For most artists, entering the professional realm of the arts, especially music, mean participating as performer, i.e., as an instrumentalist or vocalist. Indeed, for me in my youth, the 80’s were a favorable time with a lot of bands, clubs, tours and festivals. You wanted to be an artist. But when my love for writing started and what inspired me to focus on it is a wonderful story.
Exposure to
multi-track recording
It was a day like any other way back in 1998, but it was a day the candle was lit in my ongoing journey as an artist and composer. My friend, an audio engineer, Brent Moses walked into the room that I rented in Soweto with a couple of disks and said: “I brought you these programs to install in your computer.” My first keyboard, the Korg M1 which had a built-in 8 track sequencer, was indeed a great starting point of exposure and exploration. But, the advantage of unlimited tracks, sound libraries audio editing and functions that came with these sequencers and other programs was an introduction to a totally new experience and my newly found love.
Building a catalog of
songs
I had to work hard to learn these multi-track recording software and editors, thanks to the time I had then, as I was a not frequently booked artist. I used to spend about 14 hrs to something like 18 hrs before the computer, every day! The routine was a simple and an all inclusive one; learning keyboard skills, audio sequencing basics, and even finding time to try out writing or composing arrangements. It is important to note that from these arrangements developed a catalog of songs with a potential for growth and which were to be recorded by prominent artists in the future. And that future came sooner than I had anticipated.
On published songs
One of my songs, Indaba, was selected by Jabu Khanyile and was included in his album Umathimula that year of 1998. I realized that there was a huge opportunity for exposure among writers or composers who don’t have a history. And this was a great moral boost and led me to believe that dedication and hard work really pays off.
Discovering a new
pathway
Three years later, with a catalog which was growing by day, I secured another placement on Themba Mkhize’s Lost and Found album (2001). Not like with the recording of Indaba, the recording and preparation of Konke presented a different and new approach altogether. I had to submit a complete, sequenced composition. I remember this haunting experience very well. Haunting in that I was not used to working in big studios. But what frustrated me even more was that, on the first session, the addition percussion sample in my song was not ‘in sync’, as Richard Mitchell who mixed and mastered the album said. “You play like Eumir Deodato. Don’t worry, I will edit the sample at home later or find a matching one”, he went on. I had an amazing day the next day of finalizing the song. This was like the opening of the floodgates to a new path. Writing.
Seeking a recording deal
Though I would find gigs with my regular artists now and then, my commitment to writing and sequencing grew with every achievement and or comment I would get. I loved every moment. The next horizon for my vision was securing a recording deal with major record labels of the time. I thought this would expand my activity as a writer or composer. Around the year 2003 I started sending demo tapes to a couple of labels with no success. A polite ‘this is not what we are looking for’ was both satisfying and encouraging to me. I continued pitching songs directly to recording artists I knew as I wanted my music to be heard and be used. Those attempts failed too, but what I gained instead were relationships that are still important in shaping my career as an artist even today.
Pursuing knowledge
At this time, in 2014, I had little knowledge of a new way of thinking about the music industry and its pathways. I started exploring fresh possibilities; reflecting on where my musical skills could be used and how I could connect with a wider audience in this forever-transforming industry. I learned that there is an increasing demand for music making. Thus, I assumed a new approach to writing. Thanks to the miniaturization of music making and the birth of the home business, I still continue licensing my works through a couple of service providers, co-writing with other artists and also releasing some under my name as an artist.
Looking back in time, what I want to cherish and be grateful for are those good people who shared their knowledge, their resources and time trying to help me. Those little gestures that say to me: “Qhubeka. Keep writing!”
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