On February 20, Z-Trip returns for one night to appear at America West Arena with Linkin Park and Cypress Hill, groups he's been touring with for the past month on the extremely successful Projekt Revolution tour. It's one hell of a homecoming for Z-Trip, formerly Phoenix's most notorious turntablist, now another jewel in L.A.'s tarnished and battered crown.
Late summer of last year, inside Z-Trip's modest Scottsdale home, crates of records were stacked floor to ceiling in every room, alongside cartons of paperwork, magazines, CDs, and various detritus. The only walking space was around his Mac G4 and its accomplices (samplers, processors, MIDI equipment, twin Technics, Vestax mixer, etc.) in his dining room studio. Days later, all of the above was crammed into two Ryder trucks for the ride to Los Angeles.
L.A. wasn't always Z-Trip's destination. He had long planned to relocate to Portland, Oregon, but advice from management, attorneys and his professional peers convinced him to rethink and steer toward the industry's black hole, the City of Angels.
Shortly after the relocation, in October to be exact, Z-Trip found himself on the road with fellow Angelenos Cut Chemist and DJ Shadow on their Product Placement tour. It was a concept adventure where only 45s dropped onto the wheels, with Chemist and Shadow sharing the stage for their 2X4 set. (A studio version of their set is available on the limited-edition import Product Placement CD, a sequel of sorts to their January 2000 Brainfreeze show and CD.) "That shit was fuckin' gnarly, man," Z-Trip succinctly puts it.
The tour hit Los Angeles, San Francisco, New York, Glasgow, Manchester, London, and Japan, all dates sold out. Surprisingly, Z-Trip came close to overshadowing the headliners. His party rockin' sets were praised in the press, while Cut Chemist and Shadow's sets were less user-friendly (but phenomenal regardless). Chalk it up to Z's burgeoning status as Rock God; while the main act went for obscure funk and rare grooves stirred together with a saucier's skill, Z-Trip rocked the crowd with mixes the audience could recognize, from the Beatles to Joan Jett to Black Sabbath.
"It's two different things," he explains. "Their stuff went over some people's heads 'cause it's so deep; it's something you've gotta listen to four or five times to figure it out. When you're seeing it for the first time, it's so much skill and information comin' through that you don't get it. And my shit, on the other hand, was on some 'Let's just set this party off and have a good time, rock the house.'"
DJ as rock star? It's happening. If you've heard Z-Trip and DJ P's limited-release CD Uneasy Listening, you know. . . . Pat Benatar mixed with the Pharcyde, Metallica with Midnight Oil, Bruce Hornsby with Run-D.M.C. But these days that's not the half of it; Z-Trip's got a whole new arsenal of familiar but transmogrified favorites.
That sort of trickery isn't the extent of his talents by any means. His scratching makes other DJs sniff, but it's goddamn hard not to feel. That's what earned him Turntablist of the Year in Urb magazine's 2001 Contributor's Poll, and launched Uneasy Listening into the same magazine's Top 20 albums of the year. "Y'know, I paid them 50 bucks and it put me all over that magazine, dude," he laughs. "Went a long way with that 50 bucks, I'm pretty stoked."
If you need more rocker credentials, look no farther than his fan and recent collaborator Tommy Lee. When the new Methods of Mayhem album hits, Hessians worldwide will hear Z-Trip's cuts; when Z-Trip's studio album is released, you'll likely hear Tommy Lee's beats.
All this propulsion has landed Z-Trip exactly where he wanted to be: signed to a major label with a sweetheart deal any artist would envy. After coming within inches of signing with Astralwerks (home to Fatboy Slim and the Chemical Brothers), he inked a five-album deal with Hollywood Records (a Disney subsidiary) for, in his words, "more than I was looking for. Let's just say I'm not eatin' fuckin' ramen noodles anymore."
The package is quite amazing: Z-Trip retains his vinyl rights, and can release vinyl as he sees fit. He's also able to independently release recordings, up to 10,000 copies, with no interference from Hollywood, and as icing on the cake, he gets his own (as-yet-unnamed) label imprint under Hollywood. In a nutshell: Z-Trip not only gets paid Disney money, he gets to pay Disney money to artists he respects and wants to support.