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.
We At It Again
Timbaland Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Get crunk, get crunk, get crunk (Ladies)
Bounce wit' me, bounce wit' me (fellas, uh, uh)
Get crunk, get crunk, get crunk (now ladies)
Bounce wit' me, bounce wit' me (freaky, fellas, ah)
Get crunk, get crunk, get crunk (now ladies)
Bounce wit' me, bounce wit' me (freaky, fellas)
Freaky, freaky, freaky, freaky
Timbaland never walk in a place he can't walk out of
Gettin' rude in the place with a gun on my waist
He just might pop out slugs
With a straight arm, bullets stomp through your Phat Farm
'Til the animals jump out of
No justifications
While my song question like that "Jigga What?"
I'm the cause that the thugs gon' fight
In the club so tight, why'all KY'd up
Sometimes I park, on cars, I just hop right up
With the drop-top and the top dropped
And they mouth drops like, "What the"
Only deal with conjunction chicks
When I'm looking to hit they give me butt
Now who the man? Say Timbaland, what
Now off the top (off the top) (we at it again)
From the candy store to the coffee shop
(Coffee shop, candy store) (we at it again)
To your girl next door, to your boy next door
(To your girl next door) (we at it again)
To the one's at the club, to the people on the floor
(The one at the club and the ones on the floor) (we at it again)
Hit it one mo' gain
Turn me up, say
Off the top (off the top) (we at it again)
From the candy store to the coffee shop
(Candy store to the coffee shop) (we at it again)
To your girl next door, to your boy next door
(To your boy next door) (we at it again)
To the one's at the club, to the people on the floor
(Ones on the floor) (we at it again, at it again)
Gettin' a couple of you-
Got a, by the size of the elbow
Don't scream when it hurt, I'm a, machine
Fiend for cash, fiend for hash, Ginseng make it last
Push on her in the butt, not givin' a
Press your luck, ready to buck
I'm a bad muh-, when it comes to the show
F- your, don't hate Mag hate the flows
Two in the clip, ready to flip
I'm a bad muh- and I'm ready to trip
Y'all scared, y'all ready to dip
But you, wanting to slip
Then a fool like me come out with a thing on the hip
Get back in our ride, light you up in your driver side
Those seats, better be ready to hide
One in your leg, two in your side
Now off the top (off the top) (we at it again)
From the candy store to the coffee shop
(Coffee shop, candy store) (we at it again)
To your girl next door, to your boy next door
(Uh, the girl next door) (we at it again)
To the one's at the club, to the people on the floor
(The one at the club and the ones on the floor) (we at it again)
Hit it one mo' gain
Turn me up, say
Off the top (off the top) (we at it again)
From the candy store to the coffee shop
(Candy store to the coffee shop) (we at it again)
To your girl next door, to your boy next door
(To your boy next door) (we at it again)
To the one's at the club, to the people on the floor
(Ones on the floor) (we at it again, at it again) uh
So bad she never play these
I, trade these-
Brain, when I spit they give me brain in the whip
Never hit just ball legit
Give her diamonds so big she can't ball up her fist
With designers so big, shirts cover the wrist
Check out some of the, that my dough can get
Woo, boy that's that, that I be (go)
Dippin' and poppin' the top and
These, and blockin', these, lovin' the dough
My youngins lovin' the flow
South, back on the roll
Ladies get back on the floor
Fellas keep throwin' them bows
This how a party should go
Now off the top (off the top) (we at it again)
From the candy store to the coffee shop
(Coffee shop, candy store) (we at it again)
To your girl next door, to your boy next door
(Uh, the girl next door) (we at it again)
To the one's at the club, to the people on the floor
(The one at the club and the ones on the floor) (we at it again)
Hit it one mo' gain
Turn me up, say
Off the top (off the top) (we at it again)
From the candy store to the coffee shop
(Candy store to the coffee shop) (we at it again)
To your girl next door, to your boy next door
(To your boy next door) (we at it again)
To the one's at the club, to the people on the floor
(Ones on the floor) (we at it again, at it again)
Now off the top (off the top) (we at it again)
From the candy store to the coffee shop
(Coffee shop, candy store) (we at it again)
To your girl next door, to your boy next door
(Uh, the girl next door) (we at it again)
To the one's at the club, to the people on the floor
(The one at the club and the ones on the floor) (we at it again)
Hit it one mo' gain
Turn me up, say
Off the top (off the top) (we at it again)
From the candy store to the coffee shop
(Candy store to the coffee shop) (we at it again)
To your girl next door, to your boy next door
(To your boy next door) (we at it again)
To the one's at the club, to the people on the floor
(Ones on the floor) (we at it again, at it again)
"We at it again" is a party track that encourages people to get up, dance, and have a good time. The lyrics are an invitation to "bounce" and "get crunk" with the help of Timbaland and Magoo's beats. The song is a reflection of the East Coast hip-hop scene at the time it was released, with its heavy use of electronic effects, catchy hooks, and explicit lyrics.
