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.
Wit' Yo' Bad Self
Timbaland Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ha ha here we go again
Make it hot uh
(Yeah) Here we go again
Make it hot mad
Huh here we go again
We're gon' make it hot
Ha ha here we go again
Now listen baby girl I don't like kissin'
Flip your back out and we can start twistin'
Check the intuition the dime definition
Cop all the rocks that sparkle and glisten
Where your man at? Yo, that cat missin'
I got you on the line, you mine, no fishin'
Satisfaction, no competition
We rock the V-12, we leave him the 6's
What's the deal? Fulfill every wish and
Haters keep hatin', dissers keep dissin'
We rich and, I take you out on a mission
You can make it hot, what I do make it sizzle
Keep you lookin jig', your nails to precision
Got your girls jealous, to be you them chicks wishin'
Hit it on the bullseye Boo no missin'
Keep swishin', you see gold like Slick Rick and
(Go ahead Daddy, go ahead) Wit' yo' bad self
(Go ahead Daddy, go ahead) Wit' yo' bad
(Go ahead Daddy, go ahead) Wit' yo' bad self
(Go ahead Daddy, go ahead) Wit' yo' bad
Now what you want? Prada, Escada, you got that
The way the one's stack ain't no way that you can stop that
You in the way girl? Boom when I block that
Treated your physique like a beat and I rock that
You got your Hustle? I ain't tryin' to Knock that
Drop carats and the ring, make sure the rock's fat
You can rise, but you ain't tryin' to stop that
You'd think I had the keys Boo the way I locked that
Oh that's your man? I think it's time to drop that
Lay it off, play it off, yeah you get the props back
You get the dress, I get the cane and the top hat
After we done Boo, I let you run the clock back
Fallin' in love? Oh never not that
Who you know who control where they gettin jocked at?
And in Vegas I'm hittin' it up like a slot rack
If you think you runnin' game girl you need to botch that
Here we go again
Ha ha here we go again
Make it hot uhh
(Yeah) Here we go again
Make it hot mad
Huh here we go again
We're gon' make it hot
Ha ha here we go again
(Yo) Skillz
Now when you came in the door, I seen you before
A dime, fine all the way to the core
Thick enough to make a nigga drop to the floor
Talked in your ear til my throat got sore
Lames, she could see my game was straight raw
Specially since she bought my tape right out the store
She was like, "Ain't you 'sposed to be out on tour?"
"Since you ain't tryin' to go Boo, what you askin' for?"
Need I say more, from the 8-oh-4
If you placin' bets girl, then you best be sure
Slick, if you sick, then I got the cure
Chrome spinnin', we winnin' Boo, check the score
Filthy rich, I like to dress like I'm four
Have the chicks fightin' like the next World War
Sure, yo you never treat em like a whore
Like Jay said, "Love it or hate it, eith-er or"
Here we go again
Ha ha here we go again
Make it hot uh
(Yeah) Here we go again
Make it hot mad
Huh here we go again
We're gon' make it hot
Ha ha here we go again
(Yo) Skillz
Uh, what, uh huh
What, like that, what
Timbaland, what
Mad Skillz, uh
Collabo', what
Don't go, baby
Don't go, baby baby
Don't go
Here we go again
Ha ha here we go again
Make it hot uh
(Yeah) Here we go again
Make it hot mad
Huh here we go again
We're gon' make it hot
Ha ha here we go again
(Yo) Skillz
Here we go again
Ha ha here we go again
Make it hot uh
(Yeah) Here we go again
Make it hot mad
Huh here we go again
We're gon' make it hot
Ha ha here we go again
(Yo) Skillz
In the song “Wit' Yo' Bad Self” by Timbaland, the artist is talking to a female love interest. He is letting her know that he is not interested in kissing but is rather interested in getting physical with her. He talks about his intuition and how he knows she is the right woman for him. He offers her everything that glitters, including diamonds, exquisite jewels, and Prada and Escada clothing. He says that no one can compete with him and the woman he is interested in. He brags about his wealth and ability to fulfill every one of her wishes. The artist also mentions how he is not trying to knock the woman down but rather trying to lift her up.
