Why is it that the Americans are able to take r&b and hip-hop, and push them quite successfully, globally.

They are able to make new stars in black music as well as having credible but popular white performers in these genres who are able to appeal to all colours.

BUT in Britain this is not the case. It isn't talent because the talent is a plenty. I ask myself 'What has happened to the UK black' music business' ?

In the 80s we had:
Five Star
Billy Ocean
Sade
Princess
Sinitta
Mel and Kim
Loose Ends
UB40
Aswad
Smily Culture
Eek a Mouse
David Grant
Jaki Graham
Phil Fearon
Soul ii Soul

Also has reggae stopped being good ? Why is reggae suddenly missing from the charts or the mainstream ?

Never before since the 60s has reggae been so under represented in the charts.

Add to that the pervasive influence of American gun culture thanks to certain Hip-Hop acts and you get a
pretty bleak picture.

The problem is not racism as far as the punters are concerned. Beyonce is very popular amongst all colours here in Australia and the rest of the world.

The problem lies with the labels. They are totally inept and have set the progress of the last 30 years back 40 years ! All Urban divisions in the UK record companies should be shut down and their managers sacked. The demand is there but we cannot meet the demand. Why ?

Oh God KZ this is a Pandora's Box and one we opened many times in The Tipsheet.

I think it's because generally black UK performers simply aren't very good. Or their writers/producers are second division. US acts tend to come from genuine roots (often gospel).

Billy Ocean, for example, was talented, individual and well produced (Mutt). So he happened globally.

But a prime example is Beverley Knight who is, I think, as good as any US soul singer but has never had the great song or production needed to sell everywhere.

It is a huge puzzle.

I don't think it is because they aren't good. There are many talented singers still out there with amazing voices maybe not on the same level as the Americans but certainly no worse than the 80s. They also have the same gospel roots as well and if we are going to split hairs are they really worse than their non-black fellow Brits ? Could it be that the labels who sign them are not signing the right people or have no understanding how to develop them or collaborate with their American counterparts.

Could it be production/writers ? Possibly but surely there isn't a shortage of decent writers and producers.

My own thoughts on this is that i think it is because they are not doing something remotely British and are trying to be American which is a bad move because you can only play catch up with the Americans. You have to go to America to get the proper American sound.

We have Reggae roots in the UK for example but where are the reggae acts. We had plenty in the 90s and all of a sudden they vanished from the charts.

The seductive allure of Hip hop music has a lot to blame as well. Everyone wants to be hip hop without having hip in their hop if you get my drift. The result
is a dumbing down of the music and culture.

I also think there isn't a passion for UK soul/r&b/reggae in the industry. Which is all to happy to import American music instead of nurturing homegrown stuff.

Personally I think the first So Solid Crew album will be looked back on very favourably critically.

It was label intervention that ruined them as much as irrepairable bad press, but musically that first album was spot on

I think you hit the nail on the head.
Label interference
Bad press.

I think the reasons why british black music is now in a worser state than ever before are twofold:

Label ineptitude.
Press not giving a toss.

Beverley Knight is a perfect example. The majors have no clue what to do with her. Is it rocket science to get her over to the States to work with producers over there ? Like Joss Stone.

Press and radio prefer to fall for the big budget promo dollars of the American imports than to develop homegrown stuff.

You don't go bad overnight. We don't go from a vibrant growing sector to one where there is nothing overnight.

It might be more helpful to look at another country: France. The new singers with a certain blackness seem to be far better singers and are being groomed for crossover appeal from the beginning. Reggae is still strong. There are loads of grassroots and upwards bands, labels and new sounds. Reggae and "ragga" (dancehall) are still evolving and are not considered old-fashioned.

I would say globally that the UK focuses to an unhealthy degree on rock music (ie, white, male, late teen guitar bands). I don't know why that is or what has to be done about it, but it's pruning the chances of a more healthy music scene.

There is a major grass roots gigging problem for the up and coming new larger reggae bands as well.
The venues that can fit them on a stage as a start up unit are decreasing, although many are willing to do it, a ten piece act will allways have a following even in the smallest of venues.

Aswad were superb, I don`t know where Brinsley went, I used to see him regularly, but I do doubt that the whole band appeared on there last biggest hit(Shine).
UB40, seem to have done a wonderful and calculated long career move.

Interesting you mentioned France Michael, it is a scene in itself and very live based,but with less mud!

Someone was asking about French download companies and I`m stumped on that one as well.
Is it a closed shop?
I know first hand that we had a dreadful runaround getting one of our mates bands out there, the booker we eventually found was in Holland as it turned out.

You may find a turning point is just around the corner for UK Soul DJKZ, I saw this guy on The Apprentice the other week and found his Myspace site through their forums. Top class vocalist, top songs ("Lets Leave Together" is particularly strong) and the sound IMHO is UK, not US.

www.myspace.com/danielewalker

Judging by the comments from the girls on the Apprentice forum he's got the whole package as well, if you get my drift.

Mart wrote:
There is a major grass roots gigging problem for the up and coming new larger reggae bands as well.
The venues that can fit them on a stage as a start up unit are decreasing, although many are willing to do it, a ten piece act will allways have a following even in the smallest of venues.

Aswad were superb, I don`t know where Brinsley went, I used to see him regularly, but I do doubt that the whole band appeared on there last biggest hit(Shine).
UB40, seem to have done a wonderful and calculated long career move.

Interesting you mentioned France Michael, it is a scene in itself and very live based,but with less mud!
What are you all waiting for then?

Someone was asking about French download companies and I`m stumped on that one as well.
Is it a closed shop?

What you need is a supplier that works with Fnac.com and Virgin, hopefully with direct marketing links. Just ask the suppliers what they can do. Finetunes has good connections.
I know first hand that we had a dreadful runaround getting one of our mates bands out there, the booker we eventually found was in Holland as it turned out.
Whatever it takes! I'm not on the live side, but I know there are some good agents and indie distributors in the north of France.