Let’s Talk With DJ K.O.

Chances are, a good amount of you reading this still haven’t heard one of the best albums of the year, Picture This… featuring some of the biggest and best names in hip hop, both on the microphone and behind the boards, Keenan Ormsby has developed and crafted an album consisting of names ranging from heavyweights 9th Wonder, Royce Da 5′9, O.C, and Masta Ace to underground noise makers Emilio Rojas, Torae, Skyzoo, and Eternia. The founder of Elementality Productions is out of New Jersey, right across the hip hop Mecca that is New York, but that didn’t stop him from continuously building an empire on his terms, on his schedule, and on his mission. KevinNottingham.com recently got a chance to chat it up with the DJ, Manager, A&R, and executive producer about the recent second wind of the disc jockey, his discovery of the Elzhi/Royce connection, his company, production, and his loaded with talent, yet, horribly slept on album, Picture This…

SD: First and foremost, thank you for taking the time out to do this interview. We really do try to expose more hard working cats, such as yourself, to our wider audience. Take this time to introduce yourself, who you are, what you do. You know; the usual.

KO: What up Deez! What up world. My name is Keenan Ormsby – also known as DJ K.O. I’m the founder and co-owner of Elementality Productions (what up Zach). I wear a lot of different hats, as you’ve so graciously noted [laughs]. I’m just a regular guy with a “9-5″ who has a vision for a company in the music industry. I love listening, creating and getting music to those who enjoy it.

SD: I’ll try not to beat around the bush long because there’s plenty I want to ask you, but, as we reflect on 2008, outside of your own work or projects you were involved with, would you say 2008 was a great year for hip hop? What stood out for you, both positively and negatively?

KO: I think 2008 was a good year. A lot of quality music came out and many new names/faces seemed to shine through. The industry is suffering more than ever because of its outdated business model; however, this has forced labels/distribution companies/artists alike to become resourceful and innovative. One of these days someone will figure it out. Hopefully sooner rather than later [laughs]! But on the real…I can’t be mad at 2008.

SD: It seemed that another genre that really exploded and reemerged was R&B. People talked so much about Hip Hop dying, they all forgot that R&B was turning stale. Have you dabbled in R&B? Do you plan on doing so? What could you contribute to a genre outside of Hip Hop?

KO: Funny you mention that! We just recently started working an amazing R&B singer by the name of M. Josephine. The first time I saw her live she was singing an a capella that literally brought a tear to my eye, that’s how beautiful her voice is. Now I know it’s not to manly to admit that, but it’s the truth! We’ve got a lot planned for her coming up, so don’t forget the name M. Josephine…

On to the other part of your question [laughs]. Let me start off by saying I’m a fan of all types of music. My album Picture This was focused on that good ol’ fashioned hip-hop, but I don’t stop there, that was just the beginning. I’m an 80’s baby, so I grew up on that 90’s type R&B. Why limit yourself [when] there’s so many ways to make good music; that’s what we’re planning on doing. When you have an ear for what sounds good, you go with it.

SD: Stemming from that question, both Hip Hop and R&B, at one point, were all about the DJ, the man making the music behind the scenes. A trend that seemed to have died off, but with drops from Jake One, DJ Revolution, DJ Babu, and yourself, it seems that at least Hip Hop has made a step towards it being all about the DJ once again. Do you agree? Do you think this is necessary for Hip Hop to show appreciation to the DJ without you having to scream all over the track in sequence or on a mixtape?

KO: Agree 100%. The DJ is in the middle of it all. We do more than play records and scratch on hooks. We’re the ones artists seek out to get their records played. We’re the ones on the radio talking about them. We’re the oness helping bring artists together. We’re the one’s rockin’ the tables at a show or in a club. We’re the backbone of the industry. Personally, I have no desire to be all over every track screaming, but I don’t knock anyone who does; do you and I’ll do me. I just want people to know if they see my name or company associated with something, that it’ll definitely be something worth checking out.

SD: You mention that your favorite DJ’s are the following: DJ Revolution, DJ Jazzy Jeff, DJ Spinbad, Funkmaster Flex, DJ Clue and DJ Premier. How do you define the DJ? I ask this because DJ Jazzy Jeff, and DJ Revolution are considered some of the best DJ’s ever for their scratching, timing, alongside being great producers. DJ Premier, although it is in his name, has stated many times that he’s not the greatest DJ (but, is undoubtedly the greatest producer). Funkmaster Flex and DJ Clue play more of the modern age role of a DJ, playing music and letting the artists get their shine on. What category do you think you fit under? Is a DJ who can’t scratch with tremendous timing or perform live a TRUE DJ?

