Hit-Boy

7 Influential Hip Hop Producers You Should Know

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An instrumental can make or break a song, as rappers heavily rely on producers to craft their sound. Whether it is a sampled loop or an intricately arranged production with live instrumentation, the possibilities of production in hip hop are limitless. Rap music is so varied in this modern age, allowing producers from different backgrounds with various skill sets to showcase their creativity. Today, we have compiled a list of seven influential hip hop producers you should know. 

Mastermind producers like Dr. Dre, Pharrell, and Timbaland have been omitted from this list as they are household names and are only selectively producing in recent times. This list of hip hop producers includes established names actively producing in the 2020’s. Each producer on this list has a signature sound, has worked with a variety of artists, and has a deep discography of instrumentals. You should know these seven influential producers below, listed in no particular order.

The Alchemist

Not many producers are as consistent as The Alchemist. He often works with underground lyricists but has produced for Eminem, Nas, Snoop Dogg, Lil Wayne, and more. Last year, he notably produced Kendrick Lamar’s “We Cry Together.” The Alchemist’s earliest claim to fame was crafting beats for Mobb Deep and eventually collaborating with both members as solo artists. Frequent collaborators of his include Action Bronson, members of Odd Future, and Griselda. He is also a part of multiple duos, including Step Brothers with Evidence and Gangrene with Oh No. 

The Alchemist is known for his ability to cater to any artist’s sound, but his most acclaimed works feature minimally chopped and looped samples. He has utilized his skills to create an extensive discography of compilations, instrumental albums, soundtracks, EPs, and mostly collaborative albums. His most recent full-length collaborations include projects with Larry June, Roc Marciano, Boldly James, Armand Hammer, and Freddie Gibbs for the Grammy-nominated Alfredo. These albums do not even begin to encompass the high volume of quality work that The Alchemist has released in his career. His influence on hip hop spreads across the mainstream and underground scenes.

Madlib

Madlib is one of the most influential hip hop producers, known for creating some of the underground’s most iconic albums. He’s teamed up with J Dilla for Champion Sound, an album with Strong Arm Steady, and the legendary Madvillainy with MF DOOM. Madlib is known for his ability to transform obscure samples into imaginative beats. His creativity knows no bounds; he has also released many jazz albums and beat tapes. 

Madlib’s most influential acclaimed works came out in the early 2000s, but he is still actively releasing music. He recently teamed up with Talib Kweli for Liberation 2 and also produced the long-awaited second Black Star album, 2022’s No Fear of Time. Madlib’s most notable contributions to contemporary hip hop include Piñata and Bandana with Freddie Gibbs, now considered classics. He has been highly respected for a while but continues influencing modern hip hop.

Hit-Boy

Hit-Boy has been producing for over a decade but is finally hitting his stride. His name suits him as he produced many big hits early in his career. Hit-Boy has appeared on landmark releases such as Good Kid, M.A.A.D. City, Watch the Throne, Long.Live.A$AP, and Astroworld. The California beatmaker has also produced songs for Beyoncé and Rihanna. While earning many accolades as a newcomer, Hit-Boy built his sound with his label, producing for West Coast acts like Nipsey Hussle and Dom Kennedy. 

It was not until recently that Hit-Boy was given his props as a producer. He has been on a prolific run of collaborative albums with Benny the Butcher, Big Sean, and, most significantly, Nas. Hit-Boy and Nas found their groove with the King’s Disease trilogy and their Magic album. Nas even likened his pairing with Hit-Boy to “Michael and Quincy.” He may have a knack for collaborating, but Hit-Boy also produces his own rap albums as well, releasing multiple solo works this year. His sound is versatile, and he encourages other producers to up their game.

Metro Boomin

Metro Boomin is one of Trap’s most influential producers. He has been involved in some of the most monumental trap anthems and produced crossover pop hits. Metro Boomin has worked closely with Future, 21 Savage, and Migos. He also produced “Heartless” for The Weeknd and “Father Stretch My Hands Pt. 1” for Kanye West. Metro Boomin is one of the most well-known creators of sinister trap beats and has seen recent success with his studio albums. Last year’s Heroes & Villains contained many hits, and most recently, Metro Boomin created the soundtrack for Spider-Man: Across the Spider-Verse.

Daringer

Daringer is the architect of the Buffalo sound. As the primary producer of Griselda, he completely transformed the state of underground hip hop with his signature style. Daringer is known for his slow and simple drum breaks, haunting soul loops, bombastic guitar melodies, and reconfigured jazz samples. He generally works with his Griselda crew of Westside Gunn, Conway the Machine, and Benny the Butcher but has recently branched out. Daringer has since worked with the likes of Action Bronson, Evidence, and Your Old Droog.

