Timbaland is similar to producers such as Norman Whitfield in that he helped to redefine the sound of an entire genre of music with an immediately recognizable production style. The songs he produces feature unusual arrangements, sounds, and instrumentation, tied together by a trademark sense of rhythm. Like Spector and Whitfield, Timbaland's production sometimes overshadows the credited performer and becomes the actual "star" of the song. With songwriters Steve "Static" Garrett and childhood friend Missy Elliott, Timbaland has helped to create some of the most successful songs in modern pop music and urban music, including singles for Aaliyah, Ginuwine, SWV, Total, and 702.
Mosley grew up in Norfolk, Virginia, where he became acquainted with Missy Elliott and Melvin Barcliff, whose MC name was "Magoo." Originally a disc jockey known as "DJ Timmy Tim," Mosely began making hip-hop backing tracks on a Casio keyboard he owned. In 1993 Elliott heard his material and, taken by Mosley's unique sense of rhythm, immediately began working with him.
Elliott and her girl group Sista auditioned for DeVante Swing, producer and member of successful R&B act Jodeci. Devante signed Sista to his Swing Mob label, and Elliott brought Mosely and Barcliff along with her. Mosely began working under Devante, who renamed the young producer Timbaland, after the Timberland boot popular in hip-hop fashion.
Sista and Timbaland & Magoo became part of Devante's stable of Swing Mob signees known as "Da Bassment" crew, joining artists and groups such as male singer Ginuwine, male vocal group Playa, and girl group Sugah. Timbaland did production work on a number of projects with Devante, including the 1995 Jodeci LP The Show, The After-Party, The Hotel, and Sista's debut LP, which was shevled and never saw release.
Timbaland was also friends with Pharrell Williams, and had dabbled in projects with him as S.B.I., or Surrounded By Idiots. Pharrell recalls in an interview: "“In seventh grade I met Chad. That’s twenty years ago by now. Like I said earlier, we started producing beats together. But then again, I also played with this famous group which consisted of Timbaland, Magoo, myself and some other guy. Chad wasn’t a part of the group, so I was in The Neptunes and in Surrounded By Idiots at the same time.” A few tracks produced by the group float around on the internet, the most distributed being "Big White Spaceship".
In 1995, most of Devante's acts broke their ties with the producer and went their own ways. Elliott, Timbaland, Magoo, Playa, and Ginuwine continued to collaborate, and began working on individual projects of their own. Elliott began receiving recognition as a songwriter and guest artist for artists such as 702 and MC Lyte, and Timbaland was sometimes assigned to produce remixes of Elliott-penned songs. One of these, the remix to 702's "Steelo" in 1996, became Timbaland's first important production credit.
Also in 1996, Ginuwine released his debut album, Ginuwine...the Bachelor, which was produced entirely by Timbaland. The album was both a commercial and critical success, and its first single, "Pony," was the first example of what would later become the signature Timbaland sound.
The track for "Pony," which Timbaland had created two years prior during the Swing Mob days, was characterized by a shifting, syncopated rhythm, similar to samba or jungle music, which used snare and kick hits on typically non-accented beats in the measure. Stuttering high-hats typical of southern bass music accompanied the basic drum sounds, which were, unusual for hip-hop and R&B of this period, severely gated to create short, strong sounds. This use of the "short snare" is in marked contrast to the "long snare" sound in New Wave music in the 1980s, which featured a heavily amplified, almost white noise snare drum put through reverb. Accompanying the unusual rhythm were melody lines created by playing odd sound effects (vocal effects and cartoon slide whistles) through a sampling keyboard. The other tracks on Ginuwine...the Bachelor also featured similar production and arrangements. On many of the tracks, Timbaland can be heard either rapping or providing ad-libs, similar to what both Elliott and Puff Daddy where doing at the time; Timbaland's deep voice was usually vocoded to give it an electronic sound.
