Chris Smith Speaks Out
(Apr. 8, 2005) Chris
Smith
kept his word
to
me
in granting me an
interview and today was that lucky day.
Talk about an exclusive!
The office of the award-winning music manager,
Chris Smith, is
unusually serene;
including the bubbling fountain perched on a coffee
table
as well as a trace of incense burning.
How
contrary to
his hectic schedule as he delicately juggles the musical
careers of such artists as
Tamia,
k-os, Philosopher Kings, Nelly Furtado, jacksoul and
Jelleestone,
to name a few. Seven of
his artists have risen to the platinum status in Canada,
an unlikely feat in the industry’s uncertain climate.
Practically every wall space, table space or ledge is
covered by awards, plaques or trophies for his artists –
a testament to the success of
Chris Smith Management
("CSM").
Chris speaks about
the
ongoing structuring
of
Chris Smith Management and
BlackSmith Entertainment,
ideal candidates to retain formal management, the role
of a manager and finally, some of his latest projects,
including Divine Brown,
an artist that I ‘managed’ briefly in 2000-2001.
|
LE: |
How did your vision for Chris Smith Management get
shaped? |
Chris: |
Beres Hammond
(my uncle) asked me to go on the road
with him 15 years ago. I fell in love with the music
scene. My family is all in music. I took the business
route. I asked permission to branch off and build my
own company. I was fighting it out in New York and then
I thought, why don’t I go back to Canada and become
somebody there?’ I realized once I became an
established player here, then the Major label presidents
from Canada would help me develop relationships with
label presidents in the other major territories once I
established my identity as one of their platinum
managers. So, that was really the strategy |
LE: |
What were the obstacles? |
Chris: |
At that time,
it was difficult to get the attention of labels for
music from Canadian urban or Jamaican artists.
Reggae was a big thing for me then. Still is. That’s
why I started my first reggae label –
FiWi Music
(FiWi meaning ‘Our”).
Jarvis (Church)’s
sister-in-law convinced me to go out with her to see the
Philosopher Kings.
That fateful date was the beginning of a very
successful management relationship with the Kings. |
LE: |
When did Nelly (Furtado)
come along? |
Chris: |
Rose, an intern [at BMG] at the time said ‘hey, there’s
a
girl called Nelstar’.
Rose was persistent about Nelly and her persistence
finally paid off - she said she was going to perform at
the Honey Jam. As
I was going to see Nelly,
I invited Jarvis along to check out some new talent.
So I didn’t discover her randomly - I was tipped off by
Rose, who’s in the group
Lal. That’s the
story. |
LE: |
What do you tell someone who wants to get involved in
the music industry as management? |
Chris: |
First, you should take courses in marketing and sales in
a post-secondary business program . You know, it’s a
business, so in order to deal with record execs on a
certain level, you have to have some business
understanding.
None of our artists on the roster is typical. Each one
is unique because that is what attracts me – someone
unforgettable. I don’t have any artists that are quite
like any other.
The mandate for being a great manager is to first
understand business and how to find a unique product.
Then comes the Manager’s opportunity to bring a unique
plan and team to each artist. And each record release. |
LE: |
What’s the important thing for artists to remember
before seeking out formal management? |
Chris: |
First, you’ve got to
be a great independent artist. An artist with an
independent mindset makes for a great, extraordinary
major label artist.
Of course you look for those things that can go right
into the marketplace versus taking 3-4 years. I am more
inclined to step to the talent that I can move right
away. But if it’s really special and needs development,
that’s also something to consider – if you have the
resources and vision. You have to spend your time and
money wisely. |
LE: |
What are two pieces of advice that you would give to
Canadian urban artists? |
Chris: |
Stop trying to sound like Americans! |
LE: |
BlackSmith Entertainment
(the record company) is now a full service label. What
made that step necessary for you? |
Chris: |
[I thought] if [the labels] don’t know how to make a
record for someone like this, I do! Why am I teaching
and showing and persuading you [how to make certain
kinds of records]? Why don’t I go out and put my name
on the line? Take the risk, and own more of the risk…and
the success.
When you have a great artist, they pretty much take you
there 99% of the way. When they’re special and
motivated, you don’t have to tell them anything. You
just have to get their business sorted out and keep them
focused. I’m not trying to pretend that I make records
for artists. I just knew it was time for me to take
greater responsibility and get more directly connected
to the creation of the entire product. |
LE: |
What’s been one of the highlights of your career since
the inception of CSM? |
Chris: |
There are many.
