The Business of Jamaican Music: Ownership, Tours, Unpaid Royalties, and The Streaming Evolution

In a string of grievances about the state of the Jamaican music industry, Staff launched into a convoluted tirade aimed at dissuading the independent route for artists, a cause that this publication unapologetically champions. He criticized attempts to alter the established norms, lamenting, “People trying to change the left side and equal side, ‘you need to own your master,’ rubbish. And JR, you need to stop too. This obsession with owning your masters, this emphasis on digital and social media – you need to stop because, at the end of the day, the business model has not changed.”

Indeed, Nigel, your observation about the static nature of the Jamaican music business model holds merit, rooted in the monetization framework established by the revised 1976 US copyright act. This legislative overhaul preempted prior copyright laws, extending protection to the life of the author plus 50 years (with works for hire granted a 75-year protection).

Under this law, as a backing band member for hire, the potential earning may range from US$500 to US$2000 per gig, irrespective of whether the artist supported is earning $20,000 or $100,000, the compensation for the band concludes at the end of the show.

Dismissing alternative potential income streams through ownership and renouncing marketing platforms like social media to solely prioritize touring is unwise.

Visas represent just one facet of the challenges Jamaican artists face when embarking on tours. Over the past three years, a shift in the global landscape, influenced by events such as the pandemic, political upheavals, and religious conflicts, has reshaped not only the world itself but also the fundamental structure of the music industry. These factors have introduced complexities that extend beyond the visa issue, affecting the viability and timing of artists’ tours.

You are a noted composer of several dancehall songs, ranging from Shaggy to Sean Paul and Vybz Kartel. Composers generally retain the rights to whatever they compose, unless they sell it to a record label  in buyouts or work-for-hire, as you unrighteously suggested that other artists do if they should follow your advise and not focus on ownership. It is the writer’s share of performance royalties that the composer gets, unless the buy-out contracts specify otherwise and the work is authored by the record label.

Historically, the important music in Jamaica is bought as work for hire by record labels, as in the case of Bob Marley and The Wailers, whose masters for the first five Island Records ‘Wailers albums are owned by Universal Music Group. In 2010 Bob Marley’s widow, Rita Marley, along with nine of his children, and their company Fifty-Six Hope Road, lost a claim against UMG Recordings, Inc. (UMG), to revert copyrights of the sound recordings of the albums upon Bob Marley’s death in 1981.

Your myopic perspective, seemingly geared towards undermining the efforts of emerging independent artists striving to support their families in the music industry, reflects a level of irresponsibility. Furthermore, your statements are a superficial dismissal of the challenges faced by a multitude of legendary Jamaican artists from the 1960s and 70s who have been unable to collect royalties to this day. A list that includes esteemed figures such as Jimmy Cliff, Bob Marley, Horace Andy and many more who have never received any royalties from songs recorded for Trojan U.K., a company now owned by BMG.

Horace Andy was awarded the Reggae Icon award last April 10 at the JARIA Honors Awards and the roots reggae singer used his acceptance speech to hit out at producer Bunny Lee and Trojan Records U.K. who he says have not paid him in 40 years.

He said, “Trojan, them don’t pay we fi 40 years, for 40 years I don’t get nuttn in this business, JARIA I give thanks.” he concluded on the matter with disdain.

Max Romeo filed a suit against Universal Music Group to claim 47 years of unpaid royalties photo via Instagram.

More recently in September, Max Romeo filed a suit against Universal Music Group to claim 47 years of unpaid royalties, that is almost as long as you have been alive.

“At 78 years old, I cannot enter this new phase of my life being docile and silent, I have to speak up, I have to fight for what is rightfully mine with whatever strength left in me. I have to do this for the new generation to come, to raise awareness as I am often addressed as a “legend” or a “veteran” , a title I take with great pride. This matter is now in the hands of the court and I will not be commenting on it any further,” Romeo explained.

Earning inequalities in the music industry

An 88-page report by Citi Bank, titled “PUTTING THE BAND BACK TOGETHER; Remastering the world of music”, showed that the music industry in the United States, one of the largest music markets, made over 43 billion dollars, and this as been the case every year for the last five years when streaming became fully integrated. Of that sum, the main artists, band members and other musicians only made 12% according to the report. Dancehall and reggae artists were also left out of that revenue although the artist, like yourself and the wider Jamaican culture have contributed much of the financial and cultural capital to the global music industry.