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.
Talkin' Trash
timbaLand Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
[Timbaland]
Do you like it? Uh uh uh what
Do you want it? Uh uh uh what
Do you like it? Uh uh uh what
Do you want it? Uh uh uh say what here we go
Do you like it? Uh uh uh what here we go
Do you want it? Uh uh uh what here we go
Do you want it? Part two part two
[Bassey]
Why you always askin' me why I talk like that?
What, you think you betta, nigga, 'cause your pockets are fat?
Excuse me? But wasn't I the one that you meant?
You talkin' trash to these niggas about to dent up they whip
You know me and I don't think I have to explain
You that same crotty nigga that fucked that bitch in my Range
It was the same, life, it was talked up a good game
Between that money and that pussy that she claim to fame
[Timbaland]
Look at you, talkin'-tellin' all the bullcrap lies
It was you who made me put my hands on your thighs
Never ever was the one that humped that girl on your Rover
You forgot your baby cousin humped that girl on your Rover
It's Timbaland, baby, I don't get down like that
Don't try to explain, get yo ass to the back
Never ever disrepsect the man that put you on his team
Now baby dove, get the keys to your Beem'
1 [Timbaland]
Why you talkin' big trash to me?
[Bassy]
'cause you always playin' games, Timothy
[Timbaland]
Why you tryin' to make me mad, ba-be
[Bassy]
'cause you always playin' games, Timothy
[Timbaland]
Why you talkin' big trash to me?
[Bassey]
'cause you always playin' games, Timothy
[Timbaland]
Why you tryin' to make me mad, ba-be
[Bassey]
Because you always playin' games with Bassy
[Bassey]
I done met many players that act like you
Think because they spend some money that I'm ready to screw
Instead of talkin' 'Hit me up around the 1st and the 5th'
'cause you rot in a crumbed out six, you think I'm whipped
Got numerous niggas that be rottin' my shit
And the last thing I need is a nigga for kicks
I stay dibbed and forever spend the louchie on Gucci
Fuck the money and diamonds 'cause nigga, I'm still shinin'
[Timbaland]
Look at you, girl, talkin' trash
Talkin' trash, actin' grown, show your ass
Don't try to get on my track and clown
You my queen, my mistress, my Jackie Brown
Why you tryin' to start trouble in my can?
Now hot and angry and I'm getting amped
Keep on givin' me the cold shoulder
Now I got to get the keys to the Roller
You gone
Repeat 1
[Bassey]
It was all for the paper, that's right, all for the love
Only wanted most what ghetto girls dream of
I need the Hummers and the yachts, Don P on the rocks
Cardierre wrist wear with the shivel on top
Then you lace me, now you hate me, now you tryin' to replace me
Had a woman when you dated me, I guess I was crazy (know you was crazy)
Tried to play me but your game's a little lazy
'cause I hooked up and got with your man, nigga scrammed
[Timbaland]
Girl, what you know about Cardi and wrist wear?
When you don't even wear Vic's Underwear
Think before you start talkin' shit
Remember, I'm the man with the diamonds and whips
I ain't tryin' to beg, but a legend like those speedos
I ain't gon get mad if you hump one of my people
I keep tellin' you this is me you talkin' to
Talkin' trash won't get you nowhere, baby boo
Repeat 1
Repeat 1
In "Talkin Trash", the lyrics are a back and forth dialogue between Timbaland and Bassey. The song begins with Timbaland asking repeatedly if Bassey likes it or wants it, followed by Bassey questioning why he talks the way he does. She accuses him of being cocky because of his money, but Timbaland denies that he is that kind of person. There is also a dispute regarding a girl that both of them have been with, with accusations that are both true and false. The song ends with Bassey discussing her desires for wealth and luxury goods and Timbaland warning her that talking trash won't get her anywhere.
The song is an example of a musical conversation or a rap battle, where two or more artists engage in a playful or competitive exchange of lyrics. The lyrics of "Talkin Trash" explore themes of wealth, power, and loyalty, with both Timbaland and Bassey accusing each other of talking trash or playing games.
Interestingly, the song features a sample from the bassline of Blondie's "Rapture", a 1981 hit single that combined rap and rock music. Another noteworthy fact is that "Talkin Trash" was not released as a single, but rather appeared on Timbaland's second solo album, "Shock Value II". Furthermore, the song features a drum loop that was originally used in "Only One Me" by Ice Cube. Regardless, the track was not a huge commercial success, but it is known for its playful and witty lyrics.
The chords for "Talkin Trash" are not publicly available as the song is heavily sample-based and relies on electronic beats and loops.
Line by Line Meaning
Do you like it? Uh uh uh what
Asking if the listener enjoys the song
Do you want it? Uh uh uh what
Asking if the listener wants more of the song
Do you like it? Uh uh uh what
Repeating the question about enjoying the song
Do you want it? Uh uh uh say what here we go
Asking if the listener wants to continue with the song
Do you like it? Uh uh uh what here we go
Asking if the listener is enjoying the continuation of the song
Do you want it? Uh uh uh what here we go
Asking if the listener wants to continue with the song
Do you like it? Uh uh uh what here we go
Asking if the listener is enjoying the continuation of the song
Do you want it? Part two part two
Asking if the listener wants to proceed to part two of the song
Why you always askin' me why I talk like that?
