The Underground Experience 9-21-011

This month’s feature is a PRODUCER determined to spread his sound across the globe placement by placement let’s check out Joey Cutless….

joeypromo The Underground Experience 9 21 011

Mistajay:What is the story and conception behind your name?

Joey Cutless:I was originally “Young Cutless” but My name is Joey so I dropped the “Young”. I Love the Olds Cutlass and had an SL, so that got me the nickname because I was riding so clean cats would be like “SUP CUTLASS”, I just changed the spelling.

Mistajay:What area are you reppin?

Joey Cutless:WORLD-WIDE, The whole southeast, Warner Robins Ga is my Hometown but we been all over!

Mistajay:What are your influences of your production how did you start? And what inspires you?

Joey Cutless:When I saw Pastor Troy sell 100k CDs independently from a home-made album in 98-99… I was sold. He was someone I actually knew doing music, and so go to the next level. I was amazed by his success. I used to open up for Ludacris when he was still “Chris Luva luva” as well, seeing real people succeed made this dream tangible and real. I also mentored under the world famous a Rock musician Joey Stuckey when I was 15. He taught me the Business.

Mistajay:How do you describe your style?

Joey Cutless:I’m not afraid to try things…I dont let my Track-record or ego prevent me from exploring and exploiting any tool in producing music, I’ll make a beat on the old playstation and not think twice about it because I know I have the skill to make it something new and exciting. I really consider it a type of Stealth-Mode. Very subliminal, and magical at the same time. I utilize a lot of special techniques to keep things interesting and fresh.

Mistajay:You have produced tracks featuring: Young Jeezy, Young Buck, Jim Jones, Dipset, Lil Mo, Willie Joe, Blood Raw (CTE), M.I.M.S, Da Great Yola, & more. What is your best song you have produced to date and why?

Joey Cutless:“Get em Got em” by Willie Joe. That track was a hit and charted #1 on billboard. It was only a regional song but charted, that spoke volumes of my production skills.

Mistajay:I see you have also done production for T.V. as well which to feel is more lucrative a do you feel that newest avenue for upcoming producers? Yes but its not for everyone. There is a huge amount of administrative discipline involved. But I enjoy TV alot. I get most of my work from that sector. There are alot of TV shows out there so its very exciting!

Mistajay:If you could produce for other any 3 artists or bands who are still around and touring that you have not produced for yet, who would they be and why?

Joey Cutless:Bone-thugs, Three-six mafia, Outkast. Those groups are legendary and I have always wondered how they would sound with my sound.

Currently I’m working mostly on my Film and Television Catalog for more placements on popular shows on networks like MTV, VH1, Bravo, VH1, E!, and the other majors..As far as artists I’m working on some high profile projects I can’t name at the moment…but you will see!

Mistajay:Where do you see the hip hop going in 2011? How do you see yourself and your sound fitting into that?

Joey Cutless:I see this thing going global to the extreme, I mean Drake is from Canada right? As of now you could be from Any background and make hot music without pressure to fit an image or persona. Lots of 360 deals. The industry will adapt to the decline in record sales to create revenue and keep big artists big, we are seeing that already. People want good music and won’t continue to buy full CD’s to get one song. In turn record labels won’t keep wasting money manufacturing Cd’s to push mediocre numbers. That’s something that the industry will adapt to even more in the future. In it all I will play a role in the production and business sector of the independent movement.

Mistajay:What are your future plans?

Joey Cutless: As one of the “go-to” producers topping the charts and a power player as far as Executive work with a major label signing artists and reshaping the industry from a creative and business perspective. Also giving back to the community and guiding future generations to succeed.

Mistajay:Any last thoughts?

Joey Cutless:Visit and stay tuned! I appreciate all the visitors keeping the site hot! Also keep your ear to the street for Solo releases from my group “Majority-Rulez” , “Taj Royale” & “Michael Epic”

Mistajay is doing a monthly interview feature the underground experience on the blog and would like to interview you for this new post please contact to publicize any new projects that you have coming up thanks for your time. Donate or pay $50 dollar interview fee below!!


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How Payola Works Today…

Music Industry

by Mike Masnick

How Payola Works Today… Or Why You Only Hear Major Label Songs On The Radio

from the who-listens-to-radio-any-more? dept

Over at the Tunecore blog, former Rykodisc President George Howard has a post up explaining how payola works today in the world of major labels and radio stations. While I know that a large percentage of folks reading this here are rushing to the comments to declare “ha! who listens to radio any more!” the fact is that a ton of people do, and for the major labels, it’s still a key (if not the key) way to “break” an act. And even though the labels keep getting dinged every decade or so for payola, the process never seems to change much, other than greater efforts to separate out the transactions so that the record labels can pretend that they’re not bribing radio station employees, even though everyone knows that’s exactly what’s happening:

Getting a song “added” to a station’s playlist to get a certain number of plays per week involves a rather byzantine process that brings in various parties, called independent promoters (“indies”). These “indies” are first paid by the label. It’s important to note that the money the indies receive isn’t necessarily compensation paid directly to them for getting Program Directors to get a song played. Rather, they work more like an intermediary to pass the label’s money to the radio station. These indies, with the money paid to them from the labels, pay the radio station money for various listener give-aways, bumper stickers and so on. To top it off, these very same indies are often also paid a second time by the stations themselves as a consultant to advise the stations on what songs they should play.

Because of this, the major labels absolutely dominate radio airplay. Independent labels could try to hire the same indie promoters, but won’t get the same attention anyway:

Here’s why: You’ve come to these indies, and they’ve gone to the labels, and they’ve taken your money, and they know that you’re probably not coming back any time soon. On the other hand, the majors are coming every week with money and new artists. Who would you prioritize if you were in the indie/radio station’s shoes?

Now, as Howard notes, and many of you probably have already realized, this is not a sustainable system. Because if radio keeps playing crappy songs based on bribes rather than quality, in an age where there are greater and greater alteranatives, the system won’t hold. More and more people will go elsewhere, where there’s more choice and fewer guys with briefcases full of cash making the decisions.

If you’re wondering exactly why the labels have been trying to shut down popular hip hop blogs recently, look no further than this story. Such blogs have really become “the new radio” for creating hits for the younger generation. But, unlike the old radio, the major labels don’t “control” these blogs in the way they control radio. While some of it may just be the left hand not knowing what the right hand is doing, there are at least some who see this as an opportunity to “regain control.” Forcing blogs offline and/or trying to significantly limit them is a pure power play by the labels against hip hop blogs. It’s got nothing to do with copyright or being worried about someone’s songs leaking. It’s why the RIAA is out there sending takedowns on music that a Universal Music employee purposely put online for free.

Now I’ve said before that I’m not convinced that payola for radio play is necessarily wrong or bad. A play on radio is effectively a commercial for that music/musicians. And paying for commercials is (obviously) fairly common. Is it really so crazy that some in the industry want to “buy” spots? I get the argument concerning the lack of transparency. And, in fact, as technology becomes more widespread, and as the next generation of services launches, radio stations are going to be forced to move away from payola not because they don’t like the practice… but because people won’t be relying on radio so much for leaning about new songs. For the time being, it’s likely that these kinds of situations will last. But consumers just aren’t going to stand for it that much longer.


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