J.J. Brown Interview
J.J. Brown is that nasty muthafucka in every sense of the word you may known his name from the notable people he has done tracks with as a producer, a D.J. or engineer J-Treds, Kimani of the Masterminds, Apathy and all the rest of The Demigodz, Skitzofreniks, Poison Pen, Big Skoob, Maylay Sparks, The Molemen, Mister Cheeks, J-Zone and of course Louis Logic.
He recently dropped Re-Release Therapy a remix project of Ludacris’s Release Therapy over classic Jackson 5 beats.
How would you define your style?
I really try to be a producer in every sense of the word. When I work with artists my goal is always to give them the version of me that best fits the style they’re going for. I love making all types of shit, so I just vibe off the artist and take it from there. Cats that really know my work will recognize certain things I do with the drum programming, scratches, etc.
Who is your biggest inspiration?
By far, the one dude that musically inspires me most as a producer is Timbaland. He taught me not to be afraid to try something the listener doesn’t expect. As far as cutting on tracks, I look up to cats like Daddy Rich from 3rd Bass and D.J. Punish from all those old Sir Mix-A lot joints. Those cats were at an amazing skill level, but they also understood how to compliment a track rather than just show off all over it.
How did you get into producing?
I originally started out rhyming. This is back when I was like 13. There were really no producers I was feeling other than cats that were way out of my reach, so I started going through my dad’s record collection and looping shit on my own with a tape deck. That’s really when I realized I loved making beats too. I rhymed on the “Street Smarts” remix and lent my voice to a bunch of tracks on the “Sin-A-Matic” project, but over the course of the next year you’ll hear a little bit more of me on the mic. But producing is still and will always be my main focus.
What are some things that got you into hip-hop?
I’ve always been excited by the creative spirit in hip-hop. With most rock stuff there is a set standard of what’s expectable. It’s the same way with most jazz music. But with hip-hop you take inspiration from all types of music and turn it into something brand new. The freedom is really what sucked me in.
Do you have a day job or does producing pay the bills?
I’ve been fortunate to make a nice chunk of change off music, but I love money too much to not have a day job at this point in my career. I’m actually pretty proud of what I do to supplement my income. I work in television and my current gig is as a camera operator for “Cold Pizza” on ESPN 2.
What do your parents think of your career as a producer?
My parents and my whole family have always been supportive of me and whatever it is I’m trying to do with my life. It really helps a lot. After hearing some of those old loop tapes I made my dad hooked me up with a little Gemini sampler and a Tascam 4-track. And my aunt laced me with my first 1200’s when I graduated high school. Although I’ve had a bunch of shit stolen from me over the years, I never had to steal my shit. My family and my hard work built the studio I’m sitting in right now.
What type of producing equipment do you use?
I’m running Pro Tools LE with the Digi 002 board to track vocals and cuts, and I make my beats using the Reason software with the Oxygen 8 keyboard and the MPD 16 drum pads. I’ve worked with all the traditional beat machines, but I really don’t know of anything that can fuck with what I’m using now.
Do you have a certain recording process or routine or is it always different?
It depends on what type of situation I’m in. If I’m real tight with the artist, I make beats with that person in mind. Like with Lou (Louis Logic), we have like a musical marriage yo. I know what type of track loves his voice, so I make shit specifically for him and he makes some choices and starts writing. When I working with people for the first time I’ll listen to some lyrics they need a beat for or peep some other stuff they’ve done and catch a vibe like that. You gotta be real flexible. If you’re locked into one set way of doing things it will fuck you in the long run.
You went to Penn State, what did you study? Has going to school helped you in the hip-hop game?
I studied communications. Going to school taught me how to deal with all types of people and obstacles. But the fact that it was Penn State was like an added bonus. That’s where I met most of the people I’m affiliated with today. It sounds crazy but when I was there in the mid to late 90’s it was like a hot bed for indie hip-hop. I owe a big chunk of my career to the Penn State admissions office. It really changed the course of my life.
What exactly is the beat-making process like for you? Can you bang out 10 in a day, or is it the complete opposite?
A lot of times beats are made out of necessity. Like Celph will throw me an accapella that needs an instrumental asap. In that type of situation I work pretty fast to meet the deadline. But when I’m really at the helm of putting together an entire album or single I might sit down and make beats for a couple days before I submit something. It really varies. But you can’t rush creativity. Some days you have it more than others and if you’re really good you’ll know yourself well enough to push hard on the days you’re in the zone, and take a breather on the days you’re not.
Do you have a large collection of un-used beats?
I always keep a fresh beat CD of like 40 tracks for those chance meetings in the street or up in a label. It’s cool to have that comfortable working situation in the studio, but you always have to be prepared for when an opportunity just pops up.
