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.
Can
timbaLand Lyrics
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This goes out
For all the people
That think I couldn't make it again
See what I'm sayin
We're back at why'all
Third time, (heh heh)
I'm killin 'em with this music I'm innovatin
Penetratin your speakers, let me give you a demonstration (hu-huh)
You think that we ain't hear the statement you hatin
I hit the strip in the Bentley, feel me?, you walkin and waitin sayin
(hu-huh)
Me and Maganoo hittin 'em hard
Got them feelin the nod, just because we pull niggaz cards
Quick as (hu-huh) I got a fool intoxicatin this hard liquor
Gimme the mic, I'll spit a killer verse that'll start with a (hu-huh)
I got ya bobbin your neck to this beat, don't it (hu-huh)
This right here make ya wreckin your Jeep, won't it (hu-huh)
People wonder when will we come with the same magic
That make the game disappear then enter, like I ain't had it (hu-huh)
I actin gorilla with it, my game savage
You should push your album release back cause that thing's crappy (hu-huh)
The game ain't been the same since my name happened
Timbaland and Magoo and Beat Club, who ain't snappin
[Chorus]
Can you do it again?
We gon' do it again
I said, can we do it again?
We gon' do it again
Can we do it again?
We gon' do it again
I said, can we do it again?
(OW!)
Can we do it again?
We gon' do it again
I said, can we do it again?
We gon' do it again
Can we do it again?
We gon' do it again
I said, can we do it again?
(OW!) (hu-huh)
[Verse 2 - Timbaland]
Still spittin and killin 'em softly
I hear what you sayin, but overall you lost me (hu-huh)
Even though my neck and wrist all glossy
And my truck big as an armored tank, I ain't all flossy (hu-huh)
You could copy or hate on my style
Steppin it up, you been copyin or hate for a while (hu-huh)
I hit the leather, get the meters to peakin
I lay my vocals and let Jimmy D, tweak 'em and freak 'em, some like (hu-huh)
You don't think we can do it again, do ya? (hu-huh)
Did it before and we can do it again to ya (hu-huh)
You better love me, she be backin it up on me
I'm only about gettin money and stackin it up homie (hu-huh)
I'm gettin serious, go 'head I don't want to play
And when I finished with this one, I bet you gon' want to say (hu-huh)
The game ain't been the same since my name happened
Timbaland and Magoo and Beat Club, who ain't snappin
[Chorus]
[Verse 3 - Magoo]
Ew we, my pimpin is pimpalicious
I'm more than a rapper, eat my words I'm so nutritious (hu-huh)
Them other rappers come with that heat talk
I talk about us baby in them sheets for sweet talk (hu-huh)
But if ya feelin froggy and he leap
I fill 'em up with bullets, then the grum reaper gon' reap (hu-huh)
You think I'm puttin cover that bird shit
I have you barely breathin out your mouth on a curb bitch (hu-huh)
And if you keep talkin, then I'ma do it (hu-huh)
He fuckin playin Tim, I'ma fuckin do it (hu-huh)
I'm from the Lock West, a lot of them guns
I ain't a killer but you fuckers makin Oo into one, son (hu-huh)
So give me mine and you can take yours
It was Missy, Tim, and The Nepts who startin openin doors, whore (hu-huh)
The game ain't been the same since Tim name happen
Timbaland and Magoo and Beat Club, who ain't snappin
[Chorus]
(hu-huh)
(hu-huh)
(hu-huh)
In Timbaland and Magoo's song 'Can We Do It Again,' Timbaland is addressing the critics who thought he could not make a hit again after already achieving success in the industry. He asserts his innovative skills and the music's ability to penetrate the listener's speakers, allowing him to demonstrate a killer verse. He goes ahead to warn fellow rappers about challenging him as he is capable of intoxicating fools and is acting like a gorilla with the game of the rap industry. Magoo, on the other hand, highlights his unique style of rap, which is different from the other rappers. He talks about pimpalicious and his ability to feed his audience with nutritious over mere heat talk. He infers that he hails from a place where guns are rampant and indicates that he is not a killer but he can become one if you dare challenge him. In conclusion, the song is a display of the duo's creativity, innovativeness and defensive feelings over their already existing success in the music industry.
Line by Line Meaning
This goes out
For all the people
That think I couldn't make it again
See what I'm sayin
We're back at why'all
Third time, (heh heh)
Timbaland is dedicating this song to all the people who thought he couldn't make it again. He confidently proclaims that he's back with a bang for the third time, and it's evident that he's not going anywhere anytime soon.
I'm killin 'em with this music I'm innovatin
Penetratin your speakers, let me give you a demonstration (hu-huh)
You think that we ain't hear the statement you hatin
I hit the strip in the Bentley, feel me?, you walkin and waitin sayin
(hu-huh)
Timbaland asserts that he's killing the game with his innovative music, which is hitting hard and penetrating through the singers. He acknowledges the statements of his haters and takes a ride in his Bentley, leaving them walking and waiting. He emphasizes this by adding a few 'hu-huh's.
Me and Maganoo hittin 'em hard
Got them feelin the nod, just because we pull niggaz cards
Quick as (hu-huh) I got a fool intoxicatin this hard liquor
Gimme the mic, I'll spit a killer verse that'll start with a (hu-huh)
Timbaland and Maganoo are hitting the industry hard and have everyone nodding to their beats. They're exposing fake people by pulling their cards. Timbaland boasts that he's quick to intoxicate a fool with hard liquor and confident that he'll kill any verse he spits with a 'hu-huh' at the beginning.
