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.
Up Jumps Da Boogie
Timbaland Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Up jumps da boogie, up jumps da boogie
Up jumps da boogie
Give it up, we gon' show, you how we party
Up jumps da boogie, up jumps da boogie
Up jumps da boogie
Up jumps da boogie, up jumps da boogie
Up jumps da boogie
Give it up, we gon' show, you how we party
Up jumps da boogie, up jumps da boogie
Up jumps da boogie
I fiend for all beats like girls jump for dicks
Don't salt the next man keep that Lindbergh shit
Up in the cut like gay niggaz, in butt
I'm black wit Indian, my race should be mutt
I cut with razor blades, play spades with Aunt Venus
Evaluate this rap, take heed a fuckin' genius
Up in the sky, up high, don't puff lye
Do you smoke crack Sam? Prepare to fuckin' die
Fuck Crazy Joe, my name is Crazy Flow
You thought I had eight, but I got ten mo'
Off beat and on beat, old school like Beat Street
I stink like pop's feet, make sweat wit no heat
I'm up on this track, like Pam Grier in movies
I heats up the beat, like water in a jacuzzi
I fly to L.A., then come back to Virginia
Then call, Maganoo, to see if he's got some indo
Then back to the crib to pick up my brother, G
G don't forget, to bring the house keys
Hops in the eight, five-oh now here we go
Please please, brother don't slam my car do'
It costs too much money to get that shit fixed
I need all my money to pay my bills with
Don't have no time, for the shuckin' and jivin'
Peep my rhyme 'cause that, shit's off-timin'
I'm in the Marriott, the place to get got
After I smoke pot, he sticks me like shots
Funky like farts, connect tongues like dots
Lick his lollipop, this kid named Scott
Me, my hot self, myself be so hot
Touch my hot spot, I scream 'til I can't stop
Uhh, give it to me daddy and
(What, what?)
Uhh, yup, yup like Teddy
(What, what?)
Teddy, ready with tha one two checka
No Diggity, Missy be the bedroom wrecka
Double decka, make you wanna beat your pecka
And then leave your bitch 'cause this uhh, be better
Give it up, up jumps da boogie, boogie jumps me
Up jumps da boogie, boogie jumps me
Up jumps da boogie, boogie jumps me
Up jumps da boogie, boogie jumps me
Give it up, we gon' show, you how we party
Up jumps da boogie, boogie jumps me
Up jumps da boogie, boogie jumps me
Give it up, we gon' show, you how we party
Prepare to get wet like Jheri Curl juice
You tight like virgin pussy, my rap get you loose
I bump like acne, take honey from a bee
My style is like a safe, without da fuckin' key
I come 'cause I'm a nut, don't bleed when I'm cut
No fan of Madonna, she just a damn slut
So sit you damn dog and bow to my shit
Nit-wit you stupid, I'm butter don't need grits
Make fits like seizure, lick clit to please ya
I book then read ya, follow da leader
Like Jews and Chinese, I own your rap lease
The wackness must cease, prepare for yo' release
I'm up in these labels tryin' to handle my business
Been makin' more beats before Jehovah had witness
Up jumps da boogie, boogie jumps me
Brother brother, please, turn on the TV
See a black man dead from a white man's powder
See a white man scared from a black man's power
Back to reality, please don't freakin' smile at me
This is a stick-up, so give up yo' wallet please
I'm the best, and that's be, and that's capital
I hang low like testicles, MC's wanna copy these many flows
Hoes, better back up, foe they get slapped up
Pack up and go tell mommy, that I backed up you
You you you, and your whole screw
What, whatcha whatcha whatcha gon' do uhh
What whatcha gon' do to me, the M I double S why E
Wanna battle me, it's gonna be some tragedy
Give it up, we gon' show, you how we party
Up jumps da boogie, boogie jumps me
Up jumps da boogie, boogie jumps me
Up jumps da boogie, boogie jumps me
Up jumps da boogie, boogie jumps me
Give it up, we gon' show, you how we party
Up jumps da boogie, boogie jumps me
Up jumps da boogie, boogie jumps me
Up jumps da boogie, boogie jumps me
Up jumps da boogie, boogie jumps me
Give it up, we gon' show, you how we party
Give it up, we gon' show, you how we party
Give it up, we gon' show, you how we party
The lyrics to Timbaland & Magoo's "Up Jumps Da' Boogie" are a combination of boasting and fun-loving party lyrics. The song's chorus, "Give it up, we gon' show, you how we party, up jumps da boogie, boogie jumps me," sets the tone for the rest of the lyrics. Timbaland and Magoo's verses are playful, often using braggadocio and puns to talk about their skills and what they expect from others. They also touch on serious issues such as racism and crime, talking about the realities of a life that is both celebrated and threatened.
