HHS: Let’s start with the new album, The Audience’s Listening. When did you get the idea that you wanted to devote your time to putting out a solo album?

Cut Chemist: Umm lets see… well i guess as long as i’ve been doing this, going back to the “Lesson 4″ days.

Speaking of “Lesson 4″, Steinski was a big influence on you. Do you plan to do any more cut and paste style songs?

I think all my stuff is cut and paste, even though it’s from live music. Like we will bring people in and record them and ill go through it and sample that and make it sound like a sample. I think i will always do that.

Have you grown as a producer with this record?

I think i have gone backwards. Because with Jurassic 5 you have to organize all these groups of people and with this stuff it’s just simple and personal. I don’t know if I can produce a record for someone right now. I’m more of an artist then a producer. One thing I have grown is at executing producing with this album. I have been working hard on going over the budgets and overseeing stuff like artwork and all that in that.

Was any song on the album hard to make and you spent a lot of time trying to get it just right?

Every one, really. I’m still tweaking them now, even the two that are out I’m still mastering. I’m like maybe we should raise this section by .1db and stuff. I’m always tweaking and messing with them, I can’t stop.

Did your record label want to push you in any certain direction or did they just say give us an album in a few months and left you alone?

Well, they said give us an album in a few months and it took me a few years, but yeah, they were pretty cool about everything. You have to be more careful with samples when your at this level.

Has not being able to clear samples hurt you ?

Yeah a little, it sucks sometimes. I have a guy who is really good and finding people and working things out. Sometimes you can’t afford it and have to swap it out with something else but that’s how it is.

Will people familiar with your work with J5 and your funk mixes enjoy your solo album?

I think so. I’ve played the album for a lot of people – some rap heads and some people that aren’t into rap – and they both seem to dig it. Like i have two songs out now off the upcoming album “The Garden” and “Storm” (with Edan and Mr Lif). They are both different but have been received well. I think when you listen to my stuff you come in with open ears so that might help.

Did you want to do anything or work with anyone on The Audience’s Listening, but didn’t get to?

Yeah I wanted to have Charli 2na and Marc7 on a track, but they are working on the upcoming Jurassic 5 album and we couldn’t get our schedules worked out.  I didn’t want this album to be saturated with guests but I’m happy with the people I got to work with on this album.

So even though you didn’t do anything for the new J5 album and they aren’t on your album everything is cool between you and the other members of J5?

Yeah, everything is fine.

Do you and Shadow plan to do another funk mix?

We have been entertaining the idea. You know talk about it informally. We are going to dust off the set and play it at a benefit (for graphic designer Keith Tamashiro who suffered a brain aneurysm in March and is currently in the hospital with mounting hospital bills) so maybe doing that will help or maybe we will tweak and update the set a little. Shadow is three albums deep I haven’t dropped one yet. I feel I gotta put out at least one album before we do another mix. Also if we do another one it has to be really good, it has to annihilate the other two.

I know you and others went to Brazil for Brazilintime. Did going there influence you any musically?

Well, I have been a fan of Brazilian artists, even before I went down there. I started studying that stuff when I was in college, but going down there I got a greater appreciation for it. I like a lot of artists down there, but I tend to favor the way far out and psychedelic stuff.

You contributed a song to The Sound of LA release, how did that come about?

I had originally made the track for the last Jurassic 5 album but it didn’t make it. It didn’t really fit on my solo so i played for Carlos Nino and he wanted it.

Are there any current artists you dig right now?

Umm…lets see…not really.

What do you think about the hyphy movement in northern California?

It’s funny that northern and sourthern California aren’t that far apart, but there sounds have always been different. I think it’s cool. I want to know what the LA sound is. I want to be apart of a team, too.

You have been diggin records for a long time what’s your most prized record?

I don’t know that’s a hard question to answer. Plus, anything I mention people will hit up ebay and shops and raise the prices on, so I can’t really say.

What was the first record you found while diggin that you were really happy you got?

The Invaders “Spacing Out”, it’s such a great record, I would say my favorite of all time.

Do you get to DJ much anymore?

Yeah I DJ, because I love it.  Sometimes I DJ in Hollywood on Saturday nights, which is funny because those people want to hear 50 Cent and these “I want to get laid” songs.  I can understand that because when I go out on saturday night, I will turn my brain off. But its cool because say around 12:30 after they have a few beers in them i can throw on some Turkish shit and they will dance to it. Then when they come back next week they will be like “throw that Turkish joint on”.

How is this new self titled release different that Amethyst Rock Star?

It’s much more song driven. The first one was more beats with poetry. This one is really about the songs. There is very little actual poetry on the album most of the album I wrote the music first.

You produced most of the songs yourself, what did you use?

Yamaha EX5, MPC and I recorded on a Roland VS1680. I wanted it to sound live. So some of it I would record the vocals while the music was blasting in the background so it had a live feel.

The press release said the album took only 10 days to record.

Yeah, that’s kind of bullshit.

Really?

Yeah. I was only in the studio for 10 days that’s true. I wrote maybe one song in the studio and everything else I dumped down from my equipment at home and fixed it up in the studio.

