Uncover Ghanaian Billboard topping Producer, Eric Kwabena 'Coptic' Matlock
By www.ameyawdebrah.com - AmeyawDebrah.com The Jaded Renegade | Fri, 09 Oct 2009
Very often when we hear a good song, we just dance to it and admire the singer/rapper for the song and forget about the people who went through the creative process of making the beats to the song. The extremely talented producer, Eric Kwabena “Coptic” Matlock is a perfect case in example. Remember “I Need a Girl” by P.Diddy featuring Usher & Loon? Yes, Coptic was the man responsible for that track among other Billboard topping tracks.
The US-based Ghanaian beat making genius has also produced beats for the likes of Notorious BIG, G-Dep, Jermaine Dupri, KRS-One, Black Rob, Mase. Memphis Bleek, Carl Thomas, Ice Cube and many others.
Coptic was born in Kumasi, but grew up in Accra and Awukugua mostly. He schooled at Associated International in Accra, but loved it at the village in the Akuapim Mountains with his grandmother, Augustina Addo. He would always go to the village when school was out and run through the bush, to go hunting, fishing, or whatever.
His love affair with music started at an early age; according to his mom, he was making music from when he was a baby beating on his grandmother’s pots. But his earliest memory of making music was when he was in a local band based in Newtown, Accra. He played the base drum and some percussion instruments. Perhaps, this is responsible for his signature thumping drums and melodies in his beats now.
In January 1983 he left the shores of Ghana for the US at age 13 and that marked the beginning of what has become the success story of this pure musical genius today. I caught up with Coptic to find out more about his productions, experiences and future plans for Ghana and Africa.
Ameyaw Debrah: What was your first production?
My first production sold was to Puff Daddy, this was before his first album came out and when Biggie Smalls was still alive. It was supposed to be on Puff’s album and it was to feature Biggie Smalls. Well, I got paid for the track, Biggie died a few weeks later and I never heard that track again. My first actual released production was to Jermaine Dupri, for his ‘Life in 1472’ album. The song was “All That’s Gotta Go” Featuring Da Brat and that album sold platinum plus.
Ameyaw Debrah: So how did you make this breakthrough as a producer?
I hung out at Uptown Records a lot, which was Andre Harrell’s label. That was around the time that Puff was A&R for Andre and working with Mary J Blidge and others. My boy/business partner David Best worked in the mailroom for the record label, so that got me through the front door and a chance to see a functioning and successful record label in action.
About a year later David introduced me to his junior high school friend, Harve Pierre. Harve is the current president of Bad Boy Worldwide, but back then Harve was Puff’’s A&R at his newly created label Bad Boy Entertainment. With Harve’s early and later guidance, I was able to get in the right places.
Ameyaw Debrah: How did this lead to meeting the likes of Diddy, Jermain Dupri and others?
I worked on my craft for a few more years until Harve felt that my music was ready, at that point he passed my TAPE to my current manager Anthony Hubbard, he then passed it on to Deric “D-dot” Angelette, who at this point was the hottest hip hop producer in America. Deric had produced the “Benjamins” and a whole lot of other hits for Bad Boy, he liked what he heard on the tape and it went from there. I worked as a producer for him, co-producing records for The Notorious Big, Puff, Jermaine Dupri and others. At this point he had me, Kanye West and Charlemagne (Bronx) working as producers for him, this was good for us because it got us exposed to artists that we would normally not know.
Ameyaw Debrah: What’s inspires your works and who are your influences?
My beats are inspired by melody and drums. I like hard Hip Hop drums; I always have that in my music. My influences include Bob Marley (I was fortunate to work with some of his kids in Miami) and Old School Hip Hop.
Ameyaw Debrah: Are you currently working on any productions or projects?
Yes, I am working with my artist Lil Goonie from Nashville, Tn. He has the official theme song to the Girls Gone Wild movement; he also has a few songs featured in their television show “The hottest girl in America”. I am also working with Ghana’s own Gibril Da African.
Ameyaw Debrah: As a Ghanaian/ African what is your assessment of our contemporary music?
I love the music coming out of Ghana, but I believe the main problem for an African musician is proper compensation from people using their music. African radio and Televisions stations need to pay artist royalties; this will have a positive effect on the movement.
Ameyaw Debrah: Nigerian music seems to be doing well even in America, what lesson can Ghana draw from that?