How radio-friendly do you want to be?
If you are really trying to get radio spins there are certain things you can do with the beats, content, and performance. But I think if you make good music, the business will follow. Look at what’s happening with Andre 3000 and Kanye West. I really don’t think those dudes set out to make hits. Their radio appeal and success comes from them being true to what it is they’re trying to do.
What do you believe are your strengths and weaknesses production wise?
My strengths are in the overall sound quality and the layering. If I gave you a Reason session of some of my beats you still wouldn’t be able to get a grip on all the shit that’s going on. It’s the subtle little intricate things that make my sound what it is. It’s not just a drum track, a loop track, and a bassline track like a lot of dudes out now, especially in the underground. I’m making real music. You could sing on my shit, you could rhyme, and you can pick out something different every time you listen. Although you never get to hear it in a final master, my greatest weakness is second guessing my drums sounds. Sometimes I’ll go in a change them two or three times before I do the final mix. For better or for worse I’m a perfectionist.
What parts of the song do you start with when making music?
As far as beats, it’s always with the music. I might get inspired by the smallest little sound byte and the beat just grows from there.
How much does a J.J. Brown beat go for?
It depends on the budget the artist is working with and how much I’m willing to help out an up and comer. I really charge accordingly, so it wouldn’t be fair for me to list prices.
What are you chasing in hip-hop?
I wanna hang with all the producers I respect the most. If I die with my name mentioned in the same sentence as cats like Timbaland, Quincy Jones, Jay-Dee and Premier I will have achieved my goal.
There has been word of your production album for the last couple of years, at this moment what can you tell us about that project?
A big part of my time is spent producing for artists I’ve been developing myself. I’ve really built a roster of talent and a catalog of work that goes way beyond anything the public has heard so far. I want my production album to be an introduction for all these cats, so my name has to really be on point for the project to be embraced. I have enough completed tracks to fill four production albums with my own discoveries. It’s not about the amount of content. It’s about dropping an album when the time is right. I’ve decided to get a few other credits under my belt with the more well known acts before I really unleash the bulk of my work.
Tell us about who and/or what the 5G empire is?
5G was the address of my townhouse at Penn State where things really started popping off for me. That’s why my production company is called 5G Productions. I really turned my place into like a hip-hop fraternity house while I was in school. So much shit came out of there. That should be a historic hip-hop stop on your next cross country road trip. It’s in the Copper Beech Town Homes on North Atherton Street in State College, PA. I wonder whose living there now?
How did you and Louis Logic kiss and make up after the “bootlegging incident”?
Lou and I are family. We can get through anything together because at the end of the day we need that support base we’ve created for each other. That shit was really a small thing to a giant.
Remix projects have now become a fast growing trend, is this something that interests you to get your music out to the masses?
I’d rather spend my time working on original material, but if I’m inspired enough by an album worth of accapellas it’s not out of the question.
What has been your most important professional accomplishment to date?
Getting that Executive Producer credit on “Sin-A-Matic.” That’s really what I’m all about. Being a part of all aspects of a project from start to finish and making it a classic.
Do you ever wonder about who is listening to your music?
I’m realizing more and more the love I’m getting over seas. Lou is on tour in Europe right now and fans are always asking him “Where’s J.J.?” We just thought it was more important for me to stay in New York while he’s gone to continue to get the beats together his sophomore solo album. I do often wonder if people are really getting what I’m trying to do in the music.
Out of all the tracks you’ve released, can you pinpoint one or two as particular favorites?
I’m really proud of the track I did with Apathy called “School.” It really had an important social message. I’m also a big fan of the way “Idiot Gear” turned out with Louis. The “Off The Chrome” posse cut I did on The Demigodz album was fire too.
For those people out there that have never heard J.J. Brown, what would you personally recommend?
Just pick up “Sin-A-Matic.” Nuff said.
Are you interested in ever trying something new with your music or do you feel fans wouldn’t accept it.
I try and do that with every track I make. Playing it safe is boring to me. If what you do is done well, no one will question if it’s hot.
What’s a typical day in the life of J.J. Brown. What do you like to do in your spare time when you’re not in the studio or touring?
I really like taking my mind off things by playing video games. My favorites are all the EA Sports joints like Madden and Street, and the Medal of Honor and James Bond series. I also enjoy spending time with my family and my girl and just being a normal dude once in awhile.
Any last words or shout outs?
PAAACE to everyone who has ever picked up or spun a record with my name on it. I’m gonna keep supplying that hot shit.
myspace.com/5gproductions
5gproductions.com
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