Q&A With Music Mystro, UMA’s Emerging Producer of the Year 2010

A.D. The General: Congrats on your recent win as the Underground Music Awards 2010 as Emerging Producer of the Year. How are you feeling about your win?

Music Mystro: Thank you honestly. How do I feel…? I feel respected! After twelve years of being in this business I earned something that didn’t have to come out my pocket. Of course it costs money to improve your craft, but there are things that money cant buy. Talent is one of them. So, with all respect to the underground scene, I was really in high demand. And I dare anybody to challenge that. There’s a lot of artists I got to work with and some that I will still get too. I just all of a sudden got a little busier (smiling).

A.D.: You’ve been in the music business since the age of eleven.You fell in love with the craft of DJing, and at the age of seventeen you fell in love with the craft of producing. Do you love one more than another?

MM: I hate that question (laughing). That’s a hard question to answer. I love both. I try to tie both together. Being a DJ, as you seen plenty of times, I like to entertain people. I like to make people dance and have a good time through music. That’s also my time to entertain as well. Whether you are DJing for 20,000 people in an arena or stadium, or for 20 – 500 people in a club, to control all them people through music is a great feeling. That’s power! Now on the production side of things, that allows me to step into my own world and create what I think will move the people. I think producers that are DJs have a slight advantage, because we are in the club spinning so we know what the people want so when we go into the studio to create something for an artist. We already know how to approach it. So I tie both of them together. I love them equally.

A.D.: You have been in the game for a long time, from interning at Untertainment and working with Super Producer Dame Grease. What are some of the things you have learned from your experience behind the scenes that you implement into your life and music?

MM: I learned so much behind the scenes. Untertainment was the stepping-stone. I used to sit in the studio with Lance “Un” Rivera, Darrell “Digga” Branch, Troy Toppo and Justice Rivera while they was working with Cam’ron, Charli Baltimore and Dutch N Spade’s albums and I would just sit in the back and watch and listen to what they was doing. And I would ask questions here and there. But I also learned the business side of it too. Just taking orders from the president, Jacob York, you would learn things. Hearing office arguments, I learned stuff from hearing their disagreements. Also helping out Marc Calixte in the marketing department, and while he directed the “Horse and Carriage” video with Un…. Matter of fact, all of Untertainment videos he would have me help him with certain things as far as getting extras for videos, having people sign release forms, etc. I did it all over there. And I can’t forget where it all started in the promotions department, with Buckwild, Ant, and June. I started on the street team, which was the best way to learn how to promote your product. With all of the stuff I learned there, I incorporate it into my artist Naza (Da Great) projects. From marketing to promotion to production, I incorporate that into my personal projects. As far as working with Grease, he took me in to give me the extra push with my career. Dame Grease played a heavy influence in my music for the simple fact that coming up as a producer, he was my favorite producer. So when he asked me to join the team, it was a no brainer.

A.D.: What differentiates a Music Mystro beat from a Kanye West beat or a Swizz Beat production?

MM: The main difference between a Music Mystro beat vs. a Kanye or Swizz Beat is that Kanye and Swizz are on the radio 24/7 (laughs). I’m not going to sit here and front like most people do or try to do in interviews and give the politically correct answer. I’m going to give a real answer. Another producer one way or another influences all producers or beat makers. So to sit here and say “Oh, I have my own sound,” or “I sound like nobody,” is kind of a lie for most up and comers. Why do I say that? A lot of us are trying to get on and make it big. And a lot of them mimic what they hear that’s other than on mainstream. I hate when a producer say “Oh, this is my Dr. Dre sounding shit,” or “this is my Timbaland, Neptune, Swizz, etc., sounding shit,” but then you say you sound like nobody. Yet you already categorized yourself. I always hate when artists tell me, “Make me a Just Blaze sounding beat.” I’ll respond, “Go ask Just Blaze for a Just Blaze sounding beat. So, to finally answer your question: After I went all around the world with the question. I try to stay away from sounding like anybody knowing that my sound is heavily influenced by Dame Grease and Swizz. Coming up under Grease I may use some of his techniques but I have a trademark sound as well. The way I play certain things out, certain sound effects I use in my records and the fact that I intentionally use some of the same sounds on purpose in different records I produced. I’m branding my sound. Music Mystro is not limited as a producer but I enjoy doing up-tempo and aggressive joints that can rock in the club and the streets at the same time.

A.D.: Do you prefer to work with a more established artist rather than an upcoming artist?

MM: I rather work with somebody that is making good music, established or upcoming. Most people probably would say established, but it’s always great to be responsible for establishing an upcoming artist.

A.D.: I know you also have some of your own artists you are developing behind the scenes. Do you choose the artists you decide to mold?

MM: Well Naza is family so that was a no brainer, but Naza even caught hell with me. Before I even sat down and listened to him, I assumed he was talking about nonsense until I heard a song he did. I was impressed, but when I heard the album he did (3, 2, 1 Blast Off) I was like, “OK, he serious.” He don’t rap about the B.S. that other rappers seems to talk about. You know, the guns, drugs, and all this other nonsense. It’s no secret I’m a hard person to work with and that’s mainly my fault because I work slowly. I like to perfect things, but a lot of artists are impatient, and think they know it all. A lot of them think they make good music and truth be told, they don’t. I rather work with and artist that is humble and mediocre than to work with and artist that is hot, but arrogant and you can tell them nothing. You can’t have two Captains on the ship. I’m steering. Follow my lead. But I will listen to suggestions.

A.D.: Any last words or shout outs?

MM: I want to give a shout out to my whole True Sound Music Group/IMMG family, Naza (Da Great), Ramses Francois, CookieBox, D-Dave, Lutes Vegas, Lure, The Comrades Agency, NAN, NAB, A. D. for blessing me with this interview, my Vacant Lot family, Soul Pitch Media, Six Figga Digga, the young 6 year old DJ BAM BAM (CT’s next up), Istandard, Linda Hill and my family. I’m going to make it simple, it you had anything to do with my career, I shout you out!

A.D. The General heads the Elegant Hoodness Musical Program, for six years helping artists create a buzz using the media. EHMP’s next monthly showcase is November 17, 2010 at Club Pyramid in NYC. Contact eleganthoodness@gmail.com for information, or to register to perform.