To be honest, I’ve avoided doing this type of project. It’s difficult to pick 14 songs that define who I am. Some of my best songs were never released as singles. I’ve challenged myself to make classic albums that will define my legacy—and not just individual songs. Still, the timing of this project finally felt right to me. Most of my recording career was with Def Jam. That chapter is closed, and a new one has opened: with Roc Nation. This album represents that transition. This is a collector’s piece. It represents some of my strongest work. Each song represents a different time, a different feeling, or a different emotion. Plenty of people have already purchased this music 100 times. Still - I worked hard to sequence the songs, to create a true listening experience. Once you have all the great songs in one place, you can’t go wrong. Ha. This project means more to me than record sales. I collect art, things that inspire me, and I want Hits to be that for you. The artwork, the photos I’m willing to share represent my appreciation for your support through the years. As I go to the next level and open more doors, I truly believe there’s no limit to where we can take hip-hop culture. Vol. 2 comin’ soon. On to the next one. Best, - S.C.
Hustler’s Ambition
Shawn Corey Carter went from selling crack on Brooklyn street corners to taking over America and the world. He penetrated pop culture while becoming a true hip-hop ambassador. JAY-Z’s achievement is our achievement. When he wins, we win. His résumé is remarkable. And unrelenting. It includes passing Elvis Presley’s record with 11 No. 1 albums, grabbing ten Grammys, and, to date, selling close to 50 million albums. This disc is simply the Greatest Rapper of All-Time endeavoring to put his entire career in perspective. JAY-Z has perused all of his officially recorded music and his aim is to express his legacy through 14 songs. This collection contains some of his biggest singles, plus a few of his personal choices. It’s an attempt to best represent his historic catalogue. Though he takes it on with passion and precision, this, especially for JAY-Z, is an impossible task. I sat with him in his office at Rocawear, watching him reorganize this playlist over and over again. His personal touch is all over this project. His hope is to satisfy both his diehard-from-day-one fans, and his new generation of followers—all of whom frequent his sold-out shows around the world. In this situation, JAY-Z is a father forced to choose his favorite children. And then put them in order. No two JAY-Z fans could ever agree on what his “best” songs are. But on JAY’s tracklist - his playlist - a few things jump out. This is a retrospective that ranges from his 1998 Annie-sampling breakthrough smash to his first No. 1 Pop Single, 2009’s soaring tribute to New York. It’s also telling that each lead single from the Blueprint trilogy is accounted for here, as well as four songs from JAY’s “retirement” disc, 2003’s The Black Album. Hits Vol. 1 is a testament to his career—but it barely scratches the surface. Where’s something from Reasonable Doubt? “Can I Get A…”? And how about some hardcore? “Where I’m From”? There could be an entire Vol. 2 packed with soul-turning tunes like “Streets Is Watching” and “U Don’t Know.” JAY just might do that. I wouldn’t dare him.
The excitement of JAY-Z trying to define his own career at this point is intoxicating. With the deaths of Christopher “Notorious B.I.G.” Wallace and Tupac “2Pac” Shakur, JAY emerged, and solidified himself in the late ‘90s as hip-hop’s most important artist, and he’s yet to relinquish his position. No one has as many lyrical quotables. No one has made as many classic albums. No one has pulled off so many corporate power-moves, or embraced the position as leader and face of our culture with such poise and charisma. No one. JAY-Z is hip-hop’s Michael Jordan. He’s our Muhammad Ali. JAY, with his bricks-to-billboards biography, is the personification of achievement. He’s a living legend - a true MC and pop star who has killed the long-held premise that hip-hop artists can’t have long careers. He has defied the old rules by continuing to make relevant music. One of the most powerful men on the planet, he continues to inspire hate and love in equal measure. Hits Vol. 1 is a CliffsNotesR version of the JAY-Z story. It’s a time capsule of the best at his best - so far. It’s hard to put your history in context, when you’re still on top. Part of the magnitude of JAY-Z is the fact that he keeps challenging himself. As good as these songs are - hand-picked and sequenced by Mr. Carter, the next volume will be bigger and better. The greatest story is still being told. - Elliott Wilson, Founder and CEO, RapRadar.com
Public Service Announcement (Interlude) PRODUCED BY JUST BLAZE / THE BLACK ALBUM, 2003
The Black Album was on its way to mastering, and Just Blaze said he “had one.” I’m forever curious, and as soon as Just played it for me, the emotion of the track was too much. A record will change everything for me. We had to stop production! The opening line—“Allow me to reintroduce myself”—was inspired by Digital Underground’s Humpty Hump of all people. And the second verse is about a writer who criticized me for wearing jewelry over a Che Guevara T-shirt. It’s called “PSA” because it was supposed to be like a commercial, a brief skit. But it’s turned into an important part of my catalogue. For a song with no hook to have such an impact is unbelievable. The public made it something special.