While work was being completed on Ginuwine...the Bachelor, R&B artist Aaliyah contracted Timbaland and Missy Elliott to write and produce most of her second album, One In A Million. The tracks that were crafted for Aaliyah featured innovative arrangements similar to those on Ginuwine...the Bachelor. One In A Million went on to sell over two million copies, and made superstars out of not only Aaliyah, but Elliott and Timbaland as well.
Elliott and Timbaland became one of the most successful and prolific songwriting/production teams of the late-1990s. By the end of the decade, Timbaland's sound had been heard in records from artists such as SWV, Destiny's Child, Nicole Wray, Jay-Z, Nas. Most of his production work during this period was reserved for his original stable of collaborators: two Missy Elliott albums (Supa Dupa Fly and Da Real World), a second effort by Ginuwine (100% Ginuwine), and Playa's debut album (Cheers 2 U). Timbaland produced much (if not all) of the material on many of their albums during this period, and also made two albums of his own: one with Magoo, and one solo album. Timbaland's own raps, which were usually ghostwritten by Elliott, Magoo, or his younger brother Garland Mosley (AKA Sebastian), were almost always accompanied by other MCs, including his main collaborators and numerous guest artists.
Timbaland spawned a plethora of imitators, some of which went as far as to sample sections of his work to create similar-sounding tracks. The popularity of the "Timbaland sound" marked a shift in hip-hop music from rougher, sample-based tracks to simpler, more synthetic musical accompainiment (unlike many hip-hop producers, Timbaland rarely sampled older records; most of his tracks were crafted by him and his in-house band). Since Timbaland worked in both hip-hop and R&B and often combined elements of one in tracks for the other, his work aided the blending together of the two genres, which became less and less distinct during the first half of the 2000s.
Foreign, especially Asian, instrumentation is present through much of his early work (Xscape's "My Secret" remix, especially, with a rollicking sitar outro and Timbaland ad-libbing "Let's take a little trip...to India"), but was most successful and prevalent with Jay-Z's "Big Pimpin'" (1999), which borrowed directly from the song "Khosara" by Egyptian composer Baligh Hamdi. Missy Elliott's 2001 hit single, "Get Ur Freak On" from her third album, Miss E...So Addictive, was also likewise a smash, using a speedy dhol drumline typical of Bhangra. His borrowing from these cultures has resulted in mixed reactions, with many critics embracing his musical adventurousness and eclecticism and more esoteric, purist factions reacting catiously, and sometimes negatively. In an interview with Missy Elliott in RayGun Magazine, he mentioned a diverse base of influences, from UK Drum 'N Bass to Garage.
Timbaland-produced songs such as Ludacris' "Roll Out (My Business)," Jay-Z's "Hola' Hovito," Petey Pablo's "Raise Up," and Beck's "Diamond Dogs" were recorded and released during this period, and he contributed to Limp Bizkit's 2001 remix album, New Old Songs. He also contributed three songs--all eventually released as singles--to Aaliyah's self-titled third album.
Timbaland & Magoo's second album together, Indecent Proposal, had been scheduled for release in November 2000, and was to feature appearances by Beck, Aaliyah, and new Timbaland proteges--some of whom were signed to his new Beat Club Records imprint--Ms. Jade, Sebastian, Petey Pablo, and Tweet (who was a member of Sugah during the Swing Mob days). The album was delayed until for an entire year, finally being released the following November, and was a commercial disappointment. Beck's vocals for the track "I Am Music" were not included on the final released version, which instead featured Timbaland singing alongside Static (Steven Garrett) of Playa and Aaliyah, who had been killed in a plane crash three months before the release of the album. The loss of Aaliyah deeply affected Timbaland, whose work was less omnipresent after 2001.
The first release on Beat Club was the debut album by Caucasian MC Bubba Sparxxx in October 2002, Dark Days, Bright Nights. Timbaland contributed three tracks to Tweet's debut album, Southern Hummingbird, and produced most of Missy Elliott's fourth and fifth LPs, Under Construction and This Is Not A Test! He also produced hit singles and album tracks for artists such as Li'l Kim ("The Jump Off") and Pastor Troy during this period. Collaborating with Scott Storch, Timbaland also produced a number of tracks on former *NSYNC lead singer Justin Timberlake's solo debut, Justified, including the hit single "Cry Me a River".