Line by Line Meaning
Here we go again
Starting fresh, a new beginning
Ha ha here we go again
Excitement and anticipation for what's to come
Make it hot uh
Intensify the heat, elevate the energy
(Yeah) Here we go again
Confirming that this is the start of a journey
Make it hot mad
Take the intensity up a notch, increase the passion
Huh here we go again
Acknowledging the start of something exciting
We're gon' make it hot
Determined to elevate the energy and create excitement
(Yo) Skillz
Addressing the person he's speaking to
Now listen baby girl I don't like kissin'
He's not interested in just kissing, wants more
Flip your back out and we can start twistin'
Getting physical, starting to move together
Check the intuition the dime definition
Assessing and admiring her beauty and worth
Cop all the rocks that sparkle and glisten
Buying her luxurious and valuable jewelry
Where your man at? Yo, that cat missin'
Asking where her significant other is, insinuating he's not good enough
I got you on the line, you mine, no fishin'
She's already his, no need to pursue further
Satisfaction, no competition
He satisfies her and there's no one else who can compare
We rock the V-12, we leave him the 6's
We're better than her man
What's the deal? Fulfill every wish and
asking what she wants and promising to fulfill any desire she has
Haters keep hatin', dissers keep dissin'
People will always try to bring them down, but he won't let it affect them
We rich and, I take you out on a mission
At a high status and he wants to take her on adventures
You can make it hot, what I do make it sizzle
She can bring the heat, he'll bring the passion
Keep you lookin jig', your nails to precision
She always looks perfect and well-maintained
Got your girls jealous, to be you them chicks wishin'
Other women are envious and want what she has
Hit it on the bullseye Boo no missin'
He hits the mark every time
Keep swishin', you see gold like Slick Rick and
Keep excelling and shining bright like gold
(Go ahead Daddy, go ahead) Wit' yo' bad self
Acknowledgement and encouragement to continue being great
(Go ahead Daddy, go ahead) Wit' yo' bad
Continuing to hype up and encourage greatness
Now what you want? Prada, Escada, you got that
Asking what she wants and noticing she already has high-end items
The way the one's stack ain't no way that you can stop that
His money is steadily increasing and no one can stop it
You in the way girl? Boom when I block that
If she's in the way, he'll move her out of the way
Treated your physique like a beat and I rock that
Her body is like a rhythm and he knows how to make it sound great
You got your Hustle? I ain't tryin' to Knock that
If she's grinding and hustling, he's not trying to bring her down
Drop carats and the ring, make sure the rock's fat
Buying her diamonds and ensuring they're large
You can rise, but you ain't tryin' to stop that
She can try to compete, but she won't reach his level
You'd think I had the keys Boo the way I locked that
Locking things down and keeping control
Oh that's your man? I think it's time to drop that
Her man is not good enough and it's time to move on
Lay it off, play it off, yeah you get the props back
Leave the situation and get praised for it
You get the dress, I get the cane and the top hat
Dressing up and looking sophisticated
After we done Boo, I let you run the clock back
After they're finished, she can relive the moment
Fallin' in love? Oh never not that
He's not interested in falling in love
Who you know who control where they gettin jocked at?
He's in control of where he gets noticed
And in Vegas I'm hittin' it up like a slot rack
He's making moves and gambling in Vegas
If you think you runnin' game girl you need to botch that
If she thinks she's in control, she needs to think again
(Yo) Skillz
Ending with a shoutout to Skillz
Lyrics © Warner Chappell Music, Inc.
Written by: TIMOTHY MOSLEY, DONNIE LEWIS, HUGO MONTENEGRO, BUDDY KAYE
Lyrics Licensed & Provided by LyricFind
Eternal Unions Weddings & Reggee’s Mobile Notary
Love this song
Hanna Ebrahim
2021. STILL listening to this banger ✌🏼👏🏼
cv64ffg47
Joint so underrated
MPK112233
I'm revisiting this album after what has been nearly 2 decades and it still sounds great. I forgot about a lot of these songs and the sound production is so crisp. You really have to appreciate how dope a producer Timbaland was, his adlibs on this and during the hook propels this from to to great.
NiteRida
👌🏼
Jeff B
2022 timbo blackground 4 ever RIP AALIYAH
Ali
My shit 2023
Millz Park
2023 type shit cuz