In the first verse, Timbaland opens with a line that sets the tone for the rest of the lyrics: "I fiend for all beats like girls jump for dicks." He then goes on to talk about cutting with razor blades and playing spades with Aunt Venus, boasting of his musical and card playing skills. The verse ends with a reference to crack cocaine and a warning to those who use it. The second verse features Magoo, who talks about his sexual prowess and the pleasures of getting high. He also drops a line about his mixed race identity, calling himself a "mutt." The final verse sees Timbaland discussing race relations and crime, offering a commentary on current events. He calls out Madonna as a "damn slut" and laments the state of race relations, concluding with a demand for respect.
Overall, "Up Jumps Da' Boogie" is a lighthearted celebration of partying and making music. Despite the darker moments in the lyrics, the song remains upbeat and fun, inviting the listener to join in on the party. It's an infectious tune with a memorable hook and has continued to be a crowd favorite over the years.
Line by Line Meaning
Give it up, we gon' show, you how we party
We're ready to show you how to party; give it up.
Up jumps da boogie, up jumps da boogie
The party starts, the music plays.
I fiend for all beats like girls jump for dicks
I have an intense craving for beats, similar how girls crave for dicks.
Don't salt the next man keep that Lindbergh shit
Don't make trouble for other people; avoid needless drama.
Up in the cut like gay niggaz, in butt
We keep a low profile, just like gay men who keep things to themselves.
I'm black wit Indian, my race should be mutt
I'm of mixed race - black and Indian, making me a mutt.
I cut with razor blades, play spades with Aunt Venus
I use razor blades to cut things, and I play spades with my aunt, Venus.
Evaluate this rap, take heed a fuckin' genius
Take a moment to evaluate this rap; it's made by a genius.
Up in the sky, up high, don't puff lye
We're high in the sky, but we don't smoke marijuana.
Do you smoke crack Sam? Prepare to fuckin' die
If you smoke crack, you better watch out because it could kill you.
Fuck Crazy Joe, my name is Crazy Flow
Forget about Crazy Joe - I'm Crazy Flow.
You thought I had eight, but I got ten mo'
You thought I only had eight lines, but I have ten more lines to go.
Off beat and on beat, old school like Beat Street
I can rap both off-beat and on-beat, and I have an old-school style.
I stink like pop's feet, make sweat wit no heat
I smell bad like my father's feet, and I make people sweat even without heat.
I'm up on this track, like Pam Grier in movies
I'm killing it on this track like Pam Grier dominates in her movies.
I heats up the beat, like water in a jacuzzi
I heat up the beat, just like how water heats when in a jacuzzi.
I fly to L.A., then come back to Virginia
I go from L.A. to Virginia and back again.
Then call, Maganoo, to see if he's got some indo
Then I call Maganoo to see if he's got any marijuana.
Then back to the crib to pick up my brother, G
Then I go back home to pick up my brother, G.
G don't forget, to bring the house keys
G, don't forget to bring the keys to the house.
Hops in the eight, five-oh now here we go
We get in the car, a 1980s model, and drive off - here we go!
Please please, brother don't slam my car do'
Please don't slam the door of my car.
It costs too much money to get that shit fixed
Fixing the car costs a lot of money, so don't damage it.
I need all my money to pay my bills with
I need all my money to pay my expenses.
Don't have no time, for the shuckin' and jivin'
I don't have time for nonsense and trivial things.
Peep my rhyme 'cause that, shit's off-timin'
Check out my rhyme because it's slightly off-beat.
I'm in the Marriott, the place to get got
I'm staying at the Marriott, which is a very popular place to stay.
After I smoke pot, he sticks me like shots
After I smoke marijuana, I get stuck by a shot.
Funky like farts, connect tongues like dots
I have a funky style, and I connect the words I speak like dots.
Lick his lollipop, this kid named Scott
A person named Scott licks a lollipop.
Me, my hot self, myself be so hot
I'm hot and attractive, and therefore I am amazing.