Asking why the artist talks a certain way
What, you think you betta, nigga, 'cause your pockets are fat?
Accusing the listener of thinking they are better due to their wealth
Excuse me? But wasn't I the one that you meant?
Pointing out a contradiction made by the listener
You talkin' trash to these niggas about to dent up they whip
Accusing the listener of bad-mouthing others
You know me and I don't think I have to explain
Asserting the singer's familiarity with the listener
You that same crotty nigga that fucked that bitch in my Range
Accusing the listener of having sex with someone in the singer's car
It was the same, life, it was talked up a good game
Referring to a situation that was exaggerated or glamorized
Between that money and that pussy that she claim to fame
Referencing the perceived sources of someone's success
Look at you, talkin'-tellin' all the bullcrap lies
Accusing the listener of lying
It was you who made me put my hands on your thighs
Recounting a past physical interaction between the singer and listener
Never ever was the one that humped that girl on your Rover
Denying an accusation made by the listener
You forgot your baby cousin humped that girl on your Rover
Accusing the listener's relative of having sex in the artist's car
It's Timbaland, baby, I don't get down like that
Asserting the artist's character
Don't try to explain, get yo ass to the back
Telling the listener to be quiet and move away
Never ever disrepsect the man that put you on his team
Advising the listener to show respect to the person who gave them an opportunity
Now baby dove, get the keys to your Beem'
Telling the listener to leave
Why you talkin' big trash to me?
Asking why the listener is talking negatively to the singer
'cause you always playin' games, Timothy
Accusing the singer of being insincere or manipulative
Why you tryin' to make me mad, ba-be
Asking why the listener is trying to upset the singer
Because you always playin' games with Bassy
Accusing the listener of playing games with the artist's collaborator
I done met many players that act like you
Comparing the listener to other people the artist has encountered
Think because they spend some money that I'm ready to screw
Accusing the listener of assuming the singer is willing to have sex in exchange for money
Instead of talkin' 'Hit me up around the 1st and the 5th'
Suggesting an alternative way for the listener to approach the singer
'cause you rot in a crumbed out six, you think I'm whipped
Pointing out the listener's flawed logic
Got numerous niggas that be rottin' my shit
Referring to people who admire the artist or steal from them
And the last thing I need is a nigga for kicks
Implying that the artist does not want a superficial relationship with the listener
I stay dibbed and forever spend the louchie on Gucci
Describing the singer's fashion preferences
Fuck the money and diamonds 'cause nigga, I'm still shinin'
Asserting that the artist's value is not determined by their material possessions
Look at you, girl, talkin' trash
Noting the listener's negative language
Talkin' trash, actin' grown, show your ass
Accusing the listener of being immature and vulgar
Don't try to get on my track and clown
Advising the listener not to embarrass themselves on the singer's musical project
You my queen, my mistress, my Jackie Brown
Using terms of endearment for the listener
Why you tryin' to start trouble in my can?
Asking why the listener is attempting to create conflict with the artist
Now hot and angry and I'm getting amped
Describing the singer's emotions
Keep on givin' me the cold shoulder
Noting the listener's refusal to engage with the singer
Now I got to get the keys to the Roller
Preparing to leave the situation
It was all for the paper, that's right, all for the love
Describing the reasons for certain actions
Only wanted most what ghetto girls dream of
Describing the artist's aspirations
I need the Hummers and the yachts, Don P on the rocks
Enumerating the singer's material desires
Cardierre wrist wear with the shivel on top
Describing a specific type of luxury accessory
Then you lace me, now you hate me, now you tryin' to replace me
Describing a situation where the listener initially helped the singer but then turned on them
Had a woman when you dated me, I guess I was crazy (know you was crazy)
Implying that the listener was unfaithful or abusive during the singer's relationship with them
Tried to play me but your game's a little lazy
Accusing the listener of being unsuccessful in their attempt to manipulate the singer
'cause I hooked up and got with your man, nigga scrammed
Revealing that the artist is now in a relationship with someone the listener knows and causing the listener to retreat
Girl, what you know about Cardi and wrist wear?
Questioning the artist's knowledge about luxury fashion items
When you don't even wear Vic's Underwear
Noting that the listener does not dress in a particularly fashionable way
Think before you start talkin' shit
Advising the listener to consider their words
Remember, I'm the man with the diamonds and whips
Reminding the listener of the artist's wealth and status
I ain't tryin' to beg, but a legend like those speedos
Making a nonsensical comment
I ain't gon get mad if you hump one of my people
Implying that the listener is not important enough to make the artist upset
I keep tellin' you this is me you talkin' to
Asserting the singer's identity
Talkin' trash won't get you nowhere, baby boo
Advising the listener that their negative language will not be effective
Lyrics © Warner Chappell Music, Inc.
Written by: RHONDA HEARD, RHONDA RENEE HEARD, TIMOTHY MOSLEY, TIMOTHY Z. MOSLEY
Lyrics Licensed & Provided by LyricFind