Aymos, one of Mzansi's leading amapiano vocalists, has opened up about his struggles early in his career, especially when it comes to owning his masters while collaborating with popular DJs and producers.
The topic of ownership of masters has been a hot social media debate following controversy over the music credits of the new song Amalanga Awafani. The initial version of the song only credited Mas Musiq, Lawd Weezy and DJ Maphorisa, with vocalist Samthing Soweto snubbed.
Aymos, who has offered his falsetto on songs like Emcimbini, Mama, Izenzo and Fatela, spoke to Sowetan about his experience on the matter.
"It’s never easy to have these conversations because you’re coming from a point where you’re very passionate about music and you’re in the studio, so your judgment is usually clouded,” he said.
“At times, you are overwhelmed with excitement thinking to yourself: ‘I’m finally working with this great guy’, but never touch on the topic [of credits or masters].”
Born Babili Aymos Shili, the 29-year-old singer from Tembisa on the East Rand recently released his album, Impilo, featuring Samthing Soweto, Shasha and Mas Musiq.
Aymos was first introduced through Mas Musiq’s song Zaka. He then grew prominence after working with the likes of DJ Maphorisa and Kabza de Small.
“Only now I own my masters, not the music I did back then with Maphorisa and his crew because that’s how they work. Whatever enters into their PC (personal computer) stays in it and they own 100% of the masters. Personally, I never had a problem with it as I knew I was building a brand,” he said.
“That’s how Maphorisa works but I knew I would take the opportunity to record a couple of songs and use their PR so that people get to know who I am. I knew that by the time I got to own my masters, my brand would be where it is today.”
Aymos stressed that it was important for artists to iron out these issues ahead of recording anything.
“Let’s say I’m in the studio and that day I’ve committed to writing down a verse or a hook. I usually have a conversation with the producer beforehand where we discuss the percentage regarding credits to the song,” he said.
“The agreements I make often differ based on the DJs or producers I work with. It also depends on the level that they’re at and where I am in the music scene. Usually, you’ll have a say on the ownership once you’ve built a solid brand."
Aymos further deliberated on how the percentage of ownership of masters is determined between the artist and producer.
"At times, it seems as if these DJs are the ones putting us on. However, if I work with a producer as the only vocalist on the song, I will have a chance to claim 50% ownership of the masters and the other 50% will go to the production team, whether they’re two or three ...they’ll have to split that 50," he said.
“The same applies with us vocalists, if there are many of us on a song, we will then have to split the 50.
"The biggest struggle independent artists face daily are the restrictions and institutions found in the music industry. All of this isn't very easy for an average person to understand. It’s something that needs to be taught, from explanation of what mechanical rights are to publishing rights, even how royalties work."
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