KO: I could go on for days with this topic [laughs]. I’ll do my best to be concise. You couldn’t be any more right on why I named each of those DJ’s as my favorites. They all play a different role in the scheme of things and bring different skills to the table. DJ’s have their hands in virtually every aspect of the industry. From the cats like Revolution, Spinbad and Jazzy Jeff, where they hold it down on the tables with crazy technique and spin at all types of venues blending/breaking records for people to dance to, vibe to and enjoy. To cats like Premier who didn’t invent the scratch, but sure as hell set the standard for scratch hooks and chopping samples. To Flex who was one of the first DJ’s that was also a “personality” taking the DJ and good music to masses on radio in one of the country’s largest markets (NYC) during the 90’s breaking new records and talented artists. To Clue with his mixtapes back in the 90’s.

There’s no doubt the definition of a “DJ” has evolved over the years. Some may say for the better. Some may say for the worse. For me, like everything in this world does, it’s evolved into more than two turntables, a mixer and some records. That is still the foundation and I think every DJ should be able to blend and all that shit. However, I don’t think every DJ needs to be the next Jazzy Jeff, Spinbad or Revolution. While I personally still enjoy the different scratching techniques, not everyone else does, [so] you have to be able to adapt. Not every DJ is going to be able to prefect all the elements described above, but if you can do one of those incredibly well, then I think you’re onto something. And remember the most valuable asset a DJ possesses is their ear for good music; got to stay true to it.

SD: Sticking on that topic of roles, what was your role in Picture This? Naturally, you got everyone together, probably talked to everyone to get them on the album, but what else did you do? Were there particular artist and producers that you wanted on the album, approached, but got rejected? Who?

KO: The easiest way to describe my role in Picture This is that of a conductor of an orchestra. While I didn’t create the music myself, I brought everyone together with a vision in mind and produced the final product y’all listen to. I wanted dope beats and dope rhymes by dope emcees, producers, singers and DJs alike. I had my hands in every aspect of the album. I hand picked every single beat and picked which emcees to rock on ‘em. I arranged every song (for the order in which the emcees went on each track all the way to sequencing the tracklisting). I was sitting in while each track was being mixed. I had a vision for each beat and saw it through till the song was complete.

I holla’d at any artist I’m a fan of and made it happen. Everyone I wanted on the album wound up on the album, which is crazy when I stop and think about it. Once I was able to pitch my vision to the artists and they saw it and they heard the beats, it was a wrap.

SD: You claimed that you were approaching this album as a fan and just going after your dream collaborations. We recently saw something like this on Termanology’s Politics As Usual, but it didn’t meet up to everyone’s expectations. Given it’s mixed reactions, how did you want to approach this album given that the ‘Dream team’ you wanted to create might not have all the chemistry, connection, fusion, and natural flow that you would ideally picture?

KO: You said it exactly: Picture This was definitely MY dream album. Not everyone’s dream collabs are the same. I just hoped people would enjoy it was much as I did. Not everyone has the same taste. That’s what keeps our music fresh and debatable. You may not dig my favorite artist, just as I may not be into yours, but that don’t make our opinions any less true. [The way I] see it, to each there own, and if you dig it [that is] even better.

SD: So, I can assume that the title, Picture This, came from your image of your perfect album? Is that correct? Do you think this is as perfect as you could get at the moment? Is this going to be your Illmatic and be the one you just can’t top? What would you have to do to make the next album better than this one?

KO: Picture This is truly an album made by a fan, and for the fans of good music in general. I just wanted to contribute something of quality to the masses and inspire people to do the same. I didn’t know anyone when I started in this industry nearly 6 years ago doing college radio. I spent every moment I could networking and building relationships with like minded people. The end result is something I’m incredibly proud of and feel will stand the test of time. With that being said, there’s always room for growth. If I’m fortunate enough to do another album, you can rest assured the music will be just as dope, if not better! There were 40 some odd people involved on Picture This, why not go for 50 something next time right?!?! Gotta make it more of a challenge [laughs].

SD: Truly, you must be frustrated with the lack of response from the album. Given all the names on it, for one, but more important, you’d think music speaks for itself. The album is top notch, high caliber hip hop that isn’t being heard these days, but it seems that if you don’t have a Def Jam or Aftermath to back you up, only a handful of people will hear it. Are you frustrated? What has the general response been? What tracks seem to be the ones sticking out? What’s your personal favorite collaboration on the track, whether because of how you put it together or how the final product was?