There are so many moments flashing through – it’s not
the Junos, it’s not the Grammys, it’s not The Source
Awards, it’s not the Billboard Awards … I’m not there
yet. I think I’m halfway up that mountain. Critical
mass has not happened. But every day brings a new high
point. |
LE: |
Where do you see room for improvement in the Canadian
music industry? |
Chris: |
Get some of the old cats out and get some new kids in
there that know what’s up! And get kids that can make
music that will compete with the American artists that
dominate the airwaves and retail.. |
LE: |
But not with an American sound? |
Chris: |
Yeah, that’s right. They can sound close to it, to be
competitive, but they don’t have to try to be
American, they should bring their own mix of influences
to their ‘sound’. Even though we know the history of
Blacks in Canada, we still look to America for the sound
and the template but I think we should draw more from
our own mix of cultures and influences. |
LE: |
There is some buzz around
Divine Brown – what records has she broken with
the release of ‘Old Skool Love’? |
Chris: |
Most increased spins. “Old Skool Love debuts on the
mainstream AC audience tour at #19 and on the All Format
audience chart at #26. They are the best ever chart
entries at these formats for a Canadian debut single.”
The buzz is really about ‘Wow, somebody made REAL soul
music that isn’t an American label!’
Divine is the best of contemporary soul. Meaning that
we’ve used a lot of hip hop beats on a lot of her
tracks. The album hits the streets May 24th,
I believe. |
LE: |
What’s in your CD player right now? |
Chris: |
Only my artists and Sade.
Sade never leaves
Changer #6. Other than that, I’ve got John Legend,
Flipside (from California) and all my own artists….who
are ALWAYS in heavy rotation at home and the office. |
LE: |
What do you want people to remember you for? I’m not
just talking professionally, I’m talking personally as
well. |
Chris: |
I am proud of all of our accomplishments. But I
definitely don’t mind being known as the manager of
Nelly Furtado or any other artist on our roster that
achieves a dream. I want to be known for the thing that
is most successful. A winning formula, and a roster
full of ‘home-run’ hitters. If you talk to some people,
I’m the manager of the
Philosopher Kings, that’s all they know. If
you talk to my son’s friends, I’m the manager of
Prozzak. That’s
what they remember. |
LE: |
What would make your soul feel satisfied? |
Chris: |
My only goal in life is to provide for my family through
helping others with their dreams. |
LE: |
Do you think that marketing training is the difference
between a good manager and a poor one? |
Chris: |
I’m only successful I think because I fail so much.
Like Babe Ruth who hit more homeruns than anyone else.
What very few people know is that he also struck out
more times. So, I go up to bat and I keep swinging.
People have Plan B’s – I don’t have a Plan B. |
LE: |
So, the plan is for success and that’s it. |
Chris: |
I never liked the idea of drawing money out of the bank
machine, and worrying about the balance. (laughs)
Success means ever increasing financial and creative
independence. For myself, and hopefully for those
around me. This is what drives me. |
LE: |
Is there anything that you feel that people
misunderstand about you? |
Chris: |
Yes. My commitment to elevating the Canadian music
scene and Canadian artists.
All the people that are f**king up the business, need to
get the f**k out. Because they don’t understand the
business and they’re too selfish to ever help anyone but
themselves. They don’t have the heart – they’re in this
for the wrong reasons. |
LE: |
Are you talking artists or management? |
Chris: |
Both! They both need to get out. There are artists
that need to be management and some management that
really want to be artists so they should both quit –
take a time out, I call it.
Then all the racist people should relax and accept how
wrong their decisions are when they don’t understand an
Artist’s background, and their journey. They will
overlook artistic brilliance because they don’t
understand the ‘voice’ , the personality. There’s still
a lot of racism. I think that we’re about 10 years from
this being a little bit better in terms of day to day
decision-making at labels. |
|
In Canada or globally? |
Chris: |
I’m thinking about Canada right now. I’m here to prove
that a Black artist just in Canada alone, can make $1
million off touring. Just off touring. That’s my
goal. A Black artist – not a pop artist. I will manage
or have on my label, the first Black artist to make $1
million off touring in Canada in one year. |
LE: |
I hope to get that call from you. |
Many thanks to Chris for the opportunity to conduct this
interview and for giving us a glimpse in the world of
music management. For any more detailed information,
please check
www.chrissmithmanagement.com. |