Run This Town PRODUCED BY KANYE WEST AND NO I.D. / THE BLUEPRINT 3, 200 9
The Def Jam contract had run its course, ending in a great way—which never happens—and this felt like the right mood and the right message to send for Blueprint 3. The song is about the formation of Roc Nation—planting our flag in the ground. Me aligned with two great artists that I’ve worked with: Rihanna and Kanye West. The growth of us . It was originally a Rihanna demo but I took it in another direction. I wanted the whole song to feel like a march, a battle cry. Muhammad Ali had the shortest poem ever: “Me: We!” My statement was, “We Are.” Maybe you didn’t hear me? “We are.” Yeah I said it, “We are.”
‘03 Bonnie and Clyde PRODUCED BY KANYE WEST / THE BLUEPRINT 2: THE GIFT & THE CURSE, 2002
I remember this record on multiple levels. First, Tupac Shakur because the song uses his 1996 “Me and My Girlfriend,” and the beef he had with Big. I don’t remember ever meeting ‘Pac. We never had an encounter. He dissed me too, but for me, it wasn’t a personal thing. When he passed, those things are gone. Plus the song was so perfect with the timing. This was when everyone was first talking about B and I. As a songwriter, you can’t help but express your life through your music. I was definitely playing with the controversy of it all.
Encore PRODUCED BY KANYE WEST/THE BLACK ALBUM, 2003
I did this song early on during the project, and not Guru [engineer Gimel “Young Guru” Keaton] or anyone in my circle other than Kanye and I liked it. When the CD was done, I was gonna send the song to [NYC radio personality] Funkmaster Flex, I told [then Def Jam CEO] Lyor Cohen and [then Def Jam President] Kevin Liles, and they came to the studio. I played them the album, and they said “Encore” was the one song they didn’t really connect to. So I didn’t send it to Flex. But imagine “Encore” as The Black Album’s first single? I don’t know how much it would have added sales-wise but the presentation would have been great. Way better. Pardon me—I’m a perfectionist.
I Just Wanna Love U (Give It 2 Me)
PRODUCED BY THE NEPTUNES / THE DYNASTY: ROC LA FAMILIA, 2000 We played it 3 0 times in the studio the night we made it. Two days later, I switched singles from “Parking Lot Pimpin” and was shooting the video for “I Just Wanna.” I made the song with this particular Kimora Lee party in mind. The Carl Thomas song, “I Wish” was hot at the time, and Mary J. Blige was on the floor dancing like crazy . I captured that night in the song. “When the Remy’s in the system” was the perfect way to start the song. Why do I have to think of another line? There’s already a perfect one and it comes from my guy. I also credit Pharrell who brought a whole soulful, Curtis Mayfield vibe to the song.
Izzo (H.O.V.A.) PRODUCED BY KANYE WEST / THE BLUEPRINT, 2001
I had an album full of great music, but when I first did this song, I didn’t like it because it was so monotonous. I was trying to figure out the first look to introduce the world to the project. Then Tone from Trackmasters came up with the idea to have a girl sing under the hook—which brought some melody to it. It was a genius idea, but she did sue me, saying she came up with the words. So ridiculous. The chorus reflects what was going on with me at that time. I’m not a big talker outside of my immediate circle. I use music to express my feelings. To say what I want to say. I’ve never been to a therapist in my life.