KO: Do I wish more people knew about, hell yea! To be honest, all I wanted was for people to enjoy it. At the end of the day that’s all that really matters to me. I didn’t get in this game for anything else, [so] the rest is icing on the cake. For me, this is the type of record that spreads by word of mouth (or over emails, forums and gmail chat nowadays [laughs]). You know what I mean? Those who have heard it have felt it. It’s been in the Top 20 of the CMJ Hip-Hop Charts since it dropped back in September. The only other records that have been going that strong are Jake One, Murs, Madlib & People Under the Stairs. For me to be going as strong as established artists like that says something to me; people may not know who I am, but they are feelin’ the music.

A lot of the people have been feelin’ joints like “Best to Do It” with Royce, Elzhi & Supastition – “Ladder of Success” with Phonte, Wordsworth, K-Hill & Masta Ace – “Someday” with Torae, John Robinson, Talib Kweli & Tiffany Paige and “Here We Go” with East & Silent Knight. One of my personal favorites though is “That Knack” with Words, Strick & Torae for the simple fact that it was one of the last songs that came together and I had the hardest time finishing. It took me a while to figure out what I wanted to do with that joint, but by the end everything fell in place: from the verses to the hook to the cuts in the beginning. It’s one of my favorite joints on the album, smooth but hard, they all kill it and Strick’s verse is funny as hell [laughs].

SD: Speaking of these collaborations, how on earth did you get legends like O.C & Diamond D to come on it? Also, the scorching Royce and Phonte, who rarely drop bad verses, and the high profile Talib Kweli and Masta Ace, how did you get them? You evidently blend the old with the new with the present with the future. How important to you is the contrast between the legends and the soon to be legends? Are you concerned with an artist outshining another artist on a track, especially when it’s these new and hungry artists on a track with a living legend?

KO: C’mon, I can’t be givin’ away all my secrets now [laughs]. To make a long story short, I worked my ass off. It’s just like any job you want to be successful in. You study, you apprentice then you begin working for real. I started with my own radio show when I was at Rutgers Univ., then got into promoting events in NYC for venues like S.O.B.’s and BB King’s and met cats at shows, I was at damn near every show in NJ, NYC or Brooklyn for 3 years straight networking with people. Everything just kind of fell in place from there. Like I said earlier, it’s about relationships. Build them.

In regards to how I picked the collabs on each track, that was exactly the point. To take some of my personal favorite emcees and put them on the same track as some lesser known, but talented cats. Every single track has a story – whether about a recording session or being the 1st to have certain artists work with one another or meeting some icons/legends of the industry- some of the stories are pretty crazy.

SD: Stories eh? Can you tell us one quick one?

KO: Okay, one quick story. “Best To Do It” was like the second track I put together for the record. I had gotten a batch of beats from M-Phazes and that joint grabbed me right away; I knew it could be the kind of track to stir up buzz for the album. I reached out and got up with Kino (Royce’s manager), this was back in like January of ‘06. They we’re lovin’ the beat and he set the joint off crazy. At that point I reached out to Supa because he and M-Phazes got that great chemistry together. He killed it. I knew there still needed to be one more verse on the track and I originally holla’d at this local cat from NJ, but it wound up not working out. Then it hit me. Damn, wouldn’t it be crazy if I could get Elzhi on this record?!?!? Ever since Jay Dee dropped “Welcome 2 Detroit” Elzhi has one of my personal favorites. Anywho, at this point [in ‘06] [Elzhi and Royce] had never done anything together. Hex linked it up and helped make it happen and bong! “Best To Do It” is the first time Royce and Elzhi were ever on a track together. Who would’ve thought that I was onto something back then? Now look at all the joints they’ve done together since [laughs]. Another funny tid-bit of info: Elzhi’s verse was actually 20 bars, but we cut it down to 16 and used parts of the last 4 bars for the hook.

SD: It’s great that you were spontaneous enough to try something like that. Staying with the new & fresh topic, are you open to hearing new stuff from up and coming producers and emcees? A large portion of this website is full of hungry artists just waiting for someone to listen to their stuff and at least give credible feedback. Can you be that guy that gives that feedback? Are you the type of guy who is willing to spend 2 hours a day listening to new music from dudes you’ve never heard of in hopes that you might have discovered the next Dilla or the next Phonte?

KO: Are you kidding me?!!???! Of course. I live for that one moment that you are completely in awe. That moment when you are completely blown away by an artist. It’s not easy to find, but when you encounter it… Addiction anyone? On the real though, that’s what I love to do: help talented artists achieve success and discovering talent is such a critical part of this industry.

Touching on “giving credible feedback,” we’ve lost a lot of that over the years. Everyone is an emcee, beat-maker, A&R, journalists, etc. It’s important to remember every industry needs to have checks & balances – quality control. We don’t have that where it needs to be right now. It’ll take some time to get things back to where it should be, but I think we’re on our way.

