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  Collins spoke with Gospelflava.com about his musical upbringing, his new Beatmart Recordings venture, KJ-52 and more.Gospelflava.com: You've recently set up Beatmart Recordings. What's it all about, and how did you come up with the concept of it? Todd Collins: Myself, Joey Elwood and Toby McKeehan started Gotee Records back in 1996, and in 2001, we sold a portion of the label to EMI. At that point, I decided to "cash out" and completely go independent and concentrate on just producing records. For about a year, that's exactly what I did. After then, I started to run across a fair number of artists that I really wanted to work with, and thought that they deserved their own record deal. Plus, I felt that at some point, I would be back in the record business, and would own another upstart label. My brother Troy worked as the director of sales at Gotee. He then moved and was promoted to Sales Director over both Gotee Records and Forefront Records at the same time. After about a year and a half at that position, he decided he wanted to move into something more independent, and so we decided to join forces to create our own label. A year of "setting up the business" later, Beatmart Recordings was born. Gospelflava.com: In mainstream (secular) music, there have been some great collaborations between artists of different genres. They seem to work together well. Why do you think that it's so hard to do that in the Christian and Gospel music scene.
Gospelflava.com: You're one of the most versatile producers in music right now. How are you able to flip from rock to urban Gospel to hip hop to alternative? Todd Collins: Being a producer nowadays, to me, is much different than being a "beat maker". In my opinion, there's too many "beat makers" out there that don't really know how to produce. Just creating a track or a beat is a very minute part of producing a record. There's much more involved, such as the psychology of dealing with artists, the musical arrangements of songs, arranging vocals, the actual key or key changes of the songs, etc. In other words, too many DJs and "beat makers" don't actually know music theory, which is vital in making records. Therefore to me, a song is a song no matter what genre it is. I grew up the son of a Baptist music minister who has been a vocalist and a musician all of his life. As a result, he had many musical influences that were passed down to my brother and I. We listened to everything from James Brown and The 5th Dimension to The Beach Boys and Charlie Pride with some Cal Tjader and Ramsey Lewis thrown in —and I still own all of those records. Music was a huge part of our development growing up, so I was exposed to a ton of different types of music. In my professional life, I've tried to blend all of those elements into what I do. And when I produce a record, I try and let the song speak to me [and tell me] what it may call for musically. My goal is to just make the best possible song, whether it's rock, pop, R&B or hip hop (which happens to be my love). Gospelflava.com: You and KJ-52 have an obviously great working relationship. Tell us about that. Todd Collins: KJ and I have a long history together, going back to 1998. I helped him get his first deal with Essential Records and then again with Tooth & Nail Records. So we have a high trust level in each other. I feel that KJ's success is due to his never-ending work ethic and his willingness to listen and take direction. Our relationship is one of friendship first and then work. I've always tried to look out for him in situations and I feel that he has always looked out for me. Because of that loyalty, we have a very deep bond. Plus, our musical tastes are very similar so it makes it very easy to work together. KJ is unlike any artist that I've ever worked with, in that h doesn't have a high insecurity level. So he's able to take constructive criticism very well. That translates into the ability to being able to craft great songs and records. I can't tell you how many times that KJ has sent me a song idea and I've said, "No way will this go on yours or any [other] record! This is terrible!" KJ doesn't take things like that personally from people he truly trusts. He uses that as fuel to better himself for the next song idea. That's how he's able to write hits... he has no ego. As I've grown in the industry, it's been a privilege to watch KJ grow into the artist that he's become. He's the quintessential artist and amazing friend. What else can be said. Gospelflava.com: How about this old standby question: who would you like to work with? Todd Collins: This is a tough question, because I've gotten a chance to work with so many people in the industry. I don't know that there's a definitive artist that immediately comes to mind. I'd love to do a cut for Kirk Franklin. I'd love to hook up with Mary Mary. I'd like to produce a Crystal Lewis record. and maybe lastly, I'd like to do some sides for a Sup The Chemist record, if it was commercial, that is. Gospelflava.com: How did you go about signing Japhia Life? Todd Collins: I hooked up with Japhia at GMA week in 2001. We did some demos together and they just really turned out great, so we decided to figure out a way to work together. His deal is still up in the air though. Gospelflava.com: Who came up with the idea for the Kollins Kommunity Khoir to sing the hook for "Survive" by Rob Hodge? That song is hot!! Todd Collins: That was Rob's idea to do something that was "street" but still had some commercial appeal, Kinda like "It's A Hard Knock Life" [by Jay-Z]. So, I just said, 'Let's get a hot hook and I'll get my twin girls to sing it. It was literally that easy! They're the "Kollins Kommunity Khoir". The sky is definitely the limit for Todd Collins and Beatmart. Expect more quality production and music from this extraordinary artist. Email This To A Friend
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