D.O.A. (Death Of Auto-Tune) PRODUCED BY NO I.D. / THE BLUEPRINT 3, 2009
That record felt like the perfect statement to start Blueprint 3 off with. We were i n this time where everyone was on this one trend. Rap is really about the poet and the voice and everyone was sounding the same. We were like losing our voice in hip-hop. The song came from a session in Hawaii when I was workin’ with Timbaland and Kanye West, who sparked the idea. I made the record and then he said, “I went too far”. Ha! That’s why we added that part in the song because it was real. You can’t censor art even for your brother.
99 Problems PRODUCED BY RICK RUBIN / THE BLACK ALBUM, 2003 As a writer, and as a creator, you have ideas—and for whatever reason, a lot of them don’t work out. So when it does happen, it’s like, euphoria. I’d always wa nted to do a song with Rick Rubin, and I knew once he pulled out the Roland, it was gonna be a problem. He also truly produced me, which felt uncomfortably good. I wasn’t used to someone telling me to “change” something. He pushed me to take the song to a whole other level. My A&R, Hip Hop (Kyambo Joshua), had the idea to use Ice T’s concept, but I ran with it in a different way. I wanted to flip the hook, make it not about a g irl. So I had these stories—the Southern racist cop. I wanted to paint the picture with his voice. Even down to the things he says, “a lot of you are.” That’s racist! The song is light in its approach, but it’s heavy. Empire State Of Mind PRODUCED BY AL SHUX / THE BLUEPRINT 3, 2009
When I first finished this song, I thought I should put Mary J. Blige on it. I was two seconds away from calling Mary, but the piano licks just kept hitting me, and I was like,That’s Alicia . What sticks out to me about the record is the as piration and the hope—that there’s a place where you can become something. But you have to be aware that there’s a downside to living in New York, or any major city. You can get sidetracked and swallowed up, which is why the third verse is the way it is. I’ve seen it happen so many times. But if you can overcome the trappings, you can be successful. Hit records resonate with the broadest audience. The inspiration in that record connected—all over the world.
Dirt Off Your Shoulder PRODUCED BY TIMBALAND / THE BLACK ALBUM, 2003
It was some weird saying I came up with. No idea where it came from. I think when Tim played the track early on, it had like a brushing sound in it. I started messing with lyrics about brushing off haters. It just evolved one night in Miami. Same with the “best rapper alive” statement. It had gotten to the point where Biggie and ‘Pac were such gods in hip-hop, you weren’t supposed to want to be better than them. It was time to address that. It was a respectful way of saying: I’m the best.
Hard Knock Life (Ghetto Anthem) PRODUCED BY THE 45 KING / VOL. 2… HARD KNOCK LIFE, 1998
Any artist should be able to touch any type of music, as long as it’s done in a way that feels natural. If you’re not doing it solely for the intention of selling records. There are plenty of records that came to me with big hooks, and I was like, I can’t do that . I’d know the record could be big, but it didn’t fit me. The “Annie” sample fit me. It was from another world, but it had an underlying theme that connected. Being an underdog, always getting kicked in the face, shunned by society—it all relates to me and a huge group of people I was speaking to. I was also saying: I’m never gonna make a record like “Sunshine” again. I’m not comin’ to y’all. I’m making great albums every year, and you can’t deny me. You’re gonna come to me .
Show Me What You Got PRODUCED BY JUST BLAZE / KINGDOM COME, 2006
Kingdom Come was dealing with mature issues and things that we hadn’t addressed in hip-hop before so I knew it was uncharted territory and I wanted the transition to be fun. I loved the phrasing of the title and the chaotic energy of the drums. It’s like we’re partying and then close the door and let’s have a conversation. We got some things to talk about. Where are we gonna take rap now? Cause it has to evolve into more. You gotta go through some growing pains to make change. But this song helped soften the blow.
Roc Boys (AndTheWinner Is...) PRODUCED BY DIDDY, SEAN C & LV / AMERICAN GANGSTER, 2007
I had all this real subject matter on American Gangster and I wanted the story arc to have that celebratory moment. You’ve reached the height of everything. The horns made me feel like I was winning a Grammy. It’s about capturing the rise of your power. The height of your career. To be blindly successful. I wanted to encapsulate all those feelings at that moment when everything is goin’ well before it all falls apart.
