work on OD’s 2nd album in 2007 “Don’t Hate” with the hit single “Don’t Hate” Black Solo’s 2008 album titled “My Shine” with the hit single “Friday Nite”, and Numerous number one hit singles for Mode 9 “Nigerian Girls” , Faze’s “Kolomental” and “Kpo Kpo Di Kpo” (remix) Styl plus “Always On My Mind” etc. Jamix became a prominent producer for R&B and hip-hop artists in Africa. Initially he released a single “Which One” featuring A.T & Six Foot Plus in 2007 with a widely accepted hip hop acclaim. He is currently working on the promotion of his new single “Omo Naija” featuring Terry G, 9ice and MI. which is already on major airways around the country. Mini Biography Born Lawrence Emmanuel on May 12th to an equally music loving parents in Abeokuta Ogun State, Nigeria. Music began for Jamix as a child as he found love in playing the drums in ‘92 further down the line, he fell in love with the keyboard in ‘97 which he mastered in no time as his music art transformed through the years this young maverick pushed his ante higher, veering into music production and within the span of eight years ’98 to ‘08 precisely Jamix had worked with an enviable crop of Nigerian artistes, churning out number ones on Africans charts.
The winner of the 2010 Finest Girl Nigeria beauty Queen Awards Mary Adams has official signed a deal with 9jabeats.com to become the new face of the brands online advertising campaign.
Capital Hill Music debuts KEL’s THE INVESTMENT, which marks the first album for both the label and the artiste. The 19-tracker hit the stores on Monday, August 17, 2009; The album features songs like: ‘Turn by Turn’, ‘Love’, ‘Jeun Soke’, ‘Boy meets girl’, ‘Omo Yapayaski’, ‘Nobody Else’ to mention a few.According to Clarence A. Peters, CAPital Hill Music CEO, “Kel’s The Investment, unlike what many people might expect is a lot more mature; it is one that you need to listen to, to enjoy as there was just a much attention on the lyrical content as there was on the beats.
The album takes you through a path, from the urban sounds, to stories about love, and to commercial sounds.”In making this album, the recently crowned ‘Discovery of the Year’ at the Soundcity Music Video Awards, KEL worked with producers like Jesse Jagz, J. Martins, Dokta Frabz, Micworx, Tee-y Mix and Tha Suspect, the CAPital Hill Music in-house producer, who particularly worked closely with KEL in making sure all songs on THE INVESTMENT were excellent.
The 23 year old ‘Waa Wa Alright’ crooner, first hit our airwaves with her verse on IllBliss’ ‘You go wound’ remix; since then KEL, strongly supported by her record label, CAPital Hill Music, has gone on to show that she is indeed not a flash in the pan but here to make good music for a very long time.According M.I, who features the album, “what are the undisputable facts; Kel changed the game when she arrived, gave new fire to the female MC argument and challenged for best female rapper off of ONE single! From charisma, to her swag, to her voice and her smile, I would argue that we are about to witness greatness!…”The album, which was earlier anticipated to drop earlier this year, has surprise features by Tosyn Bucknor, Shola Thompson and OC Ukeje; and collaborations with artistes like Shank, Wizkid, IllBliss, , Durella, YQ, Iceprince, SLK et cetera. Following the release of her debut album, Kel will set new standards for female artists in Africa. KEL represents the average girl, who grew up in a regular environment, discovered a knack and gift for rap and then committed herself to making the best of it. Looking for a good hip hop deal…invest in THE INVESTMENT!
A good thinker has asked about how many of us ever stop to think of music as a wondrous link with God; taking sometimes the place of prayer, when words have failed us. Indeed music knows no country, race or creed, but gives to each according to his need. Music is the best of all art forms and luckily the easiest to acquire. It is only the musician who can talk to the whole world at once and be understood by all. Like all other societies, music is an essential part of the Nigerian society. Nigerians are therefore justifiably addicted to music. They make good music and have over the centuries had a positive influence over the music genre and style of other parts of the world. Look at how American popular music forms like Blues, Jazz, Rhythm and Blues, Hip Hop or the Caribbean reggae and calypso bear the distinctive mark of the drum that originated in Nigeria and other parts of West Africa. From India to the Latinos and from Brazil to Cuba the pervasive influence of the drum in their music is unmistakable. There is hardly any popular music in the world today that is not hot on the drums. But like anything indigenous to Nigeria, Nigerian music has had several shifts and tendencies due to its receptiveness and dynamism.