Late in 2003, Timbaland delivered the second Bubba Sparxxx album, Deliverance, and the third Timbaland & Magoo album, Under Construction, Part II. Both albums were released to little fanfare or acclaim even though Deliverance was praised by reviews and embraced by the internet community.
Timbaland continues to produce hit singles and albums for artists; in 2004 Timbaland-produced singles by LL Cool J, Xzibit, and Jay-Z became staples on urban radio, and he produced the bulk of Brandy's fourth album, Afrodisiac. New songs from artists such as Tweet and The Game are set for release in 2005.
2005 saw Timbaland producing a song on Tweet and The Game's albums ("Steer" and "Put You on The Game" respectively). He also produced 2 songs on Missy Elliott's 6th album (The Cookbook), "Joy" featuring Mike Jones and "Partytime."
Timbaland started his new label, Mosely Music Group, once again under Interscope. On the label are singers Nelly Furtado and Keri Hilson, and rapper D.O.E. Timbaland's parternship and mentorship of upcoming producer Nate "Danjahandz" Hills is evident in Timbaland's rejuvination in music.
Furtado looks to have her third album, Loose, released under MMG with in the first half of 2006 with Hilson's debut following shortly after. Timbaland is also slated to work with Justin Timberlake, Hilary Duff as well as albums by Jamie Foxx, JC Chasez, Busta Rhymes, Diddy, Ludacris, Chingy, Chilli of TLC, Tweet, and a lot more.
In 2006, Timbaland produced songs "Promiscuous" "My love" and "Sexyback" topped the charts for over fourteen weeks. In 2007, the tracks "Say It Right" and "What Goes Around" also topped the charts. The year 2007 also saw the release of his album "Timbaland presents Shock Value" which featured Fall Out Boy, The Hives, Elton John, Nicole Scherzinger, Justin Timberlake, Nelly Furtado, Missy Elliot, Sebastian (his brother), Keri Hilson, Money, Attitude, and Jim Beanz.
One & Only
Timbaland Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
That I really can't deal with, deal with
I want to block her out my mind
But I really can't do it, do it
I tell myself this the last time
I'ma let her do this to me
Whenever we do spend time
Wipe that smile off your **** face, let me say to you
Wipe that smile off your face, let me say to you
Wipe that smile off your **** face, let me say to you
Wipe that smile off your face
To be despised, to be loved
To be dreamt of, to be sought
To be inside, I don't care
Right in the middle, I'm right in the middle
To be despised, to be loved
To be dreamt of, to be sought
To be inside, I don't care
Be my unholy, my one and my lonely
If I could start with words 'cause it's the only hope of feasting I got left
And everything I love about you is a mess
Smash the mirror and break the palm in his hand
I want to be better than I am
Let me say to you
Wipe that smile off your **** face, let me say to you
Wipe that smile off your face, let me say to you
Wipe that smile off your **** face, let me say to you
Wipe that smile off your face
To be despised, to be loved
To be dreamt of, to be sought
To be inside, I don't care
Right in the middle, I'm right in the middle
To be despised, to be loved
To be dreamt of, to be sought
To be inside, I don't care
Be my unholy, my one and my lonely
Girl, just look what you've done
How could you do this to me?
