Hollywood movies portray music industry executives as being cold, brash, and sometimes unapproachable. There have been countless films where industry moguls exit their limos to see young & naïve artists in a smoky clubs, in hopes of signing their lives away to unfair record deals construed by conglomerate empires. This is something that I have seen firsthand in my 8-plus years now in the music business, but not every executive fits this stereotypical role. Enter Corey Smyth, a Harlem-bred, Morehouse College attendee, who is now CEO of Blacksmith Management and Co-Founder/CEO of Blacksmith Music, (a joint venture record label with the legendary BK-MC, Talib Kweli). I first met Corey in 2006, while he was looking for beats for Talib’s now-acclaimed “Ear Drum” album. I will never forget our first meeting downtown at his office in the Wall Street area. When he gave me a sneak preview of the songs that were in the works, he quite frankly looked like a kid in a candy store. The second he pressed play, he proceeded to bop around and nod his head with an ear-to-ear grin, like a proud parent whose child just took his first steps. “Man this album is going to be his best ever,” he said. “Talib is on another level with this one”. Right off the bat, I knew Corey Smyth was the antithesis of a conventional industry guy. Fast forward to September 21, 2007 (my 28th birthday) at the Velvet Underground at Remix Hotel – Atlanta, where we held the iStandard Producer Showcase as a part of the weekend’s festivities. When the organizers of the event called me a few weeks before asking, “How would you like for Talib Kweli to judge your showcase and perform afterwards?” I responded with a jovial “YES!!!”, so we proceeded to include Talib’s performance in all of the promotions and marketing. When the actual event took place and The Blacksmith Music founders arrived, I asked them if the stage/mics/etc. were suffice, and Corey said, “Talib isn’t supposed to perform, he’s just hosting the afterparty. There must have been some miscommunication between the organizers.” Disappointed, I apologized for the confusion, and proceeded to the bar with Corey to buy he and Talib a round of Jack & Cokes. A few minutes later, Corey called me over to the judge’s table and said, “Talib’s going to perform. They are expecting him, so he’s going to tear it down.” Kweli went on to perform a blistering set including classics like “The Blast” and “Get By” as well as new joints from “Ear Drum” like “Say Something” and “Listen!!!”. Everyone in this small, 300-person club in Downtown Atlanta was in awe to see such a big artist perform in such an intimate setting; a night that will never be forgotten by anyone in the building. Instances as such reiterated to me exactly why Corey and everyone on his team have stayed relevant for ten-plus years, and why they will continue to for as long as they wish. I finally got the chance to interview Corey Smyth in mid-April of 2008, and he spoke about his upbringings in the game, shared some stories that made me feel like I was in the studio at the time, as well as touching on the future of Blacksmith.

Corey, how are you sir?
I’m great, can’t complain

They should know already, but for those new to the game, explain to iStandardProducers.com’s readers exactly who Corey Smith is, and how you came to where you are now in the music biz.
Well I started my career in 1992 during my junior year in college at Morehouse. I started working with Dallas Austin at the time, he had just started Rowdy Records.

Wow, he must have been a great mentor to learn from. Absolutely, he had a group called Y’all So Stupid that I started managing. I had some cash to make some things happen from selling a 1952 Micky Mantle baseball card. YSS then introduced me to this producer named Spearhead X who did their entire LP. We (Spearhead X and I) became partners in 1994 and went to Tommy Boy to get a production deal. Thats when I met Maseo from De La Soul. I was doing these parties at this spot called Budda Bar. My parties were poppin’ (NO JOKE). So I asked him to DJ one of the events, which he enjoyed greatly. He also liked the way I handled my business, so he asked me to book him some gigs. I started to book him in Japan and other places. At the same time De La was working on “Stakes Is High”. I started going thru to Platinum Island to hang out and get to know the guys because Maseo wanted them to change management. At the time, my production deal at Tommy Boy was becoming a headache. I only got to put out one artist, this kid DJ Kizzy Rock.

And that’s where you came in?

That’s how I started working with them. During those sessions I met Mos Def, and he was looking for management. So that’s how I started working with him. But the funny thing is Mos and I met in the studio and started arguing about Onyx. Through Mos is how I met Kweli; he wouldn’t stop talking about this kid I had to meet.

I’m sure at the time he was tearing up anyone and everything in BK.
Not really, this is 1996 things were just starting to bubble, he wasn’t on my radar. I’m from Harlem, and we were about BIG L, Doo Wop, AG, Lord Finesse, and Diamond D.

That’s crazy you mention Diamond D, he actually came to us about judging the iStandard Producer Showcase down at the A3C Festival in Atlanta a few weeks ago. Funny how things come full circle, Talib judged our first event in the ATL, Diamond D the second. As it was to have Kweli, it was also an honor to have him sit on the panel.
My life has been a constant connection of people and places. I’ve known Diamond since i was a kid, I was on the phone with him yesterday!

Let’s talk a little about how you and Talib helped break two of hip hop’s biggest producers (and 2 of my all time faves), Hi-Tek and Kanye West. I recently interviewed Hi-Tek, and he credits Talib and the artist that gave him a chance, and his favorite MC of all time.
Kweli and Tek came to me and asked if I would mange them as “Reflection Eternal”. They had two very different personalities. We met at my friend Santi’s (aka Santo Gold) crib in Brooklyn one night. I thought they had something and was already working with Mos at the time so I was like, “Let’s do it!” Recording that LP put a lot on the line.

But the result was one of the top hip hop albums of all time!
Tek and I were very hard on Kweli during that process, but if it didn’t happen the way it did it would have been as tight of an LP. Kweli saw something in Tek early. He’s always had the knack for smelling out a hot producer.

Yes, that is one thing widely discussed amongst producers that “Kweli finds em first”, which is a talent that cannot be taught…I’m sure you have an instrumental part as well, considering that you have executive produced the majority of his albums. What about Kanye, how did you guys start working with him?
Kanye was being at the right place at the right time. We were working on Kweli’s first solo project (”Quality”) at The Cutting Room in NYC, and in walked this kid asking if Mos was around, because he wanted to play him some beats. We were like “Let’s hear them”. He started playing joints that were hot! He then started hanging out with us on a regular and we became family…

Wow that is the story of legends!
I think we have all been blessed to find each other and blessed with some amazing music. Timing has been KEY. When Kanye called me one night before his first LP and asked for my advice on how to get his record out and to get the label to pay attention, I told him come on the road with us becuase that how we make people stand up and listen.

Yes, he even credits Talib for the one taking him out on the road on “The College Dropout”.

I told him I could cover hotels for him if he could find his way to the shows. Then told him we vote on everything and that he had my vote…now call Kweli. Talib voted yes as well, and the rest is what it is!!! We had fun on that tour!!!

I was actually at the Smokin’ Grooves show at Jones Beach in 2002 where they performed together (along with Outkast, Lauryn Hill, and The Roots)
Yeah…This was before he had an LP out. No one knew who he really was.

Only those that check the credits.
True

OK, so with production from talents like Hi-Tek and Kanye, what do you look for from new producers when they approach you to work with Blacksmith projects? I mean the bar is set SOO high…
I think we as a whole are looking to be moved by the music first and foremost. We get TONS of tracks and people would be shocked about how much music we do listen to. But most people miss the mark when they send music they think is going to fit a certain act. I’ve never had a producer say I got this track for DeLa, Kweli, Mos, RES, etc., and it be the one they wanted to rock over. Its usually the one they don’t think is for them that they rock. “Get By” was for Mariah Carey. We jacked it!!!

Really?!?! Wow, I did not know that, I would have loved to hear her take on that record! How does a producer’s personality factor into the equation of someone that Blacksmith will work with, i.e. follow-up, dedication, etc.?
Personality is important. I can’t work with people I don’t like.

Amen to that sir. Moving from new producers to one of the best ever, how did you come about to manage Pete Rock (I am bowing as we speak)?
Well Pete and I have know each other for some time, and he recently produced the last two records recorded on the “Ear Drum” LP. We were over budget BAD, and Kweli was not letting the record close with out these Pete Rock joints. From there we just started talking more and more. Then December ‘07 hits and Pete called me about him not getting credit for a record he did on the Keyshia Cole LP (Track 9 – “Gotta Get My Heart Back”).

Really? How can someone discredit Pete Rock?!?!?! That just shows the state of the music industry.
I was really shocked and I told him I would be happy to handle the situation for him. And you know I did. A million plus people don’t know he did the track. I had to get him his due. After that Pete and I decided that I could make some important moves and changes in MAKING SURE his legacy never gets disrespected and moving his talent and legend status further.

Your steady relationship with him over the years plus you going hard for him with the Keyshia Cole situation sealed the deal (take note readers, RELATIONSHIPS ARE EVERYTHING). OK, so right now we talked about Talib Kweli & Pete Rock, who else is currently under the Blacksmith umbrella (managing and label)?
Blacksmith Management – Talib Kweli (Blacksmith Music/WBR), Pete Rock, Amanda Blank (Downtown), Anjulie (Starbucks), Black Ice (Koch), and Nikki Jean (Unsigned) she’s on the new Lupe Fiasco single “Hip Hop Saved My Life” Blacksmith Music – Talib Kweli, Jean Grae, Strong Arm Steady, Reflection Eternal (Kweli and Hi-Tek), & Idle Warship (RES and Graph Nobel) I’m also working on a new Documentary film called “SDTK To A Rev” I’ve got John Legend, Stevie Wonder, The Roots, TV On The Radio, Anthony Hamilton, The Blind Boys of Alabama, and more.

That sounds amazing, when can we expect to see that?
2009. We are editing this summer and I hope to have everything ready for late this year as a film fest release

Can’t wait to see that, I need an invite to the advance screening! So Corey, any words of wisdom for the producers out there trying to work with artists like Talib Kweli, and become the next Pete Rocks/Kanyes/Hi-Teks?
I would advise producers to find a sound of their own. It helps to have someone to share in the vision vocally. It allows for people to hear their vision better and gives them ownership in something off the bat.

So you would suggest more so working and developing an artist, as opposed to just trying to shop beats (which is what the MAJORITY of producers I meet are trying to do)
Hi-Tek wouldn’t have had the same opportunities with out the group projects…Blackstar and Reflection Eternal, and don’t forget MOOD. It gives a producer a comfort zone…Look at Pete Rock and CL Smooth. Trust me if you can find a marriage early on, go for it. If not then grind it out!

Corey, I really appreciate your time man, you gave some insight that I think everyone that reads this will become inspired by! Where can our readers check out everything you are working on (i.e. MySpace, site, etc)?
www.blacksmithnyc.com or www.myspace.com/blacksmithmusic www.talibkweli.com or www.myspace.com/talibkweli www.jean-grae.com or www.myspace.com/jeangrae www.myspace.com/TheGangSAS