Remember the days when you purchased a twelve inch single from a new artist, and you knew what to expect from the rest of their album? Remember when albums had a consistency to them, so you could drop the needle and just let the music play? Jason MoSS Connoy remembers those days and albums, and he misses them.As a producer whos been chopping breaks since the time Pete Rock first stepped on the scene, the Toronto native has been around for a minute, although he’s now just getting the recognition he deserves.After placing key tracks on albums with New York legends like AZ and Ghostface, MoSS is now known as the go-to guy for his unique heat. He is currently working on projects from Joell Ortiz, Termanology, Red Café, and Skyzoo to name a few. But in true modest, Canadian fashion, MoSS will be the first to tell you hes just another guy who loves music, and it just happens to make beats. AllHipHop.com: Your first big break as a producer came back when you were working with an unknown Obie Trice before he signed to Shady Records.MoSS: At that time I was living in Ohio, and I was going to school out there and ended up living with Obies cousin. I met Obie and we went into the lab and started doing songs. At that point as far as I know he wasnt really doing songs, or in the studio. Hed just been freestyling and stuff. So we started doing songs, and ended up doing The Well Know Asshole and Gimmie My Dat Back and Mr. Trice and all of that. So we pressed up a 12 inch. Then we did a second 12 through Certified Records. Then literally one day we were down in Detroit in the studio when Shady called. So we put together a demo, sent it in, and the rest is kind of history really.AllHipHop.com: Crazy.MoSS: Yeah, wed done a lot of songs, basically recorded an entire album before he signed, and I still have the album sitting here. I wish I could put it out. Im trying to see what I can do with that.AllHipHop.com: Is there a lot of red tape around that?MoSS: I dont know, when an artist has a major label contract, getting an independent album out isnt that easy. Im not even saying that I really pushed it that hard. But it was still a good look for me, because when he was signed to Shady I was still recording with him, and I ended up getting a bonus track on the Cheers album. And thats how I ended up meeting my manager. So everything ended up working out in the long run.AllHipHop.com: So youve credited your manager Dan Green as the one who started to get your beats into the hands of the more recent artists youve worked with. He took notice from the Obie joints?MoSS: Yeah. At the time I first met Dan, he was just out in New York trying to get his foot in the door. So he ended up coming up to Toronto for a weekend, and he contacted me through his cousin who was a friend of mine. He listened to some beats and said he was gonna try to push them for me. At the time I didnt really know what was gonna happen to be honest with you. I just said See what you can do. Two weeks later he called me and said he had gotten me on with Black Moon (Looking Down The Barrel). So that was a positive thing, and it was a really good song. From there he just kept on placing beats and we became good friends. And thats my manager now, and he will be.AllHipHop.com: So what was your reaction like to hearing those tracks, cause I guess you didnt get to jump into the studio with the artists. You just heard the songs when they were done recording them right?MoSS: Yeah, I mean it was pretty exciting. Ive been making beats for a lot of years. And I mean Ive been buying records for maybe sixteen, seventeen years. When I was working with Obie it was interesting because it was with somebody who was unheard of, and I saw a lot of potential in him. So it was exciting to see the progression from him not having any songs, to him having some songs, to having a 12 inch, to a major label deal. But once you start placing beats with other artists, its a sense of self-reassurance. So it kind of reminded me that I could make this happen. But it just so happened that a lot of the artists I started working with were artists I had appreciated. So I was lucky to be working with artist that I actually supported myself. That was kind of crazy. Doing a song with AZ, Black Moon. AllHipHop.com: It must have still been a while back before 98 that you knew producing was something you wanted to pursue professionally.MoSS: Yeah, Im a bit older, so if you want to put it in a timeframe I started making beats back when Mecca and the Soul Brother (Pete Rock and C.L. Smooth) came out. Thats when I started making beats, but I was buying Hip-Hop years before that. But I didnt really put two and two together, realizing that if started buying breaks I could make beats, you know? (Laughs) But I met some people who had the equipment and they showed me how it was done.AllHipHop.com: Now youve got a compilation coming out, The Discography, which is a lot of your past work. Was that you just wanting to let everybody know that the stuff youve done was yours?MoSS: Yeah, most of the time