Known
for discovering unsigned talent, DJ and top Los Angeles radio personality
PJ Butta has positioned himself as a major force in the music industry.
In fact, he's built his reputation on it. As host of the popular radio
segment, "Butta Bootlegs," and his own syndicated urban countdown
show, he's famous for breaking new artists and new music, including stars
like Bobby Valentino, Atlantic Records recording artist Hope, and girl-group
702. Shine recently caught up with the entrepreneur and tastemaker
to find out how it all got started, what he plans on doing next, and where
up-and-coming artists can get at him. Check it out.
Shine: You've been in music and radio since becoming an intern in 1993. What drew you to it initially?
PJB: Music. I just loved music and wanted to be a part of it.
Shine: From there you worked your way up to becoming a top radio personality for over 10 years at The Beat in LA, and started breaking new music before it came out. When was the first time you broke new or exclusive music on-air, and what was the climate like in radio for doing that at that time?
PJB: Wow. Let me think. I think it was back in September of 2000. I just got promoted to nights. I believe it was an Usher joint from his upcoming U album, which was re-named and re-worked as the 8701 CD. No one was really doing anything like I was doing at the time. Yeah other DJs played new music, but they would play "planned" singles by the artist and label that was coming out within a few weeks. Here I was playing a song that wasn't coming out for months, or in this case, it was a WHOLE YEAR! And the labels took notice right away 'cause they called my boss and served him with a "cease & desist" letter meaning "don't play that sh*t again." And, in time, word spread... and the "Butta Bootlegs" segment became popular not only with my audience but with industry folk. I would have other DJs from other stations in LA call me for copies!
Shine: Do you think that's changed over time?
PJB: Yeah, I think I opened the doors and minds of radio programmers,
and helped other DJs argue that there is room to play new music. When
my show left the air, there was a void, and another station in LA has
picked up where I left off. And now they have a daily hour segment dedicated
to new music. I'm not mad at 'em.
Shine: You've been instrumental in giving artists, both established
and unknown, mega-exposure on your show "Butta Bootlegs." How did it get
to be as popular as it has become?
PJB: I was actually surprised by how popular it became. But I think it's because it was something no one was doing and it was out of the normal radio box. You ask anyone what they hate about listening to radio, and the top two answers always are 'They play too many commercials' and 'I hear the same songs all the time.' Here I was for one brief moment giving you a break from the norm, and giving you a taste of the new, good music that was about to come out. And I think the "Butta Bootlegs" I chose to play had a major factor. 'Cause I definitely wasn't playing anything wack no matter how "huge" the artist was.
Shine: Do you feel a responsibility to help artists come up who are working just as hard as you did when you first started?
PJB: I don't feel responsible for helping these artists, but I do feel responsible for playing their music if it deserves to be heard. There was a quote I read in a magazine, by JuJu of the Beatnuts, and it said that as a DJ... you're supposed to play all the new sh*t... the new hot sh*t that makes the crowd go 'What is that?!!!' And I took that quote to heart.
Shine: Who are some artists you've endorsed through your show that have become successful, and what made you stop and pay attention to their music?
PJB: Probably the most known one is Bobby Valentino. He was a new DTP artist that was about to come out. I heard his records he recorded, and fell in love with the joint we all know now called, "Slow Down." It was just a great record to me, and I knew it would work in LA because it had the "Melrose" reference. So I played it right there and then, and the phone lines went BANANAS! I was the only one playing it and it became our No.1 requested song. Other stations were getting requests for a song they knew nothing about! The funny thing is DTP was mad and didn't want to release that song as a single. There were actually two other singles that came out before "Slow Down," but no one cared about them. A year later, after I first played it, "Slow Down" was finally released as a single, and the rest is history. I mean I got more stories... Dwele was never gonna come out till I played him... 702 was gonna be shelved til I played "I Still Love You," which is a GREAT song people are still sleeping on... an awesome unsigned artist named Hope got signed after I played her... the list goes on.
Shine: How do you feel about payola from major labels?
PJB: I feel like 90 percent of the time labels wouldn't need or feel like they have to pay if they just had good music. Me, personally, I never felt I should be paid to play a song. If I liked it I played it. If it was good I played it. If it sucked I didn't play it. And if it sucked and you offered me payola... I still wouldn't play it. My reputation was worth more than money or any gift. But I admit... when I hear some wack joints on the radio that shouldn't be on the radio, I think... must be payola.
Shine: DJ Khaled has gone from on-air radio personality, to DJ, to doing production for major artists...are you positioning yourself in a similar way?
PJB: Not intentionally. I mean, I'm not a producer. I used to produce, but the problem is I'm a perfectionist. I will be in the studio and work on a track, and never come out til' the track is right. Now I have a family, and I can't spend all my time on music. So the next best thing for me is songwriting, because it's more flexible, and doesn't require all my time locked up in the lab. I mean, the next logical step for most DJs is to produce, but I'm actually more proud to take a different approach, and go from on-air personality, to DJ, to songwriter. As you can see, I like to be different. Funny thing is, someone just mentioned I should do a compilation with other artists singing my songs. That I may do. But you won't be hearing me scream my name on the record like most DJs.
Shine: Who are some examples of radio personalities that you respect today, and why?
PJB: As corny as he is... I respect Ryan Seacrest. He hustles. And I can't be mad at that. I think Kevin & Bean on KROQ. I don't listen to their station 'cause I'm not a big rock music fan... but they are the funniest morning show in LA. Hands down. I also think Lord Sear and Rude Jude on Sirius Shade 45 are funny as hell. And I love Jim Rome, even though he's a sports talk dude... he really gives great interviews and is on point.
Shine: What's the market like for music in LA, and on the West Coast? What's in popular demand right now?
PJB: Anyone who is not a radio suit will tell you that LA radio sucks balls. So your choices for hip-hop and R&B are limited. And the music choices on the few urban stations we have here are also limited. I think people in LA want anything that isn't a southern rap song about a new dance. I think we want anything that is just simply "good," 'cause right now there's a lot of garbage out there.
Shine: Currently you have your own syndicated urban countdown show, "The World Chart," you're an adjunct professor at Mt. San Antonio College, and you started your own label and publishing company, AB Experience Music Group. Do you have any additional projects in the works?
PJB: Like I need anymore projects? There might be a possible compilation album, and just working with artists on songs, and DJing in the clubs is my main focus right now.
Shine: Finally, what do you want to tell all the unsigned artists out there who want to send you their music after they read this article?
PJB: Send all music to buttasbootlegs@aol.com and go to www.pjbutta.com to hear the new music first!
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