10 Essential Hit-Boy Productions

When overhearing the phrases, "Ball so hard motherfuckas wanna fine me," or "That shit cray," one almost instinctively thinks of Jay Z and Kanye West's ferociously successful single "Niggas In Paris" from their collaborative album Watch The Throne. And while it's valid to remember the rap masterminds who vehemently slay the track with their deafening tones and flows, it is just as important to remember one of the song's key producers, Chauncey Hollis, Jr., better known as Hit-Boy.The Fontana, California native has been a permanent fixture in the industry since 2010 and has worked with some of the biggest artists on some of the biggest projects over the course of the last several years.

He got his start in the industry in 2007 with the collective brand Surf Club, comprised of fellow producer's and artists, Chase N.Cashe, BCarr, and Chili Chill. Soon the group would gain enough recognition to catch the eyes of legendary producer Polow Da Don, who messaged Hit-Boy on Myspace with a very simple call to action, "Let's get this paper."

After that initial contact, Hit-Boy linked up Polow Da Don's Zone 4 record label, a division of Interscope Records, and began doing what he does best: making hits. From that point up until now, Hit-Boy has been unstoppable and has worked with everyone from Mary J. Blige and Selena Gomez to Kendrick Lamar, Drake, Beyoncé and a whole lot more. Not to mention that his artist discography is nearly as impressive as his production credits, as he has developed a remarkable brand over the years with his solo music and record label Hits Since 87 imprint.

Check out our 10 Essential Hit-Boy Productions and follow the steep rise of the astoundingly talented artist and producer.

As mentioned in the introduction, "Niggas In Paris" is one of the most successful songs from the production side of Hit-Boy's discography. The song went triple platinum and took home the Grammy for "Best Rap Song" in 2011. But the track represents more than just the beginning of a winning record for Hit-Boy. It's really his coming out party and the platform that catapulted him into an elite category that houses the industry's most innovative and elite producers. Not to mention that this track fittingly represents Hit-Boy's time with G.O.O.D. Music. Because even though "Christmas In Harlem" was one of the first tracks to put the spotlight on Hit-Boy as a producer, it's effect on his career doesn't compare to what "Niggas In Paris" did for him, nor is it as evocative of his affinity to create the most thunderous, and violently banging beats. 

Check out the video for "Niggas In Paris" below.

Though "Drop The World" came out before "Niggas In Paris" it wasn't as proper of an introduction to the industry for Hit-Boy as the Watch The Throne track was, but it is still very noteworthy. In 2010 Lil Wayne was arguably the biggest artist in the world. His classic album The Carter 3 turned the game upside down and Wayne was literally rewriting the rules of the game with every new release.

This track is significant because again, it was one of the biggest tracks of the year and was extremely successful. On top of that, this track once again proves how easily Hit-Boy can lace iconic artists with equally legendary beats to create hit after hit.

Once again Hit-Boy delivers alongside a star-studded cast. The single "Clique" comes in at the height of the artist/producer's time with G.O.O.D. Music. There isn't too much to say about this track, or Hit-boy for that matter, that hasn't already been said. It is simply just another wildly successful banger produced by Hit-Boy.

Another huge track from Hit-Boy's colossal run in 2012 is A$AP Rocky's lead single from his Long Live ASAP album "Goldie." This is another self-explanatory track that features an intense, ridiculously hype beat provided by Hit-Boy. By this point, this guy had carved out a rock-solid reputation as a hit-maker and "Goldie" is 100 percent proof why. It's also an interesting track for this list because it speaks volumes to Hit-Boy's ability to highlight the talents of each and every artist he has every worked with. The beat, in combination with the pitch shifted vocals and flawless flow of A$AP Rocky on "Goldie" helped to propel the Harlem rapper to insanely hype heights just before the release of his debut album.

Check out the very wavy video below. R.I.P A$AP Yams.

This is the point of the list where we begin to see a very specific and important shift in Hit-Boy's career. Around the time Kendrick Lamar's seminal album Good Kid Maad City was released, Hit-Boy was nearing the end of his deal with G.O.O.D. Music and was continually securing high profile production credits. Among many other things, his career, style and influence was evolving and we get a small glimpse of it with "Backseat Freestyle."

At this point, it's 2013, Hit-Boy just released his first solo project HITstory, he just got out of his deal with G.O.O.D. Music and announced his new deal with Interscope Records. Additionally, he founded his own record label imprint Hits Since 87 and had worked on several of the biggest albums of the year including Beyoncé's self-titled surprise album that changed the way that artists release albums forever. It's safe to say that Hit-Boy had the game in the palm of his hand right then and there, but he didn't get comfortable.

"Trophies" is the perfect track on the list for this moment in Hit-Boy's career because, in a way, Drake's song personifies the multihyphenate's career trajectory and accomplishments. Hit-Boy was finally in a position to take control of his musical legacy and build. The hook on "Trophies" is an insanely accurate depiction of this stage in the history Hit-Boy's work.

Quotable Lyrics
What's the move?
Can I tell truth? If I was doing this for you
Then I have nothing left to prove, nah
This for me, though
I'm just tryna stay alive and take care of my people
And they don't have no award for that
Trophies
Trophies
And they don't have no award for that
Shit don't come with trophies, ain't no envelopes to open
I just do it 'cause I'm 'sposed to, nigga

in 2014, Hit-Boy released the HS87 compilation album We The Plug and flooded the streets with bangers crafted by himself and his frequent collaborators and artists like Audio Push, in addition to giving a platform to new artists and his family members. The track is very significant because it really shows the potential Hit-Boy has to become an industry mogul as well as an elite rapper. Also, the song is like this guy's life anthem because, let's face it, dude has been grinding his entire life.

The guest spot from his father, Big Hit is actually super dope too.

If ever there was a track that proved Hit-Boy could do no wrong, it is definitely "Feeling Myself." Just having Beyoncé and Nicki Minaj on the same track together is enough fro it to be a hit, but the added minimalistic and for lack of a better term, fire-ass beat from Hit-Boy take it to another level. This song is virtually another feather in the cap of Hit-Boy and further confirms his dominance as a force in the industry.

2016 was also another big year in what seems to be an endless string of "big years" for Hit-Boy. Per usual, he has production credits on some of the biggest and most successful projects of the year including Beyonce's visual album Lemonade, Travis Scott's Birds In The Trap Sing Mcknight and Rihanna's Anti. But even though he was busy lacing the industry leaders with heat for their albums, he was also busy working on more music of his own. In late November Dom Kennedy and Hit-Boy teamed up to create the collective Half-a-Mil and dropped their eponymous mixtape. 

These two California natives have a substantial amount of chemistry and it shows on this project, but even more so, though, this project really showcases Hit-Boy's flourishing style as a rapper.

Though we all know that Hit-Boy is as talented an artist as he is a producer, he is a producer first. And that is exactly why we wanted to end the list with a track that he is behind the boards for. Travis Scott's sophomore Birds In The Trap Sing Mcknight put to rest all the rumors that La Flame was a fluke and added on to his increasingly inspiring and drastically advanced sonic aesthetic. The second track on the album "Way Back" is the perfect representation of Travis Scott's futuristic sound and Hit-Boy's astoundingly immaculate productions.

Honestly, this track should probably be on the list on its own, but then again, there are several other tracks that could live on this list as well. Really though, the main conflict is that Hit-Boy has so many notable production credits with so notable artists that it makes it hard to include them all, especially considering he's on pretty much every big album every year. Thus is the case with Rihanna's album Anti and the Travis Scott assisted track "Woo."

Again, all the pieces are here, the big-name mainstream artists, the impeccable production from Hit-Boy, but this track is different from the others because it truly proves that Hit-Boy is one of the most elite producers to grace the presence of the game in the last decade. Plus the beat is crazy dope.

Enjoy the track below and check out more of Hit-Boy's new music here and here.