I don’t know how well Nigerian music is doing here; both are in the same boat to me. When it comes to hip hop, for an African rapper to break through and make it BIG, they have to be ready and able to compete with American rappers.
Ameyaw Debrah: Have you work with any African acts? Continued
The US-based Ghanaian beat making genius has also produced beats for the likes of Notorious BIG, G-Dep, Jermaine Dupri, KRS-One, Black Rob, Mase. Memphis Bleek, Carl Thomas, Ice Cube and many others.
Coptic was born in Kumasi, but grew up in Accra and Awukugua mostly. He schooled at Associated International in Accra, but loved it at the village in the Akuapim Mountains with his grandmother, Augustina Addo. He would always go to the village when school was out and run through the bush, to go hunting, fishing, or whatever.
His love affair with music started at an early age; according to his mom, he was making music from when he was a baby beating on his grandmother’s pots. But his earliest memory of making music was when he was in a local band based in Newtown, Accra. He played the base drum and some percussion instruments. Perhaps, this is responsible for his signature thumping drums and melodies in his beats now.
In January 1983 he left the shores of Ghana for the US at age 13 and that marked the beginning of what has become the success story of this pure musical genius today. I caught up with Coptic to find out more about his productions, experiences and future plans for Ghana and Africa.
Ameyaw Debrah: What was your first production?
My first production sold was to Puff Daddy, this was before his first album came out and when Biggie Smalls was still alive. It was supposed to be on Puff’s album and it was to feature Biggie Smalls. Well, I got paid for the track, Biggie died a few weeks later and I never heard that track again. My first actual released production was to Jermaine Dupri, for his ‘Life in 1472’ album. The song was “All That’s Gotta Go” Featuring Da Brat and that album sold platinum plus.
Ameyaw Debrah: So how did you make this breakthrough as a producer?
I hung out at Uptown Records a lot, which was Andre Harrell’s label. That was around the time that Puff was A&R for Andre and working with Mary J Blidge and others. My boy/business partner David Best worked in the mailroom for the record label, so that got me through the front door and a chance to see a functioning and successful record label in action.
About a year later David introduced me to his junior high school friend, Harve Pierre. Harve is the current president of Bad Boy Worldwide, but back then Harve was Puff’’s A&R at his newly created label Bad Boy Entertainment. With Harve’s early and later guidance, I was able to get in the right places.
Ameyaw Debrah: How did this lead to meeting the likes of Diddy, Jermain Dupri and others?
I worked on my craft for a few more years until Harve felt that my music was ready, at that point he passed my TAPE to my current manager Anthony Hubbard, he then passed it on to Deric “D-dot” Angelette, who at this point was the hottest hip hop producer in America. Deric had produced the “Benjamins” and a whole lot of other hits for Bad Boy, he liked what he heard on the tape and it went from there. I worked as a producer for him, co-producing records for The Notorious Big, Puff, Jermaine Dupri and others. At this point he had me, Kanye West and Charlemagne (Bronx) working as producers for him, this was good for us because it got us exposed to artists that we would normally not know.
Ameyaw Debrah: What’s inspires your works and who are your influences?
My beats are inspired by melody and drums. I like hard Hip Hop drums; I always have that in my music. My influences include Bob Marley (I was fortunate to work with some of his kids in Miami) and Old School Hip Hop.
Ameyaw Debrah: Are you currently working on any productions or projects?
Yes, I am working with my artist Lil Goonie from Nashville, Tn. He has the official theme song to the Girls Gone Wild movement; he also has a few songs featured in their television show “The hottest girl in America”. I am also working with Ghana’s own Gibril Da African.
Ameyaw Debrah: As a Ghanaian/ African what is your assessment of our contemporary music?
I love the music coming out of Ghana, but I believe the main problem for an African musician is proper compensation from people using their music. African radio and Televisions stations need to pay artist royalties; this will have a positive effect on the movement.
Ameyaw Debrah: Nigerian music seems to be doing well even in America, what lesson can Ghana draw from that?
I don’t know how well Nigerian music is doing here; both are in the same boat to me. When it comes to hip hop, for an African rapper to break through and make it BIG, they have to be ready and able to compete with American rappers.
Ameyaw Debrah: Have you work with any African acts? Continued
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i need u i think
2g | lapaze-ghana (Location: Ghana) | 10/13/2009 11:18:00 AM
can i have ur number so i can call u pls