Touch my hot spot, I scream 'til I can't stop
If you touch my sensitive/special spot, I'll scream uncontrollably.
Uhh, give it to me daddy and
Give it to me, daddy.
(What, what?)
What? What did you say?
Uhh, yup, yup like Teddy
Yes, that's right, just like Teddy.
Teddy, ready with tha one two checka
Teddy is ready to go with his one-two check.
No Diggity, Missy be the bedroom wrecka
I am the best in the bedroom.
Double decka, make you wanna beat your pecka
I'm so good in bed that you'll feel like beating your dick.
And then leave your bitch 'cause this uhh, be better
And then you'll leave your girlfriend because sleeping with me is better.
Prepare to get wet like Jheri Curl juice
Get ready to get wet, like your hair after using Jheri Curl juice.
You tight like virgin pussy, my rap get you loose
You're too tense; my rap will help you relax and loosen up.
I bump like acne, take honey from a bee
I'm bumpy, like acne, and I take what I want, just like how bees extract honey.
My style is like a safe, without da fuckin' key
My style is secure, just like a safe without any key to open it.
I come 'cause I'm a nut, don't bleed when I'm cut
I come around because I'm crazy, but I don't easily bleed when I'm cut.
No fan of Madonna, she just a damn slut
I'm not a fan of Madonna; I think she's just a slut.
So sit you damn dog and bow to my shit
Just sit there like a good little dog and listen to my rap.
Nit-wit you stupid, I'm butter don't need grits
You're stupid, and I'm smooth like butter - I don't need any grits.
Make fits like seizure, lick clit to please ya
I can make you have fits, and I can please you orally.
I book then read ya, follow da leader
I can book and read you, and I'll follow the lead.
Like Jews and Chinese, I own your rap lease
Just like Jews and Chinese succeed in business, I succeed in rap music.
The wackness must cease, prepare for yo' release
We need to stop the wackness in rap music; prepare for your freedom.
I'm up in these labels tryin' to handle my business
I'm dealing with record labels and trying to manage my business.
Been makin' more beats before Jehovah had witness
I've been making good music for a long time, even before Jehovah's Witnesses existed.
Brother brother, please, turn on the TV
Please turn on the TV, brother.
See a black man dead from a white man's powder
We see a black man dead from cocaine, a drug mostly associated with white people.
See a white man scared from a black man's power
We see a white man terrified of a black man's strength and determination.
Back to reality, please don't freakin' smile at me
It's time to come back to reality; please don't smile at me right now.
This is a stick-up, so give up yo' wallet please
This is a robbery; please give me your wallet.
I'm the best, and that's be, and that's capital
I'm the best, period - and you can capitalize on that.
I hang low like testicles, MC's wanna copy these many flows
I have a low profile like testicles, and other MC's want to copy my many styles of rapping.
Hoes, better back up, foe they get slapped up
Women who are referred to as 'hoes' should back away, or they'll get slapped.
Pack up and go tell mommy, that I backed up you
Go to your mother and tell her that I made you back away.
You you you, and your whole screw
All of you and your entire group.
What, whatcha whatcha whatcha gon' do uhh
What, what are you going to do?
What whatcha gon' do to me, the M I double S why E
What are you going to do to me, the M-I-Double-S-W-H-Y-E?
Wanna battle me, it's gonna be some tragedy
If you want to battle me, it's going to be disastrous for you.
Lyrics © Warner Chappell Music, Inc.
Written by: MELVIN LEE BARCLIFF, MELISSA A ELLIOTT, TIMOTHY Z MOSLEY
Lyrics Licensed & Provided by LyricFind
@hotboih
RIP Magoo. Thanks for your contributions to music 🙏🏿
@melvinhhcp3615
🙏🏽
@latoyafarrell8135
My aunt just told me. Saddened by this news first thing this morning. Definitely sending condolences to Magoo’s family and friends🙏🏽
@shadibaki5422
🙏🙏🙏 RIP Magoo. You were one of my Favorites!
@orlandohubbard337
..
@momoshiggles3631
🙏🏾🙏🏾🙏🏾
@LaShaeParker1685
R.I.P....Aaliyah, Static, & Magoo 🕊💔
@ladennayoung2939
Oh, no. I didn't realize Magoo passed away.
@Joel-wh5hp
@@ladennayoung2939sad 😢 sure he did .
@jeffreynanatakyicollins101
@@ladennayoung2939yea fairly recent