Burna Boy, Ceeza Milli and the Agony of Nigerian Songwriters

There has always been a silent disdain for songwriters in the Nigerian music industry. Recently, Grammy-nominated music star, Burna Boy and Aristokrat Records act, Ceeza Milli engaged in a social media brawl that attracted the attention of music-loving Nigerians. The latter had said during an interview with City FM, that he made significant inputs to the writing of Burna BOy’s 2018 hit single, On The Low.

This claim didn’t sit well with the self-acclaimed African Giant and he reacted with his characteristic fervour. In a series of tweets, in which he tagged the Soco singer a spinless liar, Burna Boy threatened repercussions, which do not preclude physical assault next time he comes in contact with the claimant.

But that was not the end of the exchange. After Burna Boy’s repudiation of  Milli’s claims, the latter took to his Instagram, to insist that he indeed conceptualised and contributed immensely to the creation of the song.

Explaining how it all happened,  Milli said he was invited for a studio session by his record label, Aristocrat, to work on a project with another label mate featuring Burna Boy. According to him, On The Low’s beat which was produced by Kel P was done for another person who at the time had not voiced it.

Milli maintained that even though Burna Boy changed some parts of the song, he made the intro to the song on his phone, after which they recorded it in the presence of some of his record label executives. This altercation, which has not been entirely resolved, raised questions as to the place of songwriters in the Nigerian music industry.

For the record, this is not the first time a Nigerian artiste will be called out for reasons like this.

From Blackface’s claim to writing 2baba’s African Queen to Dammy Krane’s claim to writing Wizkid’s Baba Nla and Runtown’s claim to writing Davido’s Aye, the music industry has often been divided over the true owner of one piece of work or the other. Most times, these controversies remain unsolved. 

Observers of the Nigerian music industry hold the opinion that performing artistes do not like to be associated with songwriters. This, as many claimed, is because many of these artistes think it may detract them from the success of their efforts, as Nigerians see such artistes who employ the services of songwriters as untalented and lazy.

Songwriting Elsewhere

Songwriting and the attendant song publishing are however thriving sectors of the music industry elsewhere. Unlike Nigeria where songwriters and the artistes that patronise them are subject to mockery and ridicule; most developed industries can boast of decades of synergy between songwriters and performers. The contributions of professional songwriters is indeed a factor in the careers of many artistes; whose career stood all tests and challenges.

For example, many of the hit singles performed by Frank Sinatra and Elvis Presley in the 1940s and 1950s; Rihanna and Justin Bieber of today,  were written or composed by other people.

For instance, Sinatra’s Summer Wind was written by Johnny Mercer, a renowned American lyricist. Presley’s Always On My Mind was written by Wayne Carson, Johnny Christopher, and Mark. Benny Blanco and Ed Sheeran co-wrote Bieber’s Love Yourself, and Joseph Angel wrote Rihanna’s Love On The Brain. 

Although Nigerian artistes also employ the services of songwriters, they fail to give credit for the intellectual contribution of these professionals. The effect of this is that many songwriters remain unknown forever.

Nigeria’s Songwriters’ agonies

Songwriters in Nigeria are no doubt the most challenged in the music industry. Since a songwriter does not necessarily have to perform his or her songs, it is almost impossible for them to see the limelight without the acknowledgement of singers. 

Saucekiz, a Nigerian songwriter explained in an interview with eelive.ng that the problem faced by songwriters in the country goes beyond the denial of credit, to the complete appropriation of the songs and the writing by some artistes.

He told eelive.ng: “The truth is almost all musicians prefer to write their songs because they are stereotypes already. You will see them denying that their songs that someone else wrote, when in the real sense, they are not the ones who wrote the songs.” 

Another songwriter, Jose Phyn explained that songwriters are frustrated in the country because of the lack of recognition. He explained that the concern of most professionals is not so much about remuneration but getting credit for their songs. 

She said: “The truth is some artistes who hire songwriters prefer to pay them off, which is wrong. You can imagine how much that will be out of the millions they will make from the piece of work given to them. You are even lucky if you are paid at all, which simply means your song is just being hijacked from you.”

The famous misconception

Practitioners who spoke to eelive.ng agree that songwriting is one of the most endangered endeavours in the Nigerian music sector. One of the sources who spoke to us with requests for anonymity, however, expressed the opinion that nothing works well in the music industry in Nigeria, a result for which songwriting is just one of the suffering professions.  He explained that “Nigeria does not have a system that guarantees a proper functioning entertainment industry where everything is based on contracts, entitlements, and fairness.”

But Efe Omoregbe, CEO, Now Muzik Ent. Services Ltd, a songwriter, and veteran talent manager holds the opinion that only unexposed artistes are the ones who have a problem with proudly hiring songwriters. In his words, he said: “It is down to the degree of exposure of the artiste in question.