Timbaland's first verse sets the tone for the song, with references to guns and violence that are common in hip-hop culture. He makes a point to establish himself as a tough guy who can handle any situation, and he encourages others to follow his lead. Magoo's verse is more focused on material possessions, with references to cash, diamonds, and expensive clothes. He also boasts about his skills as a rapper and promises never to compromise his art for commercial gain.
Overall, "We at it again" is a fun and catchy track that showcases Timbaland and Magoo's skills as producers and rappers. The lyrics don't have a deeper meaning, but they serve their purpose of getting people to dance and have a good time.
Line by Line Meaning
Bounce
Let's start the party with some high energy bouncing
Get crunk, get crunk, get crunk (Ladies)
Ladies, let's get hyped and ready to party
Bounce wit' me, bounce wit' me (fellas, uh, uh)
Fellas, let's bounce together and get the party started
Get crunk, get crunk, get crunk (now ladies)
Ladies, let's get crazy and turn up the energy even more
Bounce wit' me, bounce wit' me (freaky, fellas, ah)
Fellas, let's keep the party going and dancing with some freaky moves
Bounce wit' me, bounce wit' me (freaky, fellas)
Fellas, don't be shy and let loose with some freaky dance moves
Get crunk, get crunk, get crunk (freaky, freaky, now ladies)
Ladies, let's get even freakier and wilder than before
Freaky, freaky, freaky, freaky
Time to get freaky and wild on the dance floor
Timbaland never walk in a place he can't walk out of
Timbaland is confident and always in control
Gettin' rude in the place with a gun on my waist
Timbaland is ready for any situation and has a weapon ready to use
He just might pop out slugs
Timbaland is warning that he is not to be messed with
With a straight arm, bullets stomp through your Phat Farm
Timbaland is skilled with a gun and can shoot with precision
'Til the animals jump out of
Timbaland is violent and unpredictable
No justifications
Timbaland is ruthless and doesn't need any reasons to use violence
While my song question like that "Jigga What?"
Timbaland's music is challenging and thought-provoking
I'm the cause that the thugs gon' fight
Timbaland's music incites violence and aggression in some listeners
In the club so tight, why'all KY'd up
The club is packed and everyone is excited to party
Sometimes I park, on cars, I just hop right up
Timbaland is reckless and does whatever he wants, even jumping on parked cars
With the drop-top and the top dropped
Timbaland is driving a fancy convertible car with the top down
And they mouth drops like, "What the"
Timbaland is attracting attention and causing surprise with his antics
Only deal with conjunction chicks
Timbaland only spends time with women who are ready to have sex with him
When I'm looking to hit they give me butt
Women are willing to have sex with Timbaland
Now who the man? Say Timbaland, what
Timbaland is asserting his dominance and power
Now off the top (off the top) (we at it again)
Let's keep the party going with some improvised fun
From the candy store to the coffee shop
We're taking the party everywhere we go, from the sweetest to the strongest drinks
(Coffee shop, candy store) (we at it again)
We're having fun and partying everywhere we go
To your girl next door, to your boy next door
We're bringing the party to the neighbors too
(To your girl next door) (we at it again)
The party continues with everyone joining in
To the one's at the club, to the people on the floor
We're having fun with everyone at the club and dancing on the floor
(The one at the club and the ones on the floor) (we at it again)
The party is inclusive and everyone is invited to join in
Hit it one mo' gain
Let's do it one more time
Turn me up, say
Let's turn up the music and volume
(Candy store to the coffee shop) (we at it again)
We continue to party everywhere we go
(To your boy next door) (we at it again)