SD: Talk about your company, Elementality Productions (is company the right word?). What does it take to be an EP artist? What else do you have planned for it?

KO: The Elementality roster currently consists of Analogic, East, Kaze, M. Josephine & Silent Knight. Every one of them possesses something special and unique, but have these things in common (besides talent): great people outside of the business, passion for good music and a desire to be successful in this industry. You can have all the talent in the world, but be unmotivated. I don’t have time for that. If you catch my ear, have a positive attitude and want to put in work…we’ll talk.

We pride ourselves on providing artist management, career development and music licensing. That’s what we do best, not to mention make some great music in the process! We also executive produce records, negotiate record contracts, develop and implement marketing campaigns. You name it, we can make it happen.

SD: As opposed to a 9th Wonder or Black Milk hooking up the beats, is DJ K.O. going to be the one cranking out bangers? Do you plan on dabbling in production more? Is there someone in particular you enjoyed working with and learned quite a bit from?

KO: When it comes to “production”, I feel I do that now. I had an MPC 1000 for about a year back in 2005-2006. Made some beats, one or two came out on Silent Knight’s records, but I realized I hated standing over the MP bangin’ the pads. I love digging for samples or coming up with original melodies to add layers, I just don’t enjoy doing everything on the technological side. I can hear a beat in my head…I’d rather work with someone else to do all the other stuff [laughs]. Again, to each their own. For me, I enjoy working with Analogic. I don’t work with him on every beat, but a lot of times we sit down, grab a couple beers, pull out some records, find a dope sample and bounce ideas off each other and bong! Sometimes I’ll hear a track and be like “ehhh, it could be better if we add this or take out that.” So at the end of the day I am producing, just not in hip-hop terms. I’m not the one making the beat, but I’m producing the finished product everyone winds up hearing, which is fine by me.

SD: Before you go, let’s talk a little more about yourself. You seem like the dark horse right now in the industry; the underdog. Picture This is one of those underdog albums, but, it really shouldn’t be an underdog. Does this take off the pressure or does it add more pressure on to you? After releasing this album, do you still consider yourself, if you’ve ever considered yourself, an “underdog?”

KO: It’s my nature to always challenge myself, so I feel like it adds pressure in a positive/constructive way. The situation inspires me to work harder to make the impact I feel the record should be making. The music has been speaking for itself thus far, but that’s not enough. There are so many stories with Picture This and I feel like we’ve only scratched the surface. Just imagine this was you and you had the chance to put together your favorite emcees to rhyme over your favorite producers beats…and you had control over virtually EVERYTHING. I could go on for days with stories. Wouldn’t you if you could pull together and meet/work with your favorite artists?!?!? So, in a sense, yes, I do feel like an “underdog” because the record and everything involving it hasn’t reached as many people as I would like, but I feel with everything that’s in place and coming up, things will begin shifting for the better.

SD: It’s been a pleasure. I sincerely wish you all the best and utmost success in the future. You need to hook us up with some exclusives in the future; what can we and the rest of the world expect from DJ K.O. in 2009?

KO: The feeling is mutual fam. This was one of the best interviews I’ve ever had. Thank you taking the time to shed some light on the issues we’ve talked about for real.

When it comes to exclusives, you know I got y’all!! The Elementality team has a lot in store for 2009, so there will be PLENTY of products coming. Let’s see, well first off I’m in the process of putting the final touches on a remix EP to Picture This. There will be a remix contest for “Best to Do It” coming shortly. [CLICK HERE FOR MORE DETAILS] The winner of the contest will have their song placed on the EP. Stay tuned for details on that front. I’m looking forward to working on my next album, but I have some other things in the works before I go down that road.

I’m working with all the Elementality artists on projects: Kaze (Shaman Work) & Analogic (Soulspazm) will have records out in 2009, Silent Knight just started working on his next record which might be out this year, but will probably drop in 2010. Then we got my man East who is working on this INCREDIBLY dope project called East Meets West where he’s rockin’ over some of Kanye’s illest beats. That should be ready in 2 months or so. Then with our most recent addition, M. Josephine, you can expect to hear some amazing R&B music coming down the pipeline. There are also a couple other established artists who have recently reached out to us for our services that we’re in the beginning stages of negotiating with. Once everything’s confirmed, you can rest assured we’ll let y’all know the deal!!

Peace to everyone who’s checked for us and is enjoying the music we do…we’re eternally grateful for all the support.

SD: All the best and keep knocking out home runs with this rap game.

• DJ K.O. on MySpace

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