Meeting Dr Dre, one of the highest points of my career —Fliptyce

Fliptyce is one name that would ring a bell in one’s memory, judging by his immense contribution to the Nigerian music scene as one of its top producers. Famously known for his incredible work on P-square’s chop my money remix featuring international super star Akon, Folorunso Busayo Phillips is a producer that evolved from being paid N1,500 to record a beat, to charging at least $1,500 for one now. He spoke with DOYIN ADEOYE, in this interview, about his career, his new management deal with Dr Dre’s Aftermath Entertainment, among other issues. Excerpts:
You were recently signed to Dr Dre’s Aftermath Entertainments…
Recently, during my last trip, my international manager, Opi One, who operates an outfit, ‘True Shine’ was able to have a partnership deal with bombrush and Aftermath. The deal was for me to be producing some of their songs. It was a big deal for me because Dr Dre is the richest man in this industry and the first to cross a billion dollars in acquisitions. Now, for me to be in the studio with him and shake hands is a big deal. Some may not see it that way, but the fact is that I am the first African producer or entertainer to be in a studio with Dr Dre is phenomenal. So, I feel good about it and I am looking forward to dropping the first release from Aftermath soon.
When and how did you develop the passion for music?
My passion for music started as a child. I started in the choir. We were taught songs; we would write it down in books, rehearse it and render special numbers in those days. I was also a part of a band both in primary and secondary school. I played the bass drum. I remember we used to organise social nights then and mime popular songs. I believe that was the foundation I had and I worked on it. So, music has always been in me.

What were your childhood dreams?
I didn’t come from a rich family; ours was an average family. As a child, I wanted to be either a doctor or an engineer, I remember I would make cars that moved, but those were just childhood dreams. As you grow up, you realise that you could actually do something else. I also loved the radio very much then. I would tune to the Voice of America (VOA) and follow the music countdowns.
Later, I began to freestyle on beats and record on tapes. It was just something I loved to do. So sometimes when you see someone doing something, looking back, one would realise that the person had been into it one way or the other as a child. There are some things we did as children, but unfortunately, as we grow up, our parents and the environment teach us to do differently. Observe a child between ages five to nine, you could see what that child’s passion is, and whatever they are good at, should be what they should be encouraged to develop. That’s why I define talent as childhood re-visited.
Foray into music production…
I started music production in 2004. A cousin of mine loved game applications a lot, so one day, he bought a computer game and fortunately for me, I found production software inside it. It was free and I didn’t have to pay for it.
I started working with the software on my own and by the time I gained admission into the University of Ado-Ekiti to study Geology and Applied Geo-physics in 2004, the free time I had then gave me the opportunity to further exploit my talent. I started making money from making beats right there on campus and by the time I got to 300-level, I was already independent. Nobody trained me on how to make beats; I trained myself practicing.
How long did it take you to perfect your craft?
It took me a long time, because initially, I wasn’t making beats for professionals, it was just for people that we were on the same level. And they didn’t really say or know if it was good or bad. So, I had to develop the skills over time.
Chop My Money by P-Square was highly rated. What did it take you to put the beat together?
I did ‘Chop My Money’ when I was still serving in Nassarawa State in 2011. Although I had made some hit songs before then, like Danny Young’s ‘Oju ti tiwon’, which I did when I was in 300-Level.
I came into Lagos for the first time in 2009; I used to live in Akure prior to that. I had made beats for Faze, LKT and other known artistes even as at then, so I guess P-Square must have heard a couple of songs I did. They were rounding up with their album around the time I got back from a course in the United Kingdom. So we fixed a day for the recording and the song ended up being the greatest song on the album. I would say it even redefined their career path as it took them round the world. But personally, I was just trying to do something different.
Were you expecting that much acceptance?
I wasn’t really expecting that, but I always make sure that I put in my best in everything I do, no matter what it is.
How did it feel working with Akon at that time?
When I was called upon to make some re-arrangements for the remix about six months after the original was remixed, I wasn’t told that we would be working with Akon. But working with him was a dream come true, because Akon has worked with major artistes in America. He has worked with the likes of Lionel Richie and Michael Jackson, so working with such a great talent was a great honour and privilege for me.
What do you look out for in artistes you work with?
I like talented people who really know what they are doing. It encourages me to put in my best too, because we need to be on the same page. Some artistes seem to know it all and want to start telling you what to do; I don’t feel comfortable working with people like that.
