The reality of music and the arts is that it’s prone to predatory behavior, part of that is not getting properly compensated or your just dues for the work that you created.
Such was the out cry when Jamaican Dance hall Artist Shenseea‘s released a new track “Lick” featuring America Hip hop artist Meg the Stallion, the track carries a sizable interpolation of Trinidadian Soca artist Denise’s Belfon‘s “Work“.
Upon release, the track “Lick” garnered quite a bit of skepticism within Trinidad and Tobago circles was raised spilling over into T&T’s social media with the main concern being if Denise Belfon was properly compensated and accredited and began reiterating that the track heavily sampled Belfon’s prior work.
THE MEAT OF THE ISSUE
Trinidad and Tobago’s Soca/Calypso riffs have been regularly been featured on big international tracks from since the days of yore but given the nature of the music industry accreditation, compensation and recognition is somewhat slow in coming or lacking while Reggae/ Dance Hall has fared somewhat better on the international scene.
There are many theories, but I dare to say that it’s an observable peculiarity. Naturally, recognition in any art form redounds into recognition of a country as a global cultural contributor in which can be possibly translated into other economic possibilities that can be leveraged e.g. tourism.
Soca/Calypso for the most part is deeply rooted in a Trinidad style carnival and is greatly enjoyed by the participants of such events, but the music itself is not readily recognized or consumed as its own stand-alone genre by the average Joe. It is easily subsumed into being reggae-esque or dancehall-esque by the non-discerning ear.
The below example tracks like may not be specifically samples or unaccredited, however, but Soca/Calypso does become part of the mix from time to time, while the listing below are not all are Soca/Calypso Artist, or are artists from Trinidad and Tobago, they do however interpret the sound or vibe:
- Bunji Garlin – “Differentology”
- Lil Kim – “No Matter What They Say”
- Justin Bieber – “Sorry”
- Baha Men – “Who Let The Dogs Out”
- Harry Belafonte – “Banana Boat Song”
- Rupee – “Tempted to Touch”
- Kevin Lyttle – “Turn Me On”
- Arrow/Buster Poindexter – “Hot Hot Hot” (The Caribbean Cruise Ship Special)
While my above listing in by no means exhaustive, and I could have included more international regional if not international hits or tracks that are more uncompromisingly Soca/Calypso sound, I do hope it conveys that over the years Soca/Calypso music has contributed to the world’s entertainment and spice of life.
In this circumstance, “Trinis” are a spirited bunch and the celebration of a Caribbean artist Shenseea having a “big” artist and track may not have been properly recognized and appreciated.
SAMPLING, COPYRIGHT & MUSIC
Speaking to the issue of sampling it can be a slippery slope, to be short on the matter, one must recognize that the performing artist may not be the rights holder and permission or compensation may not be required to be given by the performing artist.
Accreditation beyond recognition can be reduced to a simple gesture from one artist to another, with no actual tangible financial gain. Publicly, Denise and Shenseea have gestured that between them everything is good via an Instagram post.
Given the exposure and marketing of the track “Lick”, it is reasonable to assume that all compliance issues have been dealt with… this may not be true because sometimes the cost of making an infringement claim may not be worth it until the track has gained a sizable revenue share and traction an example is in the track Robin Thicke – Blurred Lines ft. T.I., Pharrell where the family of Marvin Gaye sued for copyright infringement. Such is at the discretion of the copyright holder.
At the end of the day, none of us can e sure of the arrangements behind the scene, and we all can be sure at least for now the both major parties on an individual basis seem to be quite clam on the matter. So let us just celebrate this win for Shenseea.
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