Wax Dey born Nde Ndifonka is a singer, producer, music executive, TV presenter, writer and activist born in Cameroon in 1981. Described in some circles as a ‘rare musical gem’, Wax is South Africa based. On a snappy Cameroonian stop-over recently, the internationally recognised producer shared some insights of the Pan-African recording house - Lolhiphop Records he created in 2008, what he thinks about Cameroonian and African music, the motivation of his production house to use music for social activism and his recent involvement in the Good Morning Africa (Weekender) show on DSTV's channel 114 (Africa Magic) as a TV presenter.
Excerpts:
Tell us more about Lolhiphop Records...
This is a pan-African record label that specialises in African pop and urban music. The company deals in music production, distribution, music publishing and artist management. The vision of Lolhiphop Records is to create a continental platform to launch artists, so that the huge market in Africa can be exploited by artists, without limiting them to their national markets.
What has been their contribution to the growth & development of African music?
We have launched the careers of new and previously unknown artists such as Motso and Peggy, creating international platforms for them to express themselves. Lolhiphop produced established South African musicians like Rowick Deep and Genevive. We are engaged in social activism through music. Recently, we ran a programme dubbed Music Therapy for Children, in partnership with Save the Children UK. This project was spearheaded by Lolhiphop artist, Tshepo Machitele, who grew up in an orphanage, where I met him before signing him to the label. We are also undertaking another programme with the UNHCR to combat xenophobia in South Africa through urban music.
How ground breaking has Lolhiphop been in the African and world music scene?
Lolhiphop Records is a young company, but so far, we have created an
impact in different fields of operation. We were involved in the negotiation and publishing between Shakira/SONY and the Zangalewa Band (Cameroonian), when she adapted their song Zangalewa for the 2010 World Cup anthem, Waka Waka. Such global engagement is the hallmark of our operations.
Which big names in African and world music have passed through your production house?
Besides production, Lolhiphop Records also publishes and
distributes music. We are currently publishing and distributing the
International Gold Edition of the album 'Uplifted' by international
sensation and Nigerian-born, Flavour. We are also preparing the same for Ice Prince and P-Square. Personally, I took part in the remix of 'My wifey' by Nigerian hip-hop singer, Dontom, and 'Keep on' with acclaimed Cameroonian rapper, Krotal.
Are there Cameroonian artists in your production schedule?
Lolhiphop is working closely with some Cameroonian artists. These include; Denzyl, whom I believe is the next international hit to come out of Cameroon, and Magellan Barkley. We are yet to finalise their deals, but a lot of positive work is being done. In February 2012, we will be releasing a compilation of Cameroon's hottest songs for the international market - Cameroon Awake. We hope to give some exposure to upcoming Cameroonian artists through this, and
hopefully it will result in a few international contracts
How far does Lolhiphop intend to go in the promotion of African music?
We have a vision to create a continental and global platform for African artists. This is a tough objective in a suffering industry, and we are making slow but considerable progress. We have a partnership with SHEER publishers in South Africa. They look out for global synchronisation opportunities for African music. Through this partnership, we will be releasing two compilations in 2012: Cameroon Awake and Equatorial Guinea Awake (compilations of the leading songs from these countries, from
the past and present).
What are your own challenges?
Financing the production, branding and launching of artists are
expensive exercises. The music industry in Africa does not have enough
committed sponsors, who really understand the game. Some people think if you invest 1, 2, 3 millions in the music industry, you will get rich. It is a tough business like any other, but also capital intensive. It takes
scores of millions to kick-start a career, and a lot more to create an
international brand. But it is very rewarding when you do that. If you put in much; you get much out of it. Finding the right partners who can make that sacrifice is difficult. Nigerians are successful today because they have gone the extra length, and they are reaping the rewards ten-fold.
How do you intend to overcome your difficulties?
I have engaged in music publishing and artist management to expand the income streams of the company. That way, the more capital intensive it is, while production and marketing can be subsidised. But we still need committed investors.
Does music production put bread & butter on your table?
It is lucrative, but it is a business. In order to grow it, you need to
continually invest. That is the tough part.
Some observers of the music industry say that the production houses make the money, while the artists go home empty handed. Do you share that view?
From my experience, music producers make huge sacrifices to fund artists. When artists are poor and unknown, they appreciate these
sacrifices. But once they start getting popular, they tend to think that
they are being ripped off, without understanding that it takes time to
build a brand and make money. Producers are still getting the raw
end of the deal, because they are often left with nothing, while the
artists have a brand that they can exploit.
What should Cameroonian and African artists watch out for, when they want to engage into production contracts and music in general?
Cameroonian music has huge potentials, especially on the urban scene.
Artists like X-Maleya have a great capacity to invade the wider African
market, so they must become more adventurous, even at their own expense. I'm also excited by the new crop of Anglophone artists such as Jovi and Denzyl. But my advice to young artists is never to forget those who believed in them when they started off. The most successful artists are those who have stayed on with their original teams, through good and bad times. Production contracts are what they are; sometimes they could sound unfair, especially, once you have become a brand, but never forget what the producer is putting in initially. Artists should not be scared of people getting paid from their work, they need to work as teams and get rewarded as teams in order to make progress. That's how successful industries in the US work.
Anything to add?
I will like to connect with more music industry professionals and work to take the Cameroonian music industry forward. I'm on twitter (@WaxDeyy) and Facebook (facebook.com/waxmusic).
Interviewed By Walter Wilson Nana

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