Big Pimpin’ PRODUCED BY TIMBALAND / VOL. 3... LIFE AND TIMES OF S. CARTER, 1999
That was my third single. Took the album to 3 million. Hip Hop (Kyambo Joshua) was with me in the studio with Timbaland and he knew I w as a UGK fan and he suggested we put them on the record. We called Bun and then Pimp C was like “The horns, them shits too fruity.” He was concerned with alienating his audience. When Pimp first sent his verse, I didn’t get it, but then the geniu s of his cadence hit me. Back then MTV’s Making Of The Video was really impacting record sales and I had to have that. I got Hype a nd we had all the legendary video “vixens”. I doubled down at the right time and it took off.
- As told to Elliott Wilson
Public Service Announcement (Interlude)
(S. Carter, J. Smith, R. Levin) (ASCAP/BMI) Produced by Just Blaze for F.O.B. Entertainment/N.Q.C. Management/Roc The World. Recorded at Baseline Studios, NYC by Gimel “Young Guru” Keaton for Loreal, Inc. and David Brown for Blessed One Entertainment. Mixed at Baseline Studios, NYC by Gimel “Young Guru” Keaton for Loreal, Inc. Contains a sample of “Seed Of Love” as performed by Little Boy Blues.P1968 UMG Recordings, Inc. Courtesy of The Island Def Jam Music Group under license from Universal Music Enterprises. Written by R. Levin, used courtesy of Edgewater Music Inc. (BMI).
Run This Town FEATURING RIHANNA & KANYE WEST
(S. Carter, K. West, E. Wilson, J. Bhasker, R. Fenty, A. Alatas) (ASCAP/BMI) Produced by Kanye West for Very Good Beats Hip Hop Since 1978 and No ID for Rich Daily Since 71. Recorded by Gimel “Young Guru” Keaton at Avex Honolulu Studios, Hawaii, Roc The Mic, NYC and by Marcos Tovar at Westlake Studio, Los Angeles, CA. Mixed by Gimel “Young Guru” Keaton for GuruCrates LLC at Roc The Mic, NYC. Rihanna appears courtesy of Island Def Jam Music Group. Kanye West appears courtesy of Island Def Jam Music Group. P2009 Shawn Carter. Contains a sample of “Someday In Athens” by Alatas Athanasios (The 4 Levels of Existence), used courtesy of Eikonaxos & Athanasios Alatas. Written by and used courtesy of Athanasios Alatas.
’03 Bonnie & Clyde FEATURING BEYONCÉ KNOWLES
(S. Carter, K. West, Prince, D. Harper, R. Rouse, T. Shakur, T. Wrice) (ASCAP/BMI) Produced by Kanye West for Konman Productions/Roc The World. Recorded at Baseline Studios, NYC by Gimel “Young Guru” Keaton for Loreal, Inc. and Shane “Bermuda” Woodley for Blessed One Entertainment. Mixed at Battery Studios and Quad Studios, NYC by Jason Goldstein. Instruments played by Eric “E-Bass” Johnson. Beyonce appears courtesy of Music World/Columbia Records. Contains an interpolation of “If I Was Your Girlfriend” written by Prince, used courtesy of Universal Music Publishing/Controversy Music (ASCAP). Contains a sample of “Me and My Girlfriend” written by D. Harper, R. Rouse, T. Shakur and T. Wrice, used courtesy of WB Music Corp./Suge Publishing (ASCAP)/Songs of Universal Inc./Joshua’s Dream Music (BMI).
Encore
(S. Carter, K. West) (ASCAP) Produced by Kanye West for KonMan Productions. Recorded at Baseline Studios, NYC by Gimel “Young Guru” Keaton for Loreal, Inc. and at Record Plant Studios, LA. Mixed at Manhattan Center, NYC by Jimmy Douglas and at Baseline Studios, NYC by Gimel “Young Guru” Keaton for Loreal, Inc. Additional vocals by John Legend, Don Crawley, Leonard Harris & Kanye West. Contai ns elements performed by John Holt. Courtesy of Trojan/Sanctuary Records.