I got ya bobbin your neck to this beat, don't it (hu-huh)
This right here make ya wreckin your Jeep, won't it (hu-huh)
People wonder when will we come with the same magic
That make the game disappear then enter, like I ain't had it (hu-huh)
Timbaland's beats are so addictive that they make people bob their heads with a 'hu-huh' for emphasis. The beat is so intoxicating that it can make someone wreck their Jeep. Fans are wondering when Timbaland will bring the same magic that made him famous, and he's suggesting that he never lost it. Just like magic, he makes the game disappear and then reappears with a new single with a 'hu-huh.'
I acting gorilla with it, my game savage
You should push your album release back cause that thing's crappy (hu-huh)
The game ain't been the same since my name happened
Timbaland and Magoo and Beat Club, who ain't snappin
Timbaland is acting like a gorilla and playing the game savagely. He suggests that people should push their album release dates because their music is crappy, followed by a 'hu-huh.' Since Timbaland's name has happened, the industry has been changed for the better. He then poses a rhetorical question asking who's not snappin with Timbaland, Magoo, and Beat Club.
Still spittin and killin 'em softly
I hear what you sayin, but overall you lost me (hu-huh)
Even though my neck and wrist all glossy
And my truck big as an armored tank, I ain't all flossy (hu-huh)
Timbaland is still rapping and doing it smoothly, making a big impact without making noise. He acknowledges that he hears what people are saying, but they've lost him in the overall argument with a 'hu-huh.' He has flashy jewelry and a big truck, but he's not all flossy with a 'hu-huh' for reassurance.
You could copy or hate on my style
Steppin it up, you been copyin or hate for a while (hu-huh)
I hit the leather, get the meters to peakin
I lay my vocals and let Jimmy D, tweak 'em and freak 'em, some like (hu-huh)
Timbaland points out that people always copy and hate his style while still stepping up their game. He then switches to his music studio where he hits the leather, gets the meters to peak, and allows Jimmy D to tweak and freak them out, resulting in some 'hu-huh's.'
You don't think we can do it again, do ya? (hu-huh)
Did it before and we can do it again to ya (hu-huh)
You better love me, she be backin it up on me
I'm only about gettin money and stackin it up homie (hu-huh)
Timbaland challenges the doubters who don't think they can do it again with a 'hu-huh' at the end. He reminds them that they've done it before and can do it again with another 'hu-huh'. He brags that he's loved by the fans, and a woman is backing up on him. His sole purpose is to make money and stack it up with a 'hu-huh'.
I'm gettin serious, go 'head I don't want to play
And when I finished with this one, I bet you gon' want to say (hu-huh)
The game ain't been the same since my name happened
Timbaland and Magoo and Beat Club, who ain't snappin
Timbaland switches his tone to a more serious one, stating that he's not here to play around. He then ends with another 'hu-huh' and claims that the industry has been changed since he arrived. He then ends the verse with the same rhetorical question asking who's not snapping with Timbaland, Magoo, and Beat Club.
Ew we, my pimpin is pimpalicious
I'm more than a rapper, eat my words I'm so nutritious (hu-huh)
Them other rappers come with that heat talk
I talk about us baby in them sheets for sweet talk (hu-huh)
Magoo opens his verse with an 'ew we' and claims that his pimping is pimpalicious, meaning it's stylish, fashionable, and luxurious. He then adds a touch of humor by explaining that he's more than just a rapper and the words he spits are nutritious for the soul with a 'hu-huh'. He then takes a jab at other rappers who come with their heat talk while he himself talks about the sweetness of their intimacy with a 'hu-huh'.
But if ya feelin froggy and he leap
I fill 'em up with bullets, then the grum reaper gon' reap (hu-huh)
You think I'm puttin cover that bird shit
I have you barely breathin out your mouth on a curb bitch (hu-huh)
Magoo starts threatening anyone who feels froggy enough to take him on. He promises to fill them up with bullets, and the Grim Reaper will come for them with a 'hu-huh'. He then adds a bit of humor to his flow when he claims that he's not covering bird shit, but rather someone will be barely breathing out their mouth lying on a curb, all while going 'hu-huh'.
And if you keep talkin, then I'ma do it (hu-huh)
He fuckin playin Tim, I'ma fuckin do it (hu-huh)
I'm from the Lock West, a lot of them guns
I ain't a killer but you fuckers makin Oo into one, son (hu-huh)
Magoo warns that if anyone keeps talking, then he's going to do it, confirmed with a 'hu-huh'. He then conveys to Timbaland, who seems to think he's playing, that he's not playing, with another 'hu-huh'. Magoo claims that he's from the Lock West, which is an area in Norfolk, Virginia, where a lot of guns are present. He assures the listeners that he's not a killer, but they're making him one, hence the nickname 'Oo' followed by another 'hu-huh'.
So give me mine and you can take yours
It was Missy, Tim, and The Nepts who startin openin doors, whore (hu-huh)
The game ain't been the same since Tim name happen
Timbaland and Magoo and Beat Club, who ain't snappin
Magoo claims that he wants what's his, and everyone else can keep their share. He reminds the industry that it was Missy, Tim, and The Neptunes who started opening doors for them to usher in a new era with a 'hu-huh'. Magoo ends the verse with the same rhetorical question asking who's not snapping with Timbaland, Magoo, and Beat Club.
(hu-huh)
(hu-huh)
(hu-huh)
The song ends with three 'hu-huh's' which have become the signature of the song and the artists. It's a catchphrase that emphasizes a point, adds humor, or brings attention to an aspect of the lyrics.
Lyrics © Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: MELVIN BARCLIFF, MELVIN LEE BARCLIFF, TIMOTHY CLAYTON, TIMOTHY MOSLEY, TIMOTHY Z. MOSLEY
Lyrics Licensed & Provided by LyricFind