Kaytranada

Kaytranada’s music reaches beyond hip hop, but his signature sound has proven influential in rap music. His music is a fusion between dance, house, R&B, and hip hop. Kaytranada’s distinctive bounce and upbeat tempos lean into pop and R&B, but Kaytranada can adapt to any style. His most recent full-length collaboration with Aminé attests to his ability to fuse genres. Kaytranada has produced both experimental and traditional hip hop styles, working with Mick Jenkins, GoldLink, Talib Kweli, Freddie Gibbs, and Chance the Rapper. Additionally, he handled half of Bishop Nehru’s conceptual Elevators album. Kaytranada’s unique approach to production may be more well-known in the dance and R&B spaces, but his influence on hip hop today should not go unnoticed.

Jae5

Jae5 started his career primarily producing for J Hus, pioneering the afroswing sound with hit songs like “Did You See” and “Friendly.” Afrobeats has taken over the world, and one of its many subgenres, afroswing, currently dominates the UK charts, thanks to producers like Jae5. Hip hop and pop music have drastically changed due to afrobeats and the UK-influenced afroswing. Derived from afrobeats, dancehall, hip hop, R&B, and grime, afroswing became an influential genre for modern music, and Jae5 was responsible for some of its biggest and best songs. Many of the biggest rappers in the UK, like Skepta, Stormzy, and Dave have embraced their African roots over Jae5 production. He has also produced songs for some of the biggest names in African music, like Burna Boy and Rema.

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Producer Hit-Boy’s Father, “Big Hit” Was Just Released From Prison & He’s Got Bars

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Big Hit x Hit Boy

Producer Hit-Boy and his father, Big Hit, have joined forces on a new song titled “Wake Your Game Up,” marking a collaboration with significant emotional weight. Recently released from prison, Big Hit showcases his rapping skills alongside his son in a powerful display of generational talent and resilience. In the song, Big Hit takes the […]

The post Producer Hit-Boy’s Father, “Big Hit” Was Just Released From Prison & He’s Got Bars appeared first on SOHH.com.

Hit-Boy Shares Wild Kanye West AI Version Of “2 Certified” From “SURF OR DROWN” Album

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Thanks to the ever-increasing powers of artificial intelligence, music lovers will no longer have to imagine what their favourite artist would sound like singing a song outside of their discography. Instead, computers are becoming able to mimic the vocals of some of the industry’s biggest names and use them to recreate other popular tracks. While the technology obviously isn’t widely available at this time, Hit-Boy was able to use it on Monday (April 10) to create a Kanye West AI version of his and Avelino’s “2 Certified” collaboration.

The catchy song arrived on last month’s SURF OR DROWN, which finds the producer also wearing his rapper hat. Besides his foreign guest feature, Hit-Boy also tapped names like Nas, Dom Kennedy, Curren$y, Jay 305, and more to work with him on the 11-track effort. Now that it’s had some time to digest with fans, the multi-talent put a twist on one of our favourite titles. “AI is getting insane,” he declared via Instagram yesterday. “@kanyewest rapping ‘2 Certified’ sounds too [crazy] 🤯.” In the accompanying video, we see Hit-Boy sitting in the studio, nodding along as West’s computer-generated voice spits out the lyrics.

Hit-Boy Puts Ye’s Vocals on “2 Certified”

“I’ma need all the amenities / You made a lil’ pape, I went at their neck and made history / Dumbin’ out on my own beats / Hot like I threw ’em in grease,” he rhymes without missing a beat. “The one, not the two or the three / I’m watchin’ the numbers increase.” As the father of four raps “2 Certified,” Hit-Boy can be heard saying, “That shit is wild!” Elsewhere in the studio, others gave a similar reaction, obviously amazed by the technological process taking place in front of them.

In the original post’s comment section, viewers seem torn between begging for another collaboration between West and the producer and pointing out the realities of how chilling AI is becoming. “Dope but it’s scary times,” one person wrote. “AI too cold,” another chimed in. “Lol and all these [videos] making me want Kanye on so much more music😅.” Revisit the original cut of “2 Certified” featuring Avelino below, and tell us which version you prefer in the comments.

Revisit the Surf or Drown Fan Favourite

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Hit-Boy Has Something To Say

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Hit-Boy
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Rarely does the sequel become better than the original.