Serj from System of a Down is involved in one track, how did that come about?

He is a friend and about maybe a year ago he was like “Saul i’d like to collaborate with you sometime,” and he came up with this track. He gave it to me right at the last minute. I was in the studio, it was during those 10 days. It ended up being the first song “Talk To Strangers”. I was like oh my god, because I was trying to find an introduction and I thought it was beautiful.

What’s your writing process? Do you just sit down and write?

I write different ways different times. I keep a journal. Sometimes music gives me an idea, sometimes a conversation, other times its some kind of an emotional crisis where I need to write.

I heard you are working on a play. How is that coming along?

Its coming slowly but surely. I’m taking my time with it. A one man show. Its about hip-hop and our generation.

How do you feel about hip-hop right now?

I’m cool.

You’re happy with it?

Yeah, my whole thing has been about the balance. Well, granted we went through a wack period. But its not like that shit shouldn’t be out as long as there is balance out there. There is a certain part of hiphop that is under represented. I came from the ghetto too. There are tons of kids like me in society, African American kids from the ghetto that are choosing not to be thugs. I just feel under represented.

Have you ever considered being less esoteric and being more straight forward to get your messages out there to the youth?

I never really made a decision to be esoteric. It’s just I am who I am. But with this album I tried to not go to the point of overboard. I choose to have fun. Songs like “Grippo” and “Black Stacy” are first takes. It was like “I’m going to write this real quick”.

Why did you decide to publish your book through MTV books?

I choose to publish through MTV because of there demographic. I’m trying to reach people. They don’t give a fuck about what my book says. They don’t ask me to change anything. They gave me opportunities like doing a commercial and putting on the station. It gives me an opportunity to actually reach and infiltrate the mainstream without compromising my beliefs or my writing in any way.

What is your opinion on freedom in america? It seems like at times we have so much but we don’t take advantage of it.

I think we are more loose than free. Kind of like a dog on a chain playing in the yard. He thinks he is free but if he gets too far he feels this tug on the chain and is told to come back. I do think with kind of overlook our responsibilities that come with the power that we have. I think the freedom is there to experience but what I think most people associate with freedom in this nation is comfort. It’s not really freedom. There is also a great deal of fear in going beyond a certain point and a great deal of selfishness and not realizing that your comfort comes at the cause of others discomfort.

If you could recommend a book to somebody reading this, what would you suggest?

It depends on the person and what they are experiencing in life. I just read this book that I love called The Time Traveler’s Wife by Audrey Niffenegger. Its about the wife of a man who time travels. It’s a love story but its not sci fi. Its beautiful. I’ve been on the last couple pages for the past few days because I don’t want it to end.

J-Zone: Yeah, I retired in 2001 after Pimps Don’t Pay Taxes. I wanted to stick to production, but the beat selling game ain’t shit nowadays unless you got major label pull. It’s not too lucrative. Plus, I began to realize that I had more fun doing beats for myself than shopping beats to other artists. I don’t like to wait around, send out beat CD’s and wait…with all that waiting, I was like ‘fuck that, I’ma keep rappin on these shits and work on albums’. At first I was reluctant to rap, but once I found my niche and got comfortable with my own rappin style, I decided to keep doin it as long as I’m havin fun. Now I enjoy rappin, but I still won’t do no freestylin or battlin. And I’m still a producer first.

How do you think you have grown as a producer since Music For Tu Madre? It seems along the way your style has changed. Is this intentional or just being influenced by new stuff?

I still have elements of my trademark sound, but I’ve altered it a lot, especially over the last year or two. It’s both intentional and a sign of new intrests. My roots are in funk. I grew up listening to old Kool and the Gang, BT Express, James Brown, Slave, Ohio Players, etc…I wanted to go back to my funk influence. Plus, I felt I was gettin pigeonholed with my sound, like ‘yeah, every song has a million soundbites, accordion samples, slapstick, circus style beats’. I wanted to change it up  and get back to funk. My sound is still bugged out, but it has more of a funk/rock flavor as of recent. I
just wanted to hear and try something new. Everybody wants me to go back to “Candy Razors” or “Orphan Babies” type of shit, but I just got bored with that sound. That was 5 and 6 years ago. I think I’ve grown and improved a lot as a producer, but mad people say I fell off, so I guess I fell off. (Laughs)

What is your favorite cut on the new album?

Different ones for different reasons. “A Friendly Game Of Basketball” is my favorite concept, “Heavy Metal”is my favorite beat, “The Zone Report” has the lyrics that mean the most to me, I really got shit off my chest on that song. “Disco Ho” and “Baldylocks” are the funniest ones. But overall, I gotta say “Edit These”, because it ranks high for me in all aspects (concepts, beats, lyrics and humor).

I noticed Huggy Bear wasn’t on this one and you guys have parted ways, what happened there?

Major creative differences. We just grew far apart musically and it was a situation where it was better to remain cool with each other personally and part ways than to try and force a working relationship. No beef at all though, it wasn’t personal.  But, if both people aren’t mutually feeling the music they’re making, the music suffers and you get tension, so we went our separate ways. I always got love for Huggy and Al-Shid, cause we came in this together. We went through the free shows, sheisty promoters and paying dues together, so that mutual respect is always there and to fuck that up for the sake of makin rap records ain’t cool.

