Peter Harris

One of the recurring opinions expressed at the Black Music Congress (BMC) debates is that we do not have a British black music industry. Despite this truism, there are many black people making a living running things behind the scenes. One such person is former BMC panellist Peter Harris, founder and managing director of Ladbroke Grove, west London-based Kickin Music. 

With a sixteen year history of running a successful independent music company, we're privileged to interview the very outspoken man, about the music business. Harris, whose labels have broken the likes of indie rock darlings Echobelly and soulful house/garage act Blaze, has sat on BPI committees, his businesses include Music Data Tracking, a performer's royalty collection agency. His label recently released the 'The Lovers Rock Story Part 2', the second compilation culled from his father Dennis Harris' pioneering but long defunct Lovers Rock and DIP British reggae labels. The very outspoken gives us his lowdown on the music business...

Q. Give us a brief background before your entry into the music industry?

Q. What year did you start your label, and mainly what made you enter the music industry?
I started Kickin in 1989. I have always wanted to do my hobby for a living. I just love anything to do with music.

Q. You revealed to me a while back that some within the black media had said you were not promoting black music. Why do you think they have that perception, and how do you counter the claim? 
They have that perception because they are uneducated and lacking in historical information. I am not being rude, just honest. Most black people that I meet, and some whites, are of the belief that black music is reggae, R&B, soul, hip-hop, soca, etc.

We, as a race of the most God gifted and talented people, are being marginalised into this so-called ghetto syndrome, which in my opinion is nothing to do with being black. After all, ghetto is a Jewish word from Poland. How the hell can we say we are from the ghetto?  That is just pure unadulterated b******t. Ignorant blacks are propagating this word and unwittingly marginalising us from the riches that we have created as an oppressed race over the last century.

Black people created rock n roll, jazz, be-bop, swing, ragtime... ever heard of Scott Joplin, blues, plus all the others that I have mentioned above? These musics, like reggae, hip-hop, soul were the dance music of its time. These musics were played in shebeens where blacks would go to escape their daily stress from the people and the system that were oppressing them. People forget that it was only thirty-six years ago that apartheid/segregation was outlawed in the south in the States. That's in my lifetime, and many blacks like myself. What short memories we have!

Personally, my view is simple. If the music is made by black people, then it is black music, no matter what form it takes. If we would have embraced what we created as a race, think of the wealth that our boys and girls would be enjoying now. Think of the respect that the world would give us. Just imagine a hundred Jimi Hendrixes. God rest his soul. Just imagine if we had a hundred Chuck Berrys. We created rock. Rock has made zillions for the US, Europe, and many others. Now, if a Black person was to do rock, he/she is a sell out. It's like saying that the Japanese or Chinese should give up their culture, for example geisha, kimono, karate, etc and become Westernise. They would rather die first.

This is why I defend my brothers and sisters who create and play music to a different drum. I am very proud to represent them. They are the new pioneers that will take another black artform to another level.

Let's face it, most of my company's music is created by blacks from Chicago, New York, New Jersey, Washington, UK, France, South Africa, and the list is long. Isn't it now very ironic that the white kids worship these people and are copying their music?

Q.  The late '90s to early '90s were heady days for new labels sprouting up, particularly dance music labels. If it was not a DJ or producer starting one, then there was a major bankrolling one for some producer or DJ. Many did not stand the test of time. But you have not only survived, but gone from strength to strength. What do you think are your attributes that have led to this success?
Hard work, honesty and the ability to adopt to changes. Music is like fashion. Never sell mini-skirts when everyone is selling dresses. You will soon be out of business. Always give your customers the best tunes.

Q. When you sat on the Black Music Congress panel, you caused quite a bit of raucous when you said you employed white staff because you could not find good black staff. Does this view still hold, or would you like to elaborate or clarify it? Have you since tried bringing through any young, black person?
I think I have addressed that matter in my answer before. Just for the record, I have had many black people through my company over the years. I just don't shout it from the rafters. That is not my style.

Q. A lot of people have passed through your company to move on within the music industry - can you mention some of your ex-employees now well placed within the industry?
Over fifty-five ex-employees are still in the music business, I am proud to say. One of them is the PA to Noel Gallagher. One is the news editor for NME. One is now one of the biggest DJs in China.

Some are in games and publishing in the US. Some are working for themselves, such as Phonetic Records, recording artists such as Seamus Haji. One prominent ex- employee now works the Trojan catalogue for Sanctuary Records. Too many more to mention. Kickin gets a lot of requests for work placement from media and marketing students from the US, France, Germany and Italy, to name a few.

Q. You released former indie music darlings Echobelly's first record - why did they just deliver one EP before moving on to rival label Rhythm King? Considering the profile they later generated, do you feel that's one that you missed out on?
I made a deal with Echobelly's management that we would initially do one single, as we needed to get it out on release before Xmas. This was vital for capitalising on the record. I naively believe that they would keep their word about signing a further deal, so we agreed a second single on the album. During that time we promoted them from a small band with seven people at their first gig to packing out the Astoria in nine months. Because of the massive buzz on them, they attracted all the big boys and they reneged on their deal.

Q. Especially for young people determined to start a record label, what will be your key advice to them? 
My advice to our young people is this: Embrace all musical aspects of your cultural heritage. Never limit your dreams and aspirations to a ghetto mentally. The world is yours - take it. Building a record company takes brains, hard work and a willingness to learn. Find a business mentor who has a proven track record. There are many times when you will be alone, with no one to call upon or trust. A business mentor will help you when you need to grow. Your business mentor must be your friend who wants to help you. Most important and last, but not least, always keep your overhead tight, and your sales buoyant. Release the best tunes and the right artists with the right attitude and potential. Always follow your gut instincts - most times they are right.

Q. You set up a collection agency called Music Data Tracking - MDT. How long has MDT been around?  
Six years.

Q. Why did you form it? 
I saw there was a need for a quality personal service for the many performers, session musicians, producers, backing vocalists and labels. As Kickin has over fifteen years of dealing with collecting societies in the UK and abroad, I felt that this experience that our company had learnt from dealing directly with them would pay dividends for those clients that we represent.

After all, when the performer is very busy performing, recording or touring, it is always reassuring that there is someone there who is continually watching their backs. PAMRA alone has over 17,000 members. It pays to have a personal service which will register all your songs and make sure that all your qualifying information is correct and at the top of the pile, isn't it?

Q. What's the membership criteria?
The client has to be one of the above who has recorded, played, sang or produced a successful track that has been played on radio or in public places, etc. You join, we do the rest.  Our agreement is very simple and the client can break it at any time, if they aren't satisfied. If you don't get paid, we don't get paid. MDT is based on a performance level. If we don't perform for you, we don't get paid. So it's in our interest to work very hard for you, the client.

Q. Does MDT membership make a PPL membership redundant? Or can labels use both services? 
The answer is no! What MDT does is make sure that the members get the best attention and service. No different to seeing a specialist doctor. After all, the GP is still important for the patients.

Yes, labels can join. MDT represents many labels, and many are now finding it cost effective to use us, as it keeps their admin costs down, and gives them peace of mind.