Codebluu, founder of Hart Boyz Music Group, shares how he blends artistry with business—having indie distribution with Empire, and prepping for his career-spanning release, Cold Blues Classics.
Let’s start from the beginning. Since founding Hart Boyz Music Group in 2014, can you walk us through the services you offer?
Sure. Initially, we set out to create a brand to funnel music through. But over time, I realized many people were interested in what we were doing. The administrative services and finer business details have become crucial to our growth, not just for me as an artist, but also in helping other artists navigate the industry. From setting up publishing to ensuring songs are registered correctly for radio play, these are things I overlooked early on. Now, one of our main focuses is helping artists understand the administrative side, making sure their music is ready for release and public consumption.
Can you elaborate on your distribution partnership with Empire?
It’s a purely independent deal. I’m not getting money from Empire; it’s about having direct access to distribute records as I see fit. I handle my own marketing, promotion, and creative control. It’s a platform—my music goes where Empire’s goes, but without the perks (or headaches) of being a signed artist. Everything remains under Hart Boyz.
You’ve mentioned being forced into engineering and later embracing production. How have these roles influenced your perspective as an artist?
They’ve made me more conscious of what I write and how I deliver it. Mixing and mastering can make or break a record. The industry has lost some quality standards, but the songs that truly take off still have that foundation. I want my music to translate well—whether it’s played in a club or on an iPhone speaker, which wasn’t a concern back in the day.
You have a project called “Cold Blues Classics” coming out. Tell us about it.
It’s a series spanning my career from 2006 to now, with about 50 songs across three discs. It includes early tracks, like the first song I ever recorded, remastered through an SSL to breathe new life into them. There’s also dialogue explaining what I was going through when each song was made. It’s a journey through my growth—song structures, rhymes, cadence—and the feedback so far has been great.
You’ve faced challenges with labels and projects not materializing. How do you stay resilient?
By keeping my head down and pushing forward. The music business is always changing—streaming, for example, has its pitfalls. Major artists are exposing how platforms like Spotify manipulate numbers. As independents, we don’t have those tools, so it’s about loving the process and seeing your work impact others.
As a father, how do you balance music industry demands with family time?
Having a home studio helps. My family is part of my creative process—my wife and kids listen to tracks, give feedback, and even write with me. My son’s talented; we might pursue that after school. It’s like building our own Jackson Five!
You’ve achieved sync licensing placements. What advice would you give emerging artists about this avenue?
Explore it. Streaming doesn’t always pay fairly, but sync licensing lets you earn upfront and with residuals. Create universal music—even if you specialize in a niche, having versatile tracks opens doors for films, TV, or ads. Don’t leave money on the table.
How do you approach creating music for visual media?
Unless it’s a custom contract, you work from briefs—like “we need a song that sounds like X.” Sometimes you adapt existing work; other times, you create under tight deadlines. Pressure breeds diamonds.
Beyond accolades, how do you define success?
Like an athlete chasing a championship. For me, it’s a Grammy, or platinum, or diamond plaque—whether as a rapper, producer, or engineer. That’s the pinnacle.
Last question: What legacy do you hope to leave with Hart Boyz Music Group?
A reputation for quality music that touches people. I want us to be a pillar, respected for fair dealings, positive impact, and excellence across cultures.