We keep the party going with the neighbors
(Ones on the floor) (we at it again, at it again)
Let's keep dancing and partying on the floor
Gettin' a couple of you-
Timbaland is about to use his fists
Got a, by the size of the elbow
Timbaland has a big gun or weapon
Don't scream when it hurt, I'm a, machine
Timbaland is emotionless and violent
Fiend for cash, fiend for hash, Ginseng make it last
Timbaland is addicted to money, drugs, and vitality
Push on her in the butt, not givin' a
Timbaland is aggressive towards women and doesn't care about their consent
Press your luck, ready to buck
Timbaland is threatening anyone who tries to stop him
I'm a bad muh-, when it comes to the show
Timbaland is confident and badass when it comes to performing
F- your, don't hate Mag hate the flows
Timbaland is insulting his haters and praising his own music
Two in the clip, ready to flip
Magoo is ready to shoot if necessary
I'm a bad muh- and I'm ready to trip
Magoo is tough and unpredictable
Y'all scared, y'all ready to dip
Magoo is taunting and intimidating others who are not as brave
But you, wanting to slip
Magoo sees that someone is trying to escape
Then a fool like me come out with a thing on the hip
Magoo is warning that he has a weapon and will use it
Get back in our ride, light you up in your driver side
Magoo is threatening to shoot someone in their car
Those seats, better be ready to hide
Magoo is threatening to shoot someone in their car seats
One in your leg, two in your side
Magoo is threatening to shoot someone multiple times
(Uh, the girl next door) (we at it again)
The party continues with the neighbors, including the girl next door
(Ones on the floor) (we at it again, at it again) uh
Let's keep dancing and partying on the floor, again and again
So bad she never play these
Timbaland is making a sexual reference about a woman
I, trade these-
Timbaland is talking about trading sexual favors
Brain, when I spit they give me brain in the whip
Timbaland is boasting about women giving him oral sex in his car
Never hit just ball legit
Timbaland only plays fair in his music and business
Give her diamonds so big she can't ball up her fist
Timbaland buys expensive gifts for women
With designers so big, shirts cover the wrist
Timbaland wears expensive and oversized designer clothes
Check out some of the, that my dough can get
Timbaland is showing off his wealth and what he can buy with it
Woo, boy that's that, that I be (go)
Timbaland is happy and proud of who he is and what he has achieved
Dippin' and poppin' the top and
Timbaland is enjoying his fancy convertible car
These, and blockin', these, lovin' the dough
Timbaland is bragging about money and success
My youngins lovin' the flow
Timbaland's fans are enthusiastic and supportive
South, back on the roll
Timbaland is making a reference to his Southern roots
Ladies get back on the floor
Timbaland is encouraging women to keep dancing
Fellas keep throwin' them bows
Timbaland is encouraging men to keep throwing punches and fighting
This how a party should go
Timbaland is happy with how the party is going and thinks it's a success
Lyrics © Kobalt Music Publishing Ltd., Warner Chappell Music, Inc.
Written by: Garland Waverly Mosley, Melvin Lee Barcliff, Stephen Ellis Garrett, Timothy Z. Mosley
Lyrics Licensed & Provided by LyricFind
ISE
aaliyahs cameo 😩😩😩😩😩
Elz x
@Chris Dorsey boiiiiii
Chris Dorsey
@Elz x we got 6 kids so she mine
Elz x
she mineeee bruh
ayaa ❦
my wifey 😫😍
Beanie Gee
Aaliyah's cameo appearance was and will always be the best part in this video!!
Annie Schmannie
I’m sorry but the whole crew was something to reckon with👏🏾👏🏾
Almondie Francis
YES!!! Back in middle and high school my brother and I was a fan of the whole crew (timbo, magoo, Ginuwine, Missy, Aaliyah, Playa.,etc) back when people formed music crews. Last time I saw something like that was with Young Money....I may be wrong.
Garcel
Facts
Beanie Gee
RIP Aaliyah and Static Major