Knowledgeable and confident performers understand it takes nothing away from you to credit and openly acknowledge your writers or co-writers. Those who are less knowledgable are always going to pander to the dictates of ignorant fans who may want to shame vocal performers who don’t necessarily write.

“How many of Whitney Houston‘s multi-platinum hit singles did she write by herself? Does it make her less iconic an artiste?” Omoregbe queries.

Omoregbe’ s position is further validated by respondents who told eelive.ng that the insecurity of some artistes who imagine that giving credit to the creativity of songwriters might rub them off their popularity. 

Akin Adejokun, a Lagos based entertainment journalist told eelive.ng that: “Some artistes think crediting the creatives behind their songs is as rubbishing their ego and pride.

“Even if they employ the services of songwriters, they will do everything to credit themselves entirely for the conceptualisation and composure of their songs.”

The spokesperson for leading Fuji artiste,  King Wasiu Ayinde Marshall 1 De Ultimate, Kunle Rasheed also shared this opinion. In a chat with eelive.ng, Rasheed pointed out that some artistes deny songwriters credit because they imagine doing so might diminish them.

Rasheed said:

“I have often advocated for more recognition for songwriters from musicians. In Nigeria today, you’ll hardly hear anything about songwriters except if the musicians feel like it; maybe through interviews and insistence by money paying sponsors to include them.”

“They erroneously think the songwriters will take the shine off them. Also, they forget that the Michael Jacksons of this world sought the services of songwriters; they gladly and proudly display their names.”

Upshots

As music journalist Motolani Alake once asserted in one of his articles; the use of third-party songwriters who have no relation to the song is as pertinent to music as anything else. Although many music lovers do not realise it, the job of the songwriter is one of the most critical callings in music-making.

In the production of music, songwriting is a key department that no serious production outfit jokes with. It is a musical superpower, which involves the composing and arrangements of soul-feeling and marketable songs.

For example, Sounchart.com, quoting a research work conducted by America’s Digital Media Association (MIDiA); puts the revenue generated by the American Music Publishing arm (including songwriting) at a whopping $1.8billion.

But the artiste is nothing without the song…

A veteran producer who insisted he does not want to join the fray told eelive.ng that artistes will have to come to terms with the reality of giving credit to songwriters.  He explained that just as you have people endowed with skills to sing or play instruments; you have loads of talented songwriters all around the world.

True, fans do not get to see many of these talents on concert sets either. They do not have the platform and resources to shoot themselves into the limelight as musical performers. Or they are too shy to confront the razmataz that follows fame or publicity; preferring to make their living behind the scene.

Usually highly cerebral, most songwriters turn out to be hired guns, who are virtually nameless outside the music world. Though, their works are widely popular and often performers, with whom almost every music fan is familiar, take credit. Songwriting, even though it is important is a largely unsung endeavour.

A few examples…

But then, there are music stars like Beyonce who have the know-how which causes them to co-writes their songs. Even when it is a collaboration, the role of a songwriter is clearly evident in the end product; with the songwriter getting all due credit.

With her most recent album, for instance, The Lion King: The Gift, Beyonce credited the likes of Britain’s Raye and Nigeria’s Bankulli Osha as lyricists who worked on the album.

Fortunately, industry players agree that things seem to be changing positively. Sauzekid said same relating to the Afropop scene; naming Davido as one Nigerian artiste who is proud of his relationship with songwriters.

More importantly, Omoregbe, who is a veteran in the industry; holds the opinion that the future is bright for the songwriter in Nigeria. He conceded that it is a venture he involves himself in

He explained:

“With superior talent, proper paperwork and effective collective management system; publishing income is probably the most dependable short and long term income stream in the business.”

Omorogbe further noted that it would become increasingly ludicrous for anyone who calls himself a music enthusiast to reduce the role of songwriters describing such a basic sign of ignorance.

He said: “By age 10 I knew the names of every writer, producer/arranger who contributed to the creation of every major hit record I loved. Holland/Dozier/Holland, Rod Temperton, Smokie Robinson, Gable and Huff, The Gibb brothers, Norman Whitfield and Barrett Strong.”

“I read the liner notes on the vinyl sleeves. Sometimes they contained lyrics.  Any so-called music enthusiast who as an adult doesn’t know the difference between writer and performer; although sometimes one person can play both roles, needs to get educate themselves. The artiste doesn’t need to act dumb because a few fans are ignorant.”

We at eelive.ng, and indeed all music lovers in Nigeria; must be hopeful for the days that every professional in the music industry will make ancillary endeavours; getting their credit to the ultimate advantage of the industry.