All generations of Nigerians have had music of their generation. Yesterday’s reigning music is today’s oldies and our contemporary music would surely be old school to our children. Although the various nationalities in the country have retained their specific rhythms and melodies that we call traditional music, much of the popular or commercial music in the country today is a fusion or assemblage of American, Western, Caribbean or other world styles and Nigerian and other African beats. Nigerian musicians are understandably an integral part of the world music. Most young musicians in Nigeria today brand their kind of music as Afro Hip Hop, meaning that despite the western or foreign influences, Nigerian or African beats still form the benchmark of their music. Even though some of them merely mimic established American musicians, the majority of them justify their claim with their lyrics, beats and dance styles. If all other aspects of our lives have been adulterated by foreign pressures, there is no reason for us to expect our music to be insulated from foreign influences. In between this however, is the awareness that music is the most singular preserver of culture. To abandon the job of preserving the ‘Nigerian’ in the Nigerian music to the market place is like leaving mice in the custody of a cat. Techonological and scientific advantages of the music from the west enhances its all conquering nature and the unfortunate complex that our elites have for foreign music makes it imperative for all those who should be concerned to give a fillip to those who are putting out themselves to preserve the Nigerian element in our music.
The fear of the colonizing nature of foreign music especially that from America is legitimate and real. The Americans and Britons are making all the billions with their music and this fact gives the impression that theirs is the real Mc Coy. But those who know, know that there is something more than music in their music. We shall return to this issue later. The good news is that the strong patriotic and cultural pride of the average Nigerian has helped to keep Nigerian musicians in check in their capitulation to the strapping of foreign influences. Most Nigerian musicians that have been able to earn a living from music do so because they have the wisdom of striking a good balance between the media imported music and specific Nigerian beats. Although Nigeria has lost most of her good producers to America and Europe, some of them around have been doing a good job. Those of them that have a clear world view understand the influence of African beats to the monumental successes of contemporary American and European musicians. This gives them confidence and encourage them to incorporate considerable African beats in their productions. This is partly the reason for the distinctiveness of the Nigerian music and why it is easily recognizable anywhere in the world. Executive producers or music labels have also been making sacrifices of moderating the profit motive and the duty to promote the Nigerian cause.
Beyond the efforts of average Nigerians, Musicians, Music promoters and Producers is the need for the authorities to realize that music is not only an effective colonizing tool but also a multi billion dollar business. Apart from oil, and perhaps the movie industry, there is no other industry or sector that has the potential of earning easy but well earned money for this country than music. Like the movie industry, the music industry is environment friendly and its raw materials are the millions of talented men and women that abound the nation. The average annual market of music worldwide is in the excess of $40 billion. The annual income of the big four record companies in the world(Universal Music Group, Snoy BMG Entertainment, EMI Group and Warner Music Group) is much more than Nigeria’s annual earnings. Whereas some countries can boast of musicians that have sold hundreds of millions of records (ABBA/Sweden, The Beatles/UK, Bing Crosby/US, Led Zeppelin/UK, Madonna/US, Nana Mouskouri/Greece, Michael Jackson/US, Elvis Presley/US, Alla Pugacheva/Russia, Cliff Richard/UK and Frank Sinatra/US have all been said to have sold in excess of 350 million copies)Nigeria can hardly boast of a musician or musical group that have sold up to ten million copies for the whole of their career. This is in spite of the exceptionally talented musicians that the country is endowed with. America, Britain, Germany and France dominate the hit lists for obvious reasons: they own the big record companies. Their governments put a heavy premium in music and therefore protect the music industry like they protect their tax base. The bad guys know that f..king with the works of musicians is like playing with fire.
Nigeria used to host local affiliates or subsidiaries of world class record labels but the pirates have been suffocated out of business. Piracy has supplanted legit business in the music industry. Piracy has not only knocked out the essential backbone of the music industry but has also destroyed the careers of musicians that could have made a respected contribution to the global music phenomenon. The pirates have dismantled all the structures of the music industry (the activity of companies and individuals that share the aim of promoting performers and selling legitimate recorded music) and erected in their place crude and primitive structures of the one man one shop business. The Music industry is now populated with people who do not have the professionalism and interest to make good musicians or good music. People now run labels when they have no idea about music or the making of music. Anybody that can open a beer parlour or a spare parts shop can now run a record label. It is heart rendering and awfully pathetic.
In places where the menace of pirates is curtailed, the record labels dominate the industry. The record labels employ the best hands in the land to produce world class musicians and music. They own first class studios and a ring of distribution marketing and retail outlets that promote sales and enhance the economic stature and of course the capability of the musician to compete with the very best in the world. The record labels also work with a chain of professionals whose expertise is indispensable. To begin with, there are music agents (the Americans called them Artists and Repertoire (A & R) representatives) whose business is to recommend artists to labels after assessing them either in terms of their demos or performance in concerts. These agents can smell a good and talented musician from afar that is why their judgments are relied upon by labels. The agents also work with scouts who hop from place to place or stationed in a particular place. On their part, musicians know that the bottom line of their career is commerce and as such they need to package themselves or be packaged like any other brand in the market place. To enhance their profile and chances of being noticed by scouts or agents or signed by labels, Musicians employ managers who are knowledgeable about the workings of the industry and have links and contacts that they can tap to impact favourably on the musician. The fee of the manager is mostly standardized and may not be beyond 20 per cent of the musicians earnings. Since the remuneration of the manager is dependent on the earnings of the musician, it becomes very important for him to work hard enough to swell the purse of the musician. By Sam Kargbo
Born in the early 1980s, real name Stanley .I. Ikegbulam is first of five children (Richie, Lillian, Chima, Mary) all raised in the city of LAGOS. Nickname 5mics which was named as a status for his rap skillz also earned by known rap act in the likes of Nas, Jay-Z etc. Parents Mr Ben and Mrs Felicia Ikegbulam who both hail from the East side of Nigeria, Imo state, made sure 5mics was exposed to anything and everything that was in their enviroment, which he (5mics) credits as a major influence to his person and skill as an mc. 5mics is a devout Christian and a deep thinker who likes to listen to neo-soul, rock, jazz, afro-beat and also loves the ladies and likes to chill.