Hit-Boy returns to a familiar concept of keeping your composure in difficult times on his latest album Surf Or Drown. It ends on “Composure, Pt. 2,” a continuation of a record he was featured on with Nas that concluded King’s Disease II. The 35-year-old producer and occasional rapper has a gift for rhyming, delivering personal hardships and reflections on career bumps with an open heart. He mentions the times visiting his father Big Hit in jail when he was younger, how Kanye West told him face-to-face that he was holding him back, and nearly losing everything. “2017, I was laid out on the floor, crying / my account had read that I had zero dollars / I felt like Anthony Hopkins, I had to find solace,” he raps.

The lyrics hold the meaning of keeping your head above water, overcoming any obstacles that halt your success. Hit-Boy says six years ago, he was down on his luck. “Having millions of dollars, having label and artist deals and it all goes away,” Hit says over Zoom, likely referring to his Hits Since ’87 (HS87) imprint with Interscope. “You got to look yourself in the mirror and be like, ‘What am I without all of this shit?’ I was already great, you know what I mean? So I just took that route instead of folding.”

“Composure, Pt. 2” is Hit-Boy’s way of sharing lessons learned, telling fans he rode his wave instead of drowning in the sea of his pitfalls. It’s another reason to not just check Hit-Boy for his beats, but for his rhymes too. He’s been in the conversation these past few weeks for his raps after responding appropriately to Hitmaka, who spoke about his catalog during a Hot 97 interview earlier this month for not having any radio hits. Hit-Boy dropped “Slipping Into Darkness” after teasing his “Control”-esque verse in the studio that has him rapping over an Alchemist beat and Al rapping over a Hit-Boy beat. Full of ammunition for contemporary producers including Hitmaka, he called out Southside, Metro Boomin’, and DJ Mustard in the same song, even claiming he was the best student Kanye West has ever had. It’s that kind of confidence that makes Surf Or Drown an album that raises the bar for him as a rapper, coming at the art form with a chip on his shoulder.

Without asking Hit-Boy directly about Hitmaka, he makes a point about separating himself from other producers. “If you really look at what the dude Yung Berg is saying, ‘Oh, he ain’t got no radio hits.’ Okay, that’s what defines you? That’s what makes you the shit?” Hit says, sounding fired up after suggesting several hundred thousand dollars go into getting radio play.

“Every song I ever made I wasn’t trying to make a radio song. I always made shit that I thought was ill. That’s why when I do catch a radio song, it doesn’t sound like the other shit on the radio. “Clique” didn’t sound like anything on the radio when it came out. “N****s In Paris,” whatever the case may be. I’m always trying to be ahead of the curve. That’s just my thing, taking my power back. I can’t say I’m defined [by the radio] because I’m No. 1 on RapCaviar or I’m defined by No. 1 on Billboard. All that sh*t can be gone. I’m going straight off the hip with this sh*t. I’m going off all talent. I don’t have any homeboys at these companies. ‘Oh, we automatically gonna put Hit-Boy in there.’ I don’t think hardly any of the sh*t I do with Nas is going on RapCaviar for whatever reason, let alone my own s*it. I gotta compartmentalize and understand that this game is the game and you gotta play it how it goes. Or just play this sh*t on your own rules and how you want to do it.”

Whatever rulebook Hit is playing with, it is clearly working. He has enamored hip-hop heads for his unrivaled run producing for Nas, Benny the Butcher, Pacman da Gunman, Dreezy, and Musiq Soulchild. In between, he hasn’t stopped releasing solo music, kicking off his return with “CORSA” featuring Dom Kennedy, followed by more singles like “The Tide.” Hearing Hit-Boy and Nas on “The Tide” together is like witnessing Styles P and Jadakiss go back and forth, making no mistake that Nas has rubbed off on him. “I get to learn so much. It’s just like a dictionary, a book full of knowledge of years and years of just hip-hop, street shit. He be on his fly shit. Whatever it is, I can sit there and really talk to him and just really learn,” he says.

Surf Or Drown was a year-and-a-half-long journey, with some of the beat ideas formulated during the pandemic but all coming to fruition after the fact. “It was a real development process because at first I wasn’t even going to call it Surf Or Drown,” Hit says. “I had a whole other name for it, but I was just making songs and I kept updating my playlist every time I would make a new song. And I just felt everything I was doing was getting better because I’m producing with so many artists, I’m able to just download a lot of their DNA. So, I’m applying that directly to what I do and it’s just working out great for me.”

