creators to protect themselves. Speaking with The Sunday Gleaner, at least two industry players believe that if songwriters begin to approach their craft as a business, rather than a hobby or a means to an end,
intellectual property," said Dean McKellar, music rights analyst and board member of the JACAP. McKellar continued: "The legislation has already provided the legal framework, and, therefore, the onus is on them to seek out the necessary protection - and there are so many options available. But the first step each songwriter should at least take, is to get their work registered so they have some record of ownership and authorship if they feel they are being cheated by an artist who has recorded a song and doesn't want to credit them."
producer, and these parties often take advantage of that. A writer sees an artiste as an opportunity for them to 'buss', so they accept all kinds of substandard deals just to get their song out there. But it really should be the other way around because it's the artiste who needs the song," he said. "Many songwriters often say dem nuh wah build no bad vibes between artistes or producers and so dem don't bring up any paperwork because they are securing future opportunities, but what they aren't seeing is that if they set the rules, and do things properly from the beginning, it will benefit them in the future. Think about how you can ensure that the rights you have as creators are protected."
Clarke says that songwriters should think long-term as a song can 'buss' two decades after it was originally written and recorded. "I see this happen every day. A man have two words in a song and 30 or 40 years later, him a make more money than he made his entire life," Clarke said.
Pointing out that information is available to help songwriters secure their rights, McKellar urged these creators to educate themselves and join organisations that can help them.