He explores artistic regions beyond your comfort zone with combination of genreâ€™s into hiphop with the credibility to resonate with African and international hiphop heads, the average minds, music lovers and to agberos in the streets. He started rapping since 1996 which was around his ss1 in school, and was influenced and grew up listening to Nas, EPMD, Biggie smalls, 2pac, Rakim, Eight Ball, Boot camp Click, Wutang, KRS One, LL cool J, Def squad, Ruff Ryders and many more.
Mode 9 grew up in London, England. He came back to Nigeria in 1979, where he studied Building Technology. While in school (Bida Polytechnic) he met Ayo Animashaun, a publisher who eventually introduced him to SOLO DEE, a quantity surveyor (and one who would eventually make Nigerian hip-hop mainstream popular) who mentored him and introduced him to real hip-hop. During this period, Mode Nine met, through SOLO DEE, other rappers who have elevated the art form, such as Loknan 'Eldee' Dombin, Mista baron, Six Foot plus, De Weez and El-Cream and together they formed the super group AFTERMATH. The name of the group later changed to SWAT ROOT following the adoption of the name by Dr Dre for his record label. With SWATROOT, mode Nine work on as many as 18 tracks before graduating from school.
Mode Nine graduated in 1999 and had his National Youth Service Corps program in Calabar. His parents were not pleased with him when he dabbled into music in 2000 since as typical parents, they wanted him to get a job. For him, it was like a dream come true since he had always loved music, especially rap music. He pictured himself doing what 'Rakim' and 'Eric B' did on TV. He hung out with friends in school rapping and he wanted to make a rap album in 1991 for the fun of it. Mode 9 moved to Abuja having secured a deal with Payback Tyme Records to work on his album. He had to wait through the production and release of albums of his label mates Six foot Plus (Millennium Buggin' 2001) and Terry tha rapman (Rapmainfestation). Mode Nine concluded the production work on his album IX Files working with Payback tyme Records producers such as Mr Baron, Eldee, Da Capo and Ross Oscar. The release of the album was however delayed through the production of other label mates such as Rule Clean who scored a massive hit with the track 'Watin I want', OD, JINNI and Eldee.
Mode Nine had to return to the studio to redo the entire IX Files album since the earlier recording had become dated owing to the massive improvement in his rhyme style and flow. the rework on the album paid off with the massive hit "It's about to get ugly". This track raised Mode Nine to icon status. He later worked with Rhythm 84.7fm in Abuja (a sister station to Rhythm 93.7 Lagos). He worked as a small time radio presenter featuring established rap acts like Terry Da Rapman and Six-Foot Plus. He quit a years later and moved back to Lagos to promote the mixed tape Malcolm IX he released while in Abuja with Payback Tyme records. Malcom IX was not however a Payback Tyme Records release but an independent effort on the part of Mode Nine. This brought him in tight competition with other hip hop acts in very hard-to-be-known music industry where rap itself has fully reached a grand lucrative stage compared to the US. The mixtape called Malcolm IX released in 2004. It had tracks like 'Head','Orisuna basement freestyle' and '419 state of mind'. The latter was played on Rick Dees top 40. While promoting the mixtape in Lagos Mode 9 met with the CEO of Question mark known as Luciano Gabriel a number of times, but a show at French cultural centre tagged 'E ka bo'. Kevin was impressed by mode 9 performance and he invited him to come feature on one of the street Monks tracks.
At Questionmark entertainment he propelled the underground the music to mainstream when he dropped the deserving 5 mics album called Pentium IX which sold out completely (10,000 copies). This album contains tracks like 'Rock on', 'lagos state of mind'. Pentium IX has set a new standard for other rappers coming out with album. Mode 9 has performed alongside some of the finest emcees like Guru of Gangstarr in 2003, Wyclef Jean and in 2005 he opened for Akon in Port Harcourt, Nigeria. His last single CRY featuring label mate Nnenna got massive airplay and on 15 October 2006. Mode 9 won 3 Channel O awards.
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