As a whole, the album is a continuation of the Hit-Boy universe with appearances from Dom Kennedy (“State Champ,” “CORSA”), Curren$y (“Tony Fontana III”), North London rapper Avelino (“2 Certified”), James Fauntleroy and his son C3 (“MTR”), who previously appeared on Nas’ “Once A Man, Twice A Child,” and Hemet, California’s own Spank Nitti (“Just Ask”). Hit wrestles with topics like how desensitized we are in seeing graphic images of the deaths of PnB Rock and Takeoff on social media and how hard it still is to grasp Nip’s absence in hip-hop every day, rapping on “Just Ask,” “Truthfully, I ain’t trust sh*t since y’all took Nip/I’m thankful for all the messages that I took in.”

“It’s ridiculous,” Hit says. “I got three of my Grammys in the studio, one of them is with Nip. Then I got three pictures of Nip in my studio just because to me it is mind-blowing that I was able to make his last song that he put out. Willingly and wholeheartedly, I helped put that together. It’s crazy how our relationship has always been rooted in family.”

“My dad, Big Hit, who is rapping on my intro, he’s back in prison now but when he came home in 2013, he was doing music,” Hit continues. “Nip was supportive of that, he would tweet it out. He would pull up, rock with my dad, chop it up with him, whatever the case was. It’s always been respect. It’s deeper than just the music.”

Hit also included the instrumentals of the Surf Or Drown songs he recorded on for other rappers to drop freestyles. “It’s my gift to the culture,” he says. “If Kanye put all the instrumentals for Late Registration up when I was 18 years old listening to that, I could’ve been freestyling to them shits. I just thought it was ill. Also, one of my favorite moments in hip-hop was when Dr. Dre released The Chronic instrumentals. I might’ve been 13, 14. I used to load all those instrumentals and try to get bars off of them.”

Whether you’re a new Hit-Boy fan or have been on his wavy shit since day one, Hit originally wanted to be a rapper before switching to production. He started rapping when he was 13 years old, getting inspired by Bow Wow and other artists on BET’s 106 & Park and Rap City. “I’m seeing all these people that look like me that’s doing their thing, getting money, getting tours, getting fresh. I wanna be a part of this. I literally just picked up a pad, I ain’t know what I was going to write,” Hit says. “I didn’t even understand that I had a story, coming from a pops who was locked up. My parents had me when I was 15, 16. I already had a story, but just putting it into context so people could understand. That’s what I had to learn.”

Hit was in pursuit of being his best self, developing his aesthetic and figuring out his rhyming style until he found his voice. There are blog-era relics you can dig up that have early Hit-Boy raps like Cyhi The Prynce’s “Entourage” or “Old School Caddy” with Kid Cudi during his G.O.O.D. Music days. But everyone’s collective minds remember that one day in the summer of 2012 when he dropped “Jay-Z Interview,” causing Rap Twitter to go crazy over his rapping abilities. “Jay-Z Interview” not only showed people that he could rap, but it allowed him to start his journey as a producer rapper. “It was a real, started from the bottom type of thing. A lot of people were like, ‘Oh, why is he rapping? He just made ‘N****a in Paris.’ Why is he freestyling?’ I got a lot of that and I had to really fight through that,” he says. “And just seeing people dissing the sh*t out of me. Now, I am at the point where it doesn’t matter if you’re showing me love or hate, I’m just gonna look at it as all the same. That’s one person’s perspective and I’ma appreciate the love and just ignore the hate.”

Early reactions online have said Surf Or Drown is Hit-Boy’s best rapping thus far, showing his growth and improvement over the years. You can see the progression from his solo efforts HITstory, Tony Fontana, and The Chauncey Hollis Project. And not to mention the collab albums he’s done with Dom Kennedy as Half-a-Mil.

Now that Hit-Boy has gotten praise for reenergizing Nas and modernizing his sound to Grammy-winning status, you can expect to see more Hit-Boy raps on a consistent basis, working on two additional volumes of Surf Or Drown for 2023. On the music industry side of things, he is in a better place to relaunch and rebrand Surf Club, a collective of young artists, producers, and writers. According to Hit, Surf Club has a new joint venture with Empire Publishing that was announced in January, he plans to sign artists through his label deal with Def Jam, and he has the creative control and freedom to release his rap music independently. If you think Hit has accomplished everything already in his mid-30s, he’s far from the level of greatness and influence on the next generation where he wants it to be at. As long as he remains humble and applies himself to be a better artist, he’ll get there.

“I used to say I want to have No. 1 albums on Billboard as an artist,” Hit says. “You want to be the best, you want to be considered the greatest. But it takes a lot of things to happen to get you to that place. Just as long as I keep progressing and I am personally getting better, then I’m good. I’ma be where I am supposed to be wherever I am going.”