When an artiste is teachable, then we can really achieve good things together. For instance, when I was recording ‘Kissing’ by Yemi Alade, she did all that I told her to do. She initially wanted to feature someone on the song, but I advised her to do it on her own and the work came out absolutely fine. The same thing happened with Oritsefemi’s song, ‘Igbeyawo’. He heeded my advice and it came out fine. I have been in the industry for like ten years now, so I understand how it works. So, when an artiste comes into the studio and I say, “let’s do it like this” and he/she considers it, then I can feel comfortable working with such an artiste.
There are many other good producers out there. Do you find the industry competitive?
Whether we like it or not, it is a very competitive industry. There are some producers who have come out better than we had it years back. What makes the difference now is how you do your thing. We have about seven billion people on earth today, nobody smiles the way you do and that is a factor too in our line of work. The fact that no one does it like you do means you are scarce. And to every scarce commodity, there is a great value. So, I still stand out in my productions and if one listens to them, it would be noticed. That is the edge I have in the competitive industry.
Define good music?
It starts with the composition of the artiste, the rhythm and the melody. When all these come in place and you complement it with a right beat, and the song is well recorded, mixed and mastered. Then, it has potential to become a good song.
What top qualities should a music producer possess?
He/she must know how to sing, it helps more. If he/she knows how to sing, then assisting the artiste’s vocals and the recording sessions become great. Also, he/she must know how to play one or two musical instruments, it helps to get better and move ahead.
The third thing is that he/she must have a very good human relation skill. If you don’t have a very good relationship with your client or artiste, e.g. if you are so impatient or you shout too much at them when they are not really delivering, it is not good. You must also have a good management skill; you must be able to manage yourself and your funds. You must be self-disciplined. If not, you will allow little success to go into your head.
The music industry is getting better, but how do you think it still can be improved?
Yes, the industry is getting better, but when you study economics, you will know that there is a huge difference between growth and development. We are just growing, but we are not yet developed. The structures are not well designed. You see artistes and producers make very great songs and after two to three years, they are broke. It is not supposed to be like that.
If we have an industry where the royalty system is well structured, you can make your money from caller tunes, digital sales, stage performance and album sales, among others, producers and song writers would make their money. That is when we can say it is developed. Now, it is not yet fully developed as all the components that make an industry run on its own are not fully in place. But yes, it is growing bigger every day.
You are writing a book. How is that related to your music?
I am still working on it. I am a motivational speaker apart from being a producer and a geologist. I like to talk to young people. I believe in them, I believe some of them can do better than they are right now. I realise that people get motivated when I talk; I have spoken in many seminars and people get inspired with my story.
I have a story to share. I started producing with no equipments. I started up collecting N2,500 to make a beat and I have moved on from one stage to another. I tell people that if someone like me, who was in Ado-Ekiti making beats for N2,500 could make beats for P Square of Africa and Dr. Dre, it shows that nothing is impossible, as long as one believes in one’s self.
If you don’t believe in yourself, you won’t try to make anything happen. And I make personal affirmations a lot. You affirm positive things to yourself. I can do this. I can do that. All these artistes I am working with today, I used to have their posters in my office since 2010. I always told my friend that one day, I would work with them. So, if you can have a very big dream, it is good. No dream is too big. Dream it and affirm it. That is what my book is going to be about.
You said that you used to collect N2, 500 to record beats, how much do you charge now?
It varies, depending on the project. But the minimum I do now is $1,500.
What are your plans for 2015?
We started a sound engineering school, So Fly Sound engineering school, some years ago. But we are kicking off now. We are trying to give back to the society, because there are unemployment problems in Nigeria and it is to encourage young people to stay off crime, fraud and make use of their talents, if they know they have talents in music production.
You have released two producers’ singles…
I didn’t sing in them. The first one featured Yemi Alade, she did all the singing. The second featured May D, he did all the singing too. We already shot the video in Los Angeles and it is going to drop on February 14.
The basic concept behind the producer’s single is that you own the right. You own everything on the song. It is just a way of making the producer known.
Was there any song that was very challenging to produce?
No song has been difficult for me, really. If it is difficult, that means it is not a good song. Most of my works happen fast.
What is your typical work flow from idea development to conception?
Most of my ideas are gotten from my ‘premium place.’ For me, that is a place where you are more relaxed. It could be when I am in the bathroom, or any quiet environment, ideas flow into my head and the next thing is I start thinking on paper, I write out all those plans and ideas come. If you just have it in your head, they may disappear easily.