Is there any rapper out there than can beat you at b-ball? What kind of player are you?

Fuck no. Bitch, I’m NBA-bound, ho! The only rap personality that can beat me is Bobbito. Bobbito is NICE! Bob will bust my ass!  I’m a mid range shooter, I shoot the 12-15 footer. I’m really streaky though. If my shot is on, your ass is toast. But if I’m off and I’m shootin bricks, I’ll just use my speed to tire you out. I run Rockaway Beach 4 times a week in the summer, that shit is like 6 miles. I’m in good shape and most rappers smoke a lot, so if my shot is off, I’ll just run the court like a mad man and tire you out and take it to the hoop. Basketball is my second love to music. I wanna coach high school ball one day, if I’m not laid up on an island with somebody’s baby mama drinkin Long Island Ice Teas and countin’ money.

Did you watch the men get killed in the olympics?

That shit wouldn’t have happed if I was playin in that bitch.

What’s something about you that would surprise most people?

I’m approachable. Some fans are scared to say what’s up because of the Captain Back$lap character, but I only act that way when you approach me wrong. Like don’t run up and ask me to start freestylin or tellin me to give you a beat CD cause you’re the best rapper ever. That’s annoying, I’ll get real pompous fast. But people will step to me and say whats up and be surprised when I stop and have a conversation with em. I’m always cool to the fans cause they keep me up in this game. Just don’t run up on that dumb shit and I’m the coolest cat you’ll meet.

You helped out on MF GRIMM’S The Downfall of Ibliys album and have worked with him since. how did you get to know and work with GRIMM?

He graduated before me.  He used to come back to the school after he graduated and I’d engineer recording sessions for him. He brought Grimm up to record that “Landslide” “12 for Fondle Em Records, I engineered that session at my college. I had been a fan of Grimm since “So What You Want, Nigga?”, so I gave him a tape of Music For Tu Madre before it ever  came out. He called me the next day like “Yo, we gotta do some shit.” We became cool and he helped me get a lot of connections for Music For Tu Madre. Downfall of Iblyiss was recorded at my house, but before I got to do a track with him he got locked up. When he got out I got right at him, cause it was overdue and we did the “Taken” b/w “Dancing” single. I got much love for Grimm, cause he looked out for me when I was comin up when he coulda put himself on. I was always his engineer, but it was cool to have him rock on my beats. That’s my dog.

How was it working with Biz Markie?

Hahaha, Biz! I drove all the way to his studio in Maryland to track the beat for “Chinese Food” cause I didn’t have Pro Tools at the time. I walk in and the first thing he says is “Yo man, I thought you’d be Chinese!” We went into the other room and he played me like 30 songs he was workin on. Some of them were incredible and they never came out. I played him my latest beat CD and he picked 2 beats, but he wound up not usin em cause off time issues. They wound up bein “Ho Kung Fu” and “Gimme Gimme Gimme” from $ick Of Bein Rich. He autographed my Diabolical Biz album cover for me, I laid the “Chinese Food” beat to Pro Tools and broke out. That was one of the highlights of my career. Just me and Biz chillin for an hour playin beats. If it all ended for me tomorrow, I couldn’t be too mad. I got to work with and get the mutual respect from all the people I grew up listening to. Biz, Masta Ace, King T, Devin the Dude, J-Ro, Akinyele, Prince Po…you can’t put a price on that. I’m a fan first, an artist second.

Who do you want to collaborate with now?

Suga Free, Project Pat, Redman, Slick Rick, Kool G. Rap, Too $hort, Ghostface, MOP,  E-40, Ol Dirty Bastard and Milk D from Audio 2.

Do you think the fact that you are seen as an “underground” NY guy that you don’t have a chance to work with some people you would like to?

Definitely. That’s what I mean about pigeonholing. If you look at the list of people I named above, you’d probably think I was kidding about half of them, but I’m dead serious. Just cause my records are funny and harmless, that don’t mean I can’t do a beat for MOP, cause I’d love to! Project Pat is Dirty South, Suga Free and E-40 are straight west coast, but that don’t mean shit to me. To work with them would be a challenge and a dream come true. I’d kill to work with artists out of my “subgenre”, cause it helps you grow as a producer.

What upsets you off about hip-hop right now?

That fuckin segregation, like I was sayin. The division. Why can’t I do a beat for Ludicris? Cause he’s on MTV and I’m “underground”? That’s wack. Back in ’89,  De La Soul, LL Cool J, NWA and Slick Rick all toured together. Look how different each of those artists are. Why the fuck can’t we have that now? Shit don’t make sense. You gotta only like and work with artists that are grouped with you and if you wanna step out and show interest outside your labeled group, they say you’re a sellout or a perpetrator.

And finally this being an election year do you have any comment on politics and where the nation is at right now?

Bobby Brown for President! ODB for Vice Prez and Baby and Manny Fresh for House of Representatives. Rock the vote!