I gotta put my foot down
I can't let you do this to me
I can't forget those good ole times
And all the things you've been doing to me
I wanna hit that one more time
I mean love, what you're doing to me
I'ma say it loud, right here
Let's **** in this crowd
Why we arguing
I thought me and you were supposed to be friends
Let's chill for minute
Better yet we need a heal for a minute
Baby, put down the knife
Sometime I wanna save ya life, why don't you
To be despised, to be loved
To be dreamt of, to be sought
To be inside, I don't care
Right in the middle, I'm right in the middle
To be despised, to be loved
To be dreamt of, to be sought
To be inside, I don't care
Be my unholy, my one and my lonely
We ain't got no *** band
We ain't got no stinking the *** microphone setter
Timbaland, you tuned in, son of a b***
Let's get this f*** out of my house now
Before I get to my and I can't turn back
Hey, didn't I say you to f*** out
Get the f*** out
The lyrics of Timbaland's "One & Only" express the feeling of being head over heels for someone who causes emotional turmoil, but despite the turmoil, the love keeps drawing the singer back. The song seems to be a conversation with the lover who has caused the emotional conflicts. Timbaland expresses his internal conflict between the desire to be with this person versus the need to distance himself emotionally. He repeats "I'm a let her do this to me, I can't get enough of you." These lines reveal that Timbaland knows he is being mistreated, but he can't help his attraction to the person. The chorus features Patrick Stump and tells listeners the measures Timbaland has taken to conceal his emotions from the world. This chorus expresses that the emotions are chaotic and intense, making the singer feel more comfortable hiding them from public view.
The final verse has Timbaland addressing the lover. He calls the lover out for causing him pain and states that he can't let them continue doing this to him. Despite this, he appears to cave in confessing he still remembers the good times and still loves the person. The song's final lyrics switch back and forth between a stage exit and a mental break with a battle cry of Get the fuck out as the final goodbye. The lyrics of the song brilliantly explore the complexities of being in love with someone who is not right for you.
Line by Line Meaning
I'm head over heels for someone I
I have strong romantic feelings for someone
That I really can't deal with
But I find it difficult to cope with my feelings
I want to block her out my mind
I wish to forget about her completely
But I really can't do it
But it's proving to be a challenge
I tell myself this the last time
I am trying to convince myself that this is the final instance
I'm a let her do this to me
I am allowing her to affect me in this way
Whenever we do spend time
Whenever we hang out together
I realize that I can't get enough of you
I come to the conclusion that I am addicted to you
Wipe that smile off your fucking face
Stop looking so pleased with yourself
(Then I say to you) Wipe that smile off your face
I reiterate, remove that grin from your expression
I wear scarves and hoods
I cover myself up
'Cause they're the only poker face that I've got left
Because it is the only way I can hide my true emotions
And everything I love about you is a mess
I love everything about you, even though it's complicated
Smash the mirror, and break the palm reader's hand
Destroy any attempt at divination because it's all bullshit
I want to be better than I am
I aim to improve myself
Girl, just look what you've done
Woman, see what you have caused
How could you do this to me?
How could you treat me like this?
I gotta put my foot down
I need to take a firm stand
I can't let you do this to me
I cannot allow you to continue mistreating me
I can't forget those good ol' times
I cannot forget the good memories we have shared
And all the things you've been doing to me
And all the things you have been putting me through
I wanna hit that one more time
I want to relive that experience one more time
I'm in love, what you're doing to me
I am deeply in love with you, but you are causing me pain
I'm a say it loud, right here
I am going to declare it boldly, right now
Let's fuck in this crowd
Let's have sex in public
Why we arguing?
Why are we having an argument?
I thought me and you were supposed to be
I believed we were meant to be
Friends
Close companions
Let's chill for a minute
Let's take a break for a bit
Better yet, we need to heal for a minute
Actually, we need to work on our relationship
Baby, put down the knife
Darling, stop being so aggressive
Sometime I wanna save your life
Sometimes, I aspire to rescue you from yourself
But I'm cool
But right now, I am calm and under control
We don't got no fuckin' band
We do not have a band
We ain't got no speakers; no fuckin' microphones set up
Nor do we have any sound or amplification equipment installed
Timberland, son of a bitch
Timbaland, what the hell?
Just get the fuck outta my house now
Just leave my home right now
'Fore I get too mad and I can't turn back
Because if I get too angry, I might do something irreversible
Didn't I say get the fuck out?
Wasn't it clear that I wanted you to leave?
Ha ha ha
I'm laughing at how ridiculous this situation is
Lyrics © ANTHEM ENTERTAINMENT LP, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: PETER WENTZ, PATRICK STUMP, TIM MOSLEY, H. LANE
Lyrics Licensed & Provided by LyricFind