when I meet people in the industry, or I work with artists, or people in general realize I produce music, the most common remark or comment is I didnt realize you did those. I figure if thats the feedback Im getting I should try to fix that. So I decided to put together this compilation of my music and get it out there. Im gonna have some big name DJ mix it up. Its not gonna have everything Ive done, but a good portion. And then Im gonna come out with a production album in the near future, working with some of the guys I worked with, and some I havent yet.AllHipHop.com: Its too bad nowadays, people dont even check the credits anymore, they just buy music off the internet.MoSS: Exactly. I work with a range of artists, from major to independent. But so many people just download stuff now, people just dont know. Its part of the industry, so Im not gonna say its wrong. And its not just me, its a lot of people. I think all producers get hit like that, unless they have a trademark sound on their music. AllHipHop.com: Do you consider yourself as having a trademark sound?MoSS: I dont know if I really have a trademark sound, apart from the fact that I use a lot of drum breaks. Maybe someone will listen to my music and hear a consistency. I just try to make stuff that I feel, I dont try to mold my music more with a certain artist. And I dont say that in a conceited way. Im more just hearing something on a certain record and thinking how I can flip it. AllHipHop.com: At this point, do artists come to you for beats, or are you seeking them out on a regular basis?MoSS: Between my manager and myself, we do a lot of hitting people up. I dont think Im at that caliber of a producer where people come to me. What I have managed to do, because of who Ive worked with, is get people to actually listen to my beat tape (Laughs). There are a few artists Ive got a pretty good working relationship with. It doesnt mean Im placing all my beats, but Im getting meetings with labels now, whereas five years ago that wasnt gonna happen.AllHipHop.com: It must have helped when Kilo [From Ghostface’s Fishscale] got mentioned in People and Spin magazines, which arent even known for being Hip-Hop savvy.MoSS: That was a real good look, Im not gonna lie. I think getting on a Ghostface record is a good look for anybody. Cause a lot of people check a Ghostface album, hes a real consistent artist. And having the song that a lot of people seem to appreciate was even better. But when I saw it in People magazine it kind of bugged me out.AllHipHop.com: You produced almost the entirety of Big Shugs new album Street Champ, with the exception of a few Preemo tracks. Would producing a full album for an artist be something youd want to do again in future?MoSS: Yeah definitely. Im always looking to work with people and get a complete sound to an album. I think when a few producers each do a big portion of the album, a lot of the records become more consistent. I buy a lot of records that I feel are consistent. When you can get a consistent sound from beginning to end, either someones really gonna like it, or their not gonna like it. Theyre not gonna be like Yeah, its ok. I dont really like albums that [are] just ok. Id rather have a bad album, so someone can remember the whole thing. If you just have a bunch of random records, people are gonna think its cool, but no ones really gonna grab onto it and say This is something special. And I hope with the Shug album, they hear some consistency. AllHipHop.com: Its like producers now, if theyre involved with an album want the single, they want the publishing, and they dont want the album cut.MoSS: Youre absolutely right. I think that could be part of it. And a lot of artists coming up are younger too. Im in my 30s now. So theyre used to the era of the CD. Theyre not used to getting the single and seeing whats on the B-Side. On a lot of the Hip-Hop I grew up on, its not even the singles that I remember from the album.And its not even the artists fault a lot of times. If I was an A&R, I would want a well-rounded album because thats what sells. But as a person who buys music, I want a consistent record. So youre stuck between a rock and a hard place. But to me, more consistency is more important. And maybe thats why I havent really been banking yet (Laughs). As long as the rest of the record sounds like the single, Im all for it.The thing to remember is as a producer, I dont really have the luxury of dictating whats on a record. So when I sell a beat, I just sell a beat. Whether they decide to make a big commercial song out of it, or whether they decide to make an album cut, its not really in my hands. AllHipHop.com: On that note, have you ever sold a beat and heard the finished product and thought, Wow, thats not what I had in mind.MoSS: Im pretty proud of everything Ive ever done. What I think happens more often is Ill send an artist say 20 beats, and Ill have an idea in my head if he was gonna take something, what he might take. And often its not the beat I expected. But they ended up killing it.