Horace “Edley Shine” Payne is one half of the reggae hip hop group The Born Jamericans. Shine was the DJ-toaster of the group with a raspy baritone. Their two albums Kids From Foreign(1994) and Yardcore (1997) charted No. 2 on the Billboard Reggae albums chart as well as the U.S. R&B albums charts. Kids From Foreign peaked at No. 188 on the Billboard 200.
Their biggest single “Send You My Love” peaked at No. 72 on the U.S. Hot 100 chart.
Eddie, who signed his first label deal at age 19 with Delicious Vinyl record label told WMV in this exclusive interview that despite the chart successes of the albums and singles, he lives in regret and wants to move on from shabby contracts.
He also gives advice to newcomers who are signing deals with U.S. record labels.
How did you first get noticed by record labels, and what made you decide to sign with the label that you did?
We ended up doing a talent search at Howard University we were not students but lived in the DMV.
We were also working on our demo that included Boom Shak Attack , So Ladies and few other songs that became the Kids From Foreign Album.
We just wanted to be with a label that would not try to change us in anyway. I can only attest that I have been the same Edley Shine from them time till now and no meal deal was gonna make me switch to anything but whats in my DNA.
What was the process like negotiating your record deal, and what were some of the key factors that you looked for in a label?
The A&R rep saw us on Showtime at the Apollo and our managment consisted of Keith Lawson who works at B.E.T he secured a spot for us on Teen Summit. So we had a momentum of national appearances and a solid demo.
Of course the check writers were not so sure about us and HipHop Reggae in General. So we were given a single deal with the option for an Album if things went well. Boom Shak Attack took off like one of them China Ballon’s you hearing about in the news it kept floating for 2 years entering Billboard and Tearing up Urban Radio. The Rest is History.
How did signing to a label change your approach to making music, and did you feel any pressure to conform to a certain sound or style?
Signing just gave us the ability to pay our bills while recording an album.
In hindsight I would have never signed a Co-Publishing deal that F**k up our future earnings potential among other things. As well I would put in bold letters after 5-10 years the rights to our master go back to the group or living entrusted family member in case of any members untimely demise.
-Edley Shine
I mean we still get a little piece meal from the pub we did retain but now someone I never met who never help write a bar on either of our albums is collecting money sending their kids to ivy league schools off the concepts and songs we brought to life. The label was only the bank and help market us to the mainstream to put the spotlight on us until we became unruly slaves. So getting a record deal is a double edge sword wrapped in snakes and piranhas. But the upside is we got to make the songs and work with the producers we wanted to. We had 100% creative control until they started meddling with the chemistry of the group I save that for the book.
What kind of support did your label provide in terms of marketing and promotion, and did you feel like they were fully committed to helping you succeed?
They did provide a budget for radio, in-stores and Music videos which was a big deal back in the 90’s nah tek that from them they gave us support. But what I learned about the business structure is that they were splitting a big pie between several acts so favoritism came into play and it felt like you were a horse in a stable waiting your chance to run at the Preakness.
Its complicated to explain their distribution deal structure with major labels but every-time we dropped something and started to gain momentum the distribution would change and we were left with no budget fighting against Major Acts with money to burn.
How did you balance creative control with the demands and expectations of your label, and were there ever any conflicts over the direction of your music?
I can attest that I knew what the label was attracted to in the group so I played my role and did my creative part because I was sure and confident in what I was delivering to them. Songs Like Yardcore,Where Ever We Go and countless others I made sure it had the recipe to win and push the brand we were building. And I Stand 10 Toes on that. The label saw modest numbers from us and of course lusted for cross over records they didn’t have to fight with radio about. But that wasn’t us and thats not what people fell in love with.
People loved the ying & yang beauty and the beast sound over HipHop Reggae tracks. Eventually they would have crossed over to us if we never let the shitstem trick us out our spot.
Did you have any concerns about being pigeonholed or typecast as a particular kind of artist, and if so, how did you work to overcome those challenges?
I mean its entertainment at the end of the day. Every group has to evolve and I think the fight to win Jamaica over was wearing on our soul. To this day I never herd myself on Jamaican radio or played in a street dance in Jamaica. We were the likkle Foreign youths with the HipHop sound not the hardcore so no one would co-sign us in public. But every Dancehall legend has let me know personally their admiration for what we were trying to do with Dancehall / Reggae / HipHop they respect it. So I would never say we were pigeonholed we were ourself take it or leave it! And look ya now thats the sound that Dominates the genre!
How did your label help you to navigate the music industry, and what kind of advice or guidance did they provide along the way?
I can only speak for myself. As far as guidance at one point they wanted the group to win then they pivoted to only wanting to see one of us win. That was after I left because one thing for sure Im the type of person will go out here and fight for mines. So I mean the A&R and Label have their input on I guess what would make us win per sey but the follow through left a-lot to be desired. Without huge success the love affair between label and artist can becomes strained over night. Thats the only real lesson they taught me.
Were there any particular successes or milestones that you achieved as a result of signing to your label, and how did that impact your career moving forward?
Being on the radio and moving with an air of being accomplished in the music industry. The feeling knowing someone with a few coins actually is helping to fuel your dreams. Just know it comes at a hefty price tag cause its only a loan with heavy interest and they own all your art cause they invested. A record deal is a glorified student loan and when you graduate you don’t own your degree unless you had leverage to negotiate ownership at the onset of said deal. Quote me on that.
Looking back, what are some of the biggest lessons that you learned about the music industry and the process of signing to a label?
With how the industry is set up now my biggest lesson is that its a chess match and only the most strategic players come out on top. And you gotta be willing to sacrifice a-lot of pawns to become successful.
Show me a successful artist and its a laundry list of unsuccessful artist buried in their backyard.
If you could go back and do anything differently, what would you change about your experience signing to a label, and why?
I would just learn to be a team player while taking my credit for everything I inputed into the success and make sure my name is in bold letters ‘Written by,’ “Conceptualize By” and Trade Mark any idea before I share it with anyone. And last but least make sure at the end of the day I have my masters to my work to sync license, remake and do as I please because they were my creations.