I Just Wanna Love U (Give It 2 Me)
(S. Carter, P. Williams, C. Hugo, J. Johnson, C. Wallace, D. Angelettie, S. Combs, K. Walker, T. Shaw) (BMI/ ASCAP) Produced by Pharrell Williams and Chad Hugo for The Neptunes. Recorded and mixed at Enterprise Studios, LA by Supa Engineer ‘Duro’ for No Question Entertainment/Loreal, Inc. Assistant engineer: Shane “Bermy” Woodley. Additional vocals by Pharrell and Sparks. Pharrell of NERD appears courtesy of Virgin Records. Contains interpolations of “Give It To Me” (J. Johnson) published by Jobete Music Co., Inc.; “The World Is Filled…” (C. Wallace, D. Angelettie, S. Combs, K. Walker, T. Shaw), published by EMI April Music Inc./Justin Combs Publishing/Big Poppa Music/EMI Blackwood Music, Inc./Deric Angelettie Music/Wind Tiger Music/Strand Music/Zomba Songs Inc.; and “I Wish” (M. Flowers) used courtesy of Mike City Music. All rights reserved. Used by permission.
Izzo (H.O.V.A.)
(S. Carter, K. West, B. Gordy, A. Mizell, F. Perren, D. Richards) (BMI/ASCAP) Produced by Kanye West for Roc The World/Kanman Productions. Recorded by Gimel “Young Guru” Keaton for Loreal, Inc. and Kamel Adbo for Beast from the Middle East at Baseline Studios, NYC. Mixed by Supa Engineer DURO for No Question Entertainment/Loreal Inc. at Right Track Studios, NYC. Background vocals by Demme Ulloa. Additional Vocals by Ira McLaughlin recorded by Ian Allen at East Vill Studios. Contains a sample of “I Want You Back” (B. Gordy, A. Mizell, F. Perren, D. Richards) Jobete Music Co., Inc. (ASCAP) Performed by The Jackson 5. Used courtesy of Motown Record Company LP under license from Universal Music Enterprises, a division of UMG Recordings, Inc.
D.O.A. (Death of Auto-Tune)
(S. Carter, E. Wilson, G. DeCarlo, D. Frashuer, P. Leka, J. Nilovic, D. Sucky) (ASCAP/BMI) Produced by NO ID for Rich Daily Since 71. Reco rded by Gimel “Young Guru” Keaton at Avex Studios, Honolulu, HI. Mixed by Gimel “Young Guru” Keaton for GuruCrates LLC at Baseline Studios, NYC. P2009 Atlantic Recording Corporation. Contains elements of “Na Na Hey Hey Kiss Him Goodbye” (G. DeCarlo, D. Frashuer, P. Leka) Unichappell Music, Inc. (BMI). All rights reserved. Contains a sample of “In The Space” written and performed by Janko Nilovic & Dave Sucky, used courtesy of APM Music o/b/o Creasound.
99 Problems
(S. Carter, R. Rubin, N. Landsberg, F. Pappalardi, J. Ventura, L. Weinstein, W. Squier, T. Marrow, A. Henderson) (ASCAP/Copyright Control/BMI) Produced by Rick Rubin. Recorded by Andrew Scheps at Akademie Mathematique of Philosophical Sound Research, Los Angeles, CA. Programmed by Jason Lader. Mixed by Rick Rubin and Andrew Scheps at Akademie Mathematique of Philosophical Sound Research, Los Angeles, CA. Contains a sample of “Long Red,” written by N. Landsberg, F. Pappalardi, J. Ventura and L. Weinstein, used courtesy of Careers BMG Music Publishing (BMI)/BMG Songs Inc. (ASCAP). Performed by Mountain, courtesy of Sony Music. Contains a sample of “The Big Beat,” written by W. Squier, used courtesy of Spirit Two Music Inc./Songs of the Knight (ASCAP). Performed by Billy Squier, used courtesy of Capitol Records, Inc. Contains elements of “99 Problems,” written by Tracy Marrow, Alphonso Henderson and published by Universal PolyGram International Publishing, Inc./Rhyme Syndicate Music (ASCAP)/WB Music Corp. (ASCAP) o/b/o itself, Ammo Dump Music (ASCAP) and Caramba Music (ASCAP).
