by Cyclone Wehner

When the Wu-Tang Clan blew up with their hardcore single "Protect Ya Neck" in New York six years ago, Funkmaster Flex admits he was surprised. But he isn't often caught out. And Flex can't even think of another occasion when he was. The Bronx-born DJ is the closest thing hip-hop has to a human barometer of trends. Something of an icon in the US, Europe and Japan, Flex's series of 'mix-tape' CD albums has taken his name to places he is yet to visit -- like Australia.

These days Flex's legend is such that he gets props from acts as far removed from each other as Gang Starr, Puff Daddy and Daft Punk. And he regards Junior Vasquez and Armand Van Helden as his homeboys. Still, Flex prefers not to go by the title of 'hip-hop DJ'. As he stated recently in the new American magazine, "Blaze": 'I don't consider myself a hip-hop DJ. I'm a DJ.' So what did he mean exactly? 'I don't like just playing one type of music,' Flex explains over the phone from the Big Apple. 'I like to spread it out.' (It transpires that he will occasionally play house and reggae.)

Flex (aka Aston Taylor Jr) picked up his love of the decks from his father, a video technician who dabbled in DJing during his youth in Jamaica. Flex's first love was always the radio -- he idolised old skool radio jock Red Alert. The teenager paid his dues by carrying around records for the popular Chuck Chillout, a jock on Kiss FM, in the mid-80s. Flex took opportunities as they came. He eventually landed a gig on WBLS, and, later, on the emerging powerbroker, Hot 97. Today Flex's sensibilities may be commercial, but he has managed to retain a healthy amount of street credibility.

More than a DJ, Flex has developed into virtually a one man empire. No wonder he yawns apologetically throughout this conversation. One look at his schedule shows why. Flex never chills out. 'I love what I do,' he says, brushing off the suggestion that he is a workaholic. 'It's like a hobby and a job at the same time.' With urban music now the dominant sound of hip-hop's capital, New York, if not every city in the States, Flex is The Man. Indeed, he reigns as the most influential radio jock in New York. He spins on Hot 97, now the city's leading commercial hip-hop station, six days a week. Plus, each Sunday he whips up crowds at the Funk-O-Rama party at The Tunnel. It doesn't stop there, either. Flex has his own party promotion company (and record pool), Big Dawg. He pops up on MTV. And he pre-records monthly broadcasts for the UK's Radio One. To boot, Flex operates his own label, Franchise Records, which has a distribution deal with the NY indie, Loud (home to the Wu and Mobb Deep).

Flex's Franchise imprint has now released the three mix-tape albums, all certified at least Gold in the US. The idea for the series was a spark of corporate genius. Since the earliest days of hip-hop, DJs would disseminate audio tapes of their sets, either recorded at parties or home. Of course, these were circulated with little regard for copyright laws. Over the years, the big league labels have nevertheless come to tacitly accept the subculture, recognising that, in stark contrast to the bootleg or pirate, the mix-tape can be employed as a marketing tool. That is, the calculated leaking of material to key mix-tape DJs can generate a healthy hype for a record release in an influential market. Even though the illegal mix-tapes sold today in NY's street booths are actually CDs, their old skool tag remains unchanged.

What Flex has done is further commercialise the concept. After all, he is in the ideal position to make all-star mix-tapes, as the third instalment in his series exemplifies. He has invited his famous friends to freestyle on the set (from the hardcore rapper DMX to EPMD to Mariah Carey). And he has used his influence to secure the odd exclusive (with no less than two from the Wu). Flex also throws in some old skool cuts. And then he finishes it all off with a few of his trademark shout-outs. Flex has struck on a winning formula not far removed from his radio shows.

With "The Final Chapter", Flex consciously decided to feature more regional artists (with guests like the Southern gangsta rapper Eightball), as well as take things back to the street (DMX, Big Punisher). 'A couple of people told me that the other two [volumes] were a little soft, so I kinda wanted to make something more cutting-edge,' he says. 'So I made it a little more underground; a little more street.' One of the highlights on this set is actually pop B-girl Missy Elliott's freestyle over the Wu's "Triumph". 'I think she surprised a lot of people at how well she came off with that particular freestyle,' agrees Flex.

And yet, for all his success, Flex has now decided to wrap up the series -- as the conclusive title of his latest volume implies. How come? 'I just don't want to exhaust it,' he says. 'I feel good in what I've done and I don't want to keep pushing it. You know, I kinda wanna come up with some other ideas and concepts and make it happen.' One thing Flex is not intending to pursue in a big way is production, although he has made some headway by moulding the hip-hop soulstress (and his old school mate) Yvette Michele. 'I don't like producing,' Flex muses. 'I thought I did, but I don't. I like to produce the stuff on my own albums, but I'm not really good at producing other people.' He thinks it unlikely at this stage that he will follow many of his legendary peers (like Kid Capri, arguably the Godfather of Mix-tapes, and DJ Clue) by releasing more conceptual DJ albums with the inevitable guest vocalists. 'But you never know,' Flex chuckles. In fact, he has already made a move in this direction. Lately Flex joined the likes of Doo Wop, Biz Markie, Big Kap, Mark Ronson, DJ Enuff, Mister Cee and his protege Cipha Sounds to resurrect the Flip Squad All Star DJs, with a low-key self-titled US album release -- a fitting way in which to kick off the next stage of his recording career. (Trainspotters will remember that Flex and Kap recorded the song "Flip Squad's In Da House" under the name Flip Squad All Stars for the 1995 "New Jersey Drive" OST.)

So what of Flex's predictions for urban culture in the coming year? 'Right now it's getting back to the street,' the trendspotting DJ reiterates. 'I feel it's getting back with people like DMX, Big Punisher and Cam'ron. There are a lot of artists coming out now who are really street -- and I think that's good. I think there's gonna be more to follow.' Flex also imagines that more regional acts like Louisiana's Master P and his No Limit roster will grow in popularity outside their traditional territories. Oddly enough, Flex is also in favour of the currently fashionable rock-rap phenomenon, which obviously flies in the face of the stricter American urban radio formats. He is open to more such musical cross-fertilisation. 'It's good that people keep on thinking of new ways of putting music together,' he reasons. 'It keeps things fresh.' Finally, Flex anticipates that over the next year or so hip-hop will continue to grow as an international movement. 'I think the next step is that there's gonna be a lot of local talent in countries other than the US.' But will Americans ever get into hip-hop from the UK, Japan or, for that matter, Australia? 'I think so ... eventually,' Flex says, adding that he would be interested to hear some Aussie hip-hop.

Just don't expect the DJ to come Down Under to unearth some anytime soon. Although Flex has visited Europe and Japan, he is yet to make it to the Antipodes, in spite of some interest from his local label (BMG) and even promoters in a club tour. Flex confesses that his fear of flying, which has intensified since the Swiss Air incident, prohibits him from touring as extensively as he would like. 'It's too much, man,' he rues. Needless to say, it could be just as well -- where on earth would Flex find the time and energy?

"The Mix Tape Volume III -- 60 Minutes Of Funk: The Final Chapter" is out through BMG.