It was a chance meeting through a mutual friend that brought together one of the greatest producing duos since Jimmy Jam & Terry Lewis. Kadis & Sean were destined to bring beautiful music to our ears. They’d originally been a part of the same basketball team when they were both around 15 years old & came in contact again once they were in college. It was then they discovered each other’s love for music & decided to work together. After catching a big break working with Ryan Leslie & Next Selection, Kadis & Sean were well on their way to stardom. However, with the music industry being as fickle as it is, the guys experienced a few setbacks & sour relationships. That didn’t stop their grind though! After falling out with Next Selection, Kadis & Sean scored placements with 50 Cent & Lil’ Scrappy, moved back to their hometown, Boston & started all over again—making themselves a living version of the cliché: If at first you don’t succeed…
Try again, they did! Kadis & Sean built up their contacts, hustled hard & were rewarded for it. They received placements with Brandy & Menudo all while inking a song deal with Sony & a music publishing deal with Chrysalis Music Publishing. Impressive, huh? The grind didn’t stop there—the fellas were L.A. bound to start up their own label—Roz Music. It’s like they completely infiltrated the music industry, rooting themselves in it, as to not be plucked out easily by the competition. If you let them tell it; there is no competition. Who wouldn’t want to be a part of a label created by two superstar producers that allow you to be completely 100% organically you? While circulating their uniquely-styled production amongst A-list recording artists, Kadis & Sean somehow find time to spearhead an entire musical movement with Roz Music. They also found the time to chat it up with Chronic about how they got their start, what they are doing in the music industry & how they plan to sow & reap millionaires.
What kind of sound do Kadis & Sean typically go for?
We do everything. Sean & I have submitted records of Josh Groban—from the classical side to 50 Cent, Donnell Jones, Kiki Palmer—ballads, hip hop, jerk music.
Being that you’re so multifaceted with your music, do you find it hard to put one label on your sound?
I think that our musical sensibility when people hear our music, there’s a certain style & grittiness to all of our music. Even if it’s a record like what we just finished doing with Brandy called “Silent Night—“ you hear the record—it’s a big record, but it’s still got that Kadis & Sean sound. We have an expansive sound & style. The instruments & keyboards that we use are typically in a certain realm.
How would you say you got your first big break?
I wouldn’t say that we got our big break yet. Some people would say we did. We set goals & reach for those. When we obtain them, it’s on to the next one. I still have the same exact drive & determination I had the day I started doing music. I don’t look at myself like I had a big break because I think when people start recognizing their success, they become stagnant. The thing that has always kept us moving forward is not being complacent. We are never satisfied. So when someone looks at us & thinks we had a big break, I don’t necessarily see it that way.
So you & Sean knew each other from a youth basketball league—how did the music part of your relationship develop?
My friend told me she had this guy who is a piano player & goes to Howard University. I was at the University of Hartford at the time. It was like, “Oh my goodness! That was you!” Six years later. I didn’t know his name, I just knew him. Ever since that moment, we connected & basically we fed off of each other’s energy & musical styles. At the time, I was more percussion, he was more musical. Neither one of us was trained, but I had started learning how to produce. My style of production was quirky & awkward. Being able to play, I had to compensate with other sounds outside of the keyboard. With my style of production & merging our talents together is how we got started.
How are you feeling about where you are today?
I won’t front & say we’re not successful, we have it, but there is so much more to prove. I feel we’re still in baby step mode. When will I feel successful? I don’t know. The company is growing everyday. Outside of Sean & I being producers, we’re businessmen. At the same time we’re in the studio producing, we’re running a company & building a brand. Before & after sessions, we’re having meetings with our marketing team & assistants, brand managing, on the phone with companies & doing the business side. Most people don’t take advantage of the opportunity to build a Bad Boy, Def Jam. You get a lot of good production & artists that do good music, but once they stop producing, the company dies. Well, I want our music to live on 100 years until I’m dead & gone. That’s what we’re building—a household brand, where if Sean or I stop producing, we’ll have producers & a company. That’s what we’re looking for.
You said you’re doing the business thing with your company Roz. What do you & Sean have to bring to the table that will give you longevity & the success you seek in this fickle industry?
The thing that will keep us afloat is our ability to understand the industry—being at the bottom & seeing what works & what hasn’t worked. Sean & I are nowhere near reached our capacity in terms of our growth as producers. I think at this point, we’re coming into our own & really starting to become confident in ourselves. The thing we bring is the ability to evolve & to—when an artist like Jo Jo comes in—get her a sound that is us, but that is her. Or if Josh Groban comes in, we can give him a sound that is us, but totally him, even though it’s a different genre. We’ve developed the ability to evolve with the music & surround ourselves with people with like minds. That’s important to help make us decade producers.
What kind of artist are you trying to develop out of Roz Music?
With Audio Push, we’re just finishing the mixtape—it’s called The Sound Check—it’s what you get before the album comes out, before the show—The Sound Check. What we want to bring out with them is—don’t look at them for the color of their skin. If their favorite group is the Jonas Brothers, why can’t we do music that embodies all the music that you like? They may say their favorite artist is Jay Z, so we’ll give them something that Jay Z would rock to. Basically what we’ve done is, we’ve tapped all the genres of music in their mixtape & in their album. One of them sing, so we’ve got some dope R&B records, like “Up & Down,” “Audio Kick—“ then hip hop & pop records. The type of artists that we like to deal with are artists that are organically themselves & not tailored to be something that they’re not. We just took what Audio Push was naturally & what was naturally in them & put it to use.
You guys are doing something most labels do the opposite of. They like to pre-packaged artists with music they can feed to the masses…
We didn’t do this on purpose, it’s just kind of our personality. We took it back to the Motown days where we A&R our projects. We did music, visuals (stylistically), we were there when they were practicing, we’d be at the photoshoots, we did the treatment for “Teach Me How to Jerk,” we helped develop the website. We put out heart & soul into the group. That’s what’s missing. We had to do it that way. The labels don’t really do artist development anymore. We went ahead & made sure that when we brought this project to the label, we had the artist developed, we had 35% of the album done so they could see the first single & the last song on the album & go, “Ok, this group is a four & five album type of group.” When you get artists from us, you’ll get artists that are organically themselves & the music is them. There is nothing fake.
How do you feel about competing amongst star producers that are out there right now?
Once we started doing what we’re doing with our artists, I don’t feel like we’re competing anymore. We’re competing against ourselves. I think that if we’re going after the same album—like Britney—then yeah, we’re competing against Rodney Jerkins, The Neptunes, Polow. When you’re developing your own artist, you’re just competing for the public attention. We have the ability to give the public music that we like. So, at that point, if you play the game of beat placers, you’re competing. If you play the game of artist development, then you’re competing against yourself.
You guys still look for placements?
**Read the entire interview HERE**