Empire State Of Mind FEATURING ALICIA KEYS
(S. Carter, A. Shuckburgh, J. Sewell-Ulepic, A. Hunte, A. Keys, B. Keyes, S. Robinson) (ASCAP/PRS/SESAC/BMI) Produced by Shux. Co-produced by Jane’t “Jnay” Sewell-Ulepic & Angela Hunte. Recorded by Gimel “Young Guru” Keaton at Roc The Mic NYC. Alicia Keys vocals recorded at Oven Studios, NYC by Ann Mincieli. Mixed by Ken ‘DURO’ Ifill / The Chairman of the Boards at KMA Studios, NYC. Mix assisted by Jordan ‘DJ Swivel’ Young. Alicia Keys appears courtesy of J Records. P2009 Shawn Carter. Contains samples from The Moments recording “Love On A Two Way Street,” produced under license from and by arrangement with Rhino Entertainment Company, a Warner Music Group company. Used courtesy of Robinson Music Group, LLC.
Dirt Off Your Shoulder
(S. Carter, T. Mosley) (BMI/ASCAP) Produced by Timbaland for Timbaland Productions. Recorded at The Hit Factory Criteria, Miami, FL by Demacio “Demo” Castellon. Mixed at The Hit Factory Criteria, Miami, FL by Jimmy Douglas. Assisted by Marcella “Lago” Araica.
Hard Knock Life (Ghetto Anthem)
(S. Carter, M. James, C. Strouse, M. Charnin) (BMI/ASCAP) Produced by the “45 King” for Instant Records. Recorded by Paul Falcon at The Hit Factory, NYC. Mixed by Ken “Duro” Ifill for No Question Entertainment at Platinum Island, NYC. Contains a sample from “It’s The Hard Knock Life” (C. Strouse, M. Charnin) Helene Blue Musique Ltd./ MPL Communications (ASCAP), performed by The Original Broadway Cast of Annie. Courtesy of Sony Music. All Rights Reserved. Used By Permission.
Show Me What You Got
(S. Carter, J. Smith, J. Pate, E. Sadler, C. Ridenhour, J. Boxley, M. McEwan) (ASCAP/BMI) Produced by Just Blaze for F.O. B. Entertainment/N.Q.C. Management, LLC and Hip Hop Since 1978. Recorded by Ryan West and David Brown for N.Q.C. Management, LLC at Westlake Studios and Baseline II, NYC. Mixed by Dr. Dre at Ocean Way Recording, Hollywood, CA. Co-Mixed by Ryan West and Just Blaze for N.Q.C. Management, LLC at Baseline II, NYC. B3 Organ: Lamar Edwards. Piano: Larrance Dopson. Bass: Chucc 1500. Drums: Kenneth “Bam” Alexander. Additional keys and drums by Just Blaze. Contains a sample of the recording “Shaft In Africa” as performed by Johnny Pate. P1973 Geffen Records. Courtesy of Geffen Records under license from Universal Music Enterprises. All rights reserved. Written by J. Pate, published by EMI Hastings Catalog Inc. (BMI). Contains a sample of the recording “Show ‘Em Whatcha Got” as performed by Public Enemy. P 1988 The Island Def Jam Music Group. Courtesy of The Island Def Jam Music Group under license from Universal Music Enterprises. All rights reserved. Written by E. Sadler, C. Ridenhour and J. Boxley, published by Reach Global Songs (BMI)/Songs of Universal Inc. (BMI). Contains a sample of the recording “Darkest Light” as performed by Lafayette Afro Rock Band, used courtesy of Pierre Jaubert/Kevin Donan As The Record Turns
Roc Boys (And The Winner Is)…
(S. Carter, S. Combs, D. Matthews, L. Coppin. T. Brenneck, D. Guy, M. Deller, L. Michels, B. Mann) (ASCAP/BMI) Produced by DIDDY for The Hitmen/Bad Boy Entertainment and LV & SEAN C for Grind Music/The Hitmen/Bad Boy Entertainment. Recorded by Victor Abjaoudi II / Steve “Rock Star” Dickey at Daddy’s House, NYC and Gimel “Young Guru” Keaton for Gurucrates LLC. at Roc The Mic, NYC. Assistant engineers: Matt Testa, Miguel Peguero and Marcos Tovar. Mixed by Vi ctor Abjaoudi II at Roc The Mic, NYC. Assisted by Steve “Rock Star” Dickey. Arrangement, tenor saxophone: Kenneth “Scooter” Whalum. Trumpet: Keyon Harrold, Cameron Johnson. Trombone: Saunders Sermons. Bass, guitar: Ed “Wolverine” Goldson for Grind Music. Percussion: Bashiri Johnson. Drums: Mario Winans. Additional vocals: Beyoncé, Cassie & Kanye West. Beyoncé appears courtesy of Sony Urban Music. Cassie appears courtesy of NextSelection/Bad Boy Records. Contains a sample of “Make The Road By Walking” performed by the Menahan Street Band. Written by T. Brenneck (BMI), D. Guy (ASCAP), M. Deller (BMI), L. Michels (BMI), B. Mann (BMI). T. Brenneck and B. Mann publishing administered by Defend Songs/Songs of Kobalt Music Publishing (BMI). Under license from Daptone Records.
Big Pimpin’ FEATURING UGK
(S. Carter, T. Mosley, K. Joshua, C. Butler, B. Freeman) (BMI/ASCAP) Produced by Timbaland for Ti mbaland Productions. Recorded at Sony Music Studios, NYC by Chauncey Mahan for The C-Factor. Recorded and Mixed at Manhattan Center Studios, NYC by Jimmy Douglass. UGK appears courtesy of Jive Records. Contains elements of “Khusara Khusara,” used courtesy of Arc Music Incorporated
Executive Producer: Shawn “JAY-Z” Carter Co-Executive Producer: Antonio “LA” Reid A&R: Lenny S. A&R Administration: Terese Joseph Marketing: Chris Atlas, Chaka Pilgrim for Roc Nation Management: John Meneilly for Roc Nation Album mastered by Tony Dawsey at Masterdisk, NYC Art Direction & Design: JP Robinson, Alex Haldi, Patrick Hegarty and Todd Russell Graphic Production: Scott Townsend, Steve DeFino and Zack Atkinson Art and Photography Coordination: Nichell Delvaille, Creativetai.com and Kristen Yiengst Package Production: Carol Corless Legal Counsel: Jennifer Justice for Shawn Carter Enterprises Sample Clearance Agent: Eric Weissman for Sample Clearance, Ltd. Business Affairs: Michael Seltzer, Antoinette Trotman, Ian Allen, Vol Davis III Ph ot o In de x
Page 2 Page 3 Page 4
Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18
As US President, 2008 - Clay Patrick McBride Dynasty, 2000 - Jonathan Mannion In My Lifetime Volume 1, Marcy Projects, Brooklyn, NY, 1997 - Lenny Santiago 8th Grade Graduation Hard Knock Life Volume 2, Marcy Projects, Brooklyn, NY, 1998 - Jonathan Mannion Young JAY-Z In My Lifetime Volume 1, New York City, 1997 - Jonathan Mannion Blueprint 1, 2001 - Jonathan Mannion Big Pimpinvideo shoot, Life & Times of S. Carter Volume 3, Miami, FL 1999 - Lenny Santiago Blueprint 1, 2001 - Jonathan Mannion The Black Album, 2003 - Jonathan Mannion Dynasty, 2000 - Jonathan Mannion The Black Album, 2003 - Jonathan Mannion Kingdom Come, 2006 - Anthony Mandler American Gangster, 2007 - Arthor Elgort 10 year anniversary show for Reasonable Doubt, Radio City Music Hall, NYC, June 2006 - Lenny Santiago American Gