LA REID AND THE FATEFUL DECISION

The sale of well curated black music labels sadly resonates in our music culture

https://www.facebook.com/watch/?v=1641549716868234

Above is a link to a clip of L.A. Reid on the On that Note podcast.

ANTONIO ‘L.A.’ REID

On a recent episode of Boys II Men member Shawn Stockman’s On that Note podcast he interviewed Anotonio ‘L.A.’ Reid, who along with Kenny ‘Babyface’ Edmonds, was part of one of R&B’s most successful production/songwriting partnerships. Together in 1989 they moved from Los Angeles to Atlanta to found LaFace records, where they signed Tony Braxton, Outkast, TLC and Usher, building one of the most important boutique record labels of the ‘90s. On the podcast when asked by Stockman what he’d tell his younger self L.A. replied, “You’re work with this amazing guy Kenny Edmonds. Your gonna create this label called LaFace Records. Don’t you fucking sell it.”

BABYFACE AND L.A. AS HOT YOUNG PRODUCERS

It’s an expression of regret that has resonated among fans of black music. There were once scores of black owned labels that signed, developed and promoted young performers who turned into great artists. Motown is obviously the primary example, but Stax, Philadelphia International, Solar, Total Experience, Uptown, Cold Chillin,’ Death Row and many more curated soul, R&B, hip hop from the 1960s into the turn of the century with insight and sensitivity to what black audiences desired, often following the culture’s lead because the people at the label were part of it. Of the legacy record labels that existed during this long period Motown and Def Jam are brands that are still currently actively in existence, but well after its founders sold them. Snoop Dogg, once a Death Row records star, is working to revive the imprint as its president.

These labels were not nirvana. There were exploitive deals. Some labels took advantage of youngsters financially. But as a place where talent, both on stage and behind the scenes were developed, these largely black owned entities (in some cases, like Def Jam, there were white partners) played an irreplaceable role in the black music ecosystem, one that hasn’t been replicated to the detriment of our collective musical culture.

L.A. REID WITH TONI BRAXTON

Back in the ‘90s, when I was close with the leaders of several labels, the desire to cash out with a big check from a big corporate record label drove that generation of record men. I had conversations with L.A.’s peers who sold their boutique labels for a big check, plus maybe a VP gig and always a big house. Well the money didn't last. But the artists they signed and the music they produced continues to generate $ for the remaining major labels. Each of those labels each had particular dynamics that drove the sale — some were offered film and television deals, others were given opportunities to at the corporate labels, some wanted to invest in other businesses.

In retrospect its clear these leaders, who were overwhelmingly black men, took short money. In the entertainment game you must own as much of the content you create as possible. You never know the long term value of a book, song or script. After Arista records absorbed LaFace in 2001, L.A. moved onto several top high profile corporate label gigs and had some major successes. However the last few years he’s been dogged by a sexual harassment scandal that’s tainted his reputation. So the sixty-nine year old’s frank comments are definitely a reflection of looking back at a road not taken. I wonder how many of his peers looked back on that decision to sell with the same regret.

Hopefully current and upcoming folks heed L.A.'s message. The nurturing of talent done by LaFace, Uptown and Solar (labels with very distinctive attitudes) is sorely lacking. But this isn’t just a lesson for people in music. Technology has up ended the creation and distribution of all culture, yet the temptation to give up equity for a big payday temps all creatives. One of the underlying assumptions of selling your company is the quiet arrogance that you can do it again. The thought is whatever you’ve built can be done again.

I would never suggest to any successful businessperson that they were incapable of fresh success. However the creation of a brand that penetrates the culture, even if it’s a limited audience, is still a huge achievement. It has a value that often outlives its time. As L.A. Reid makes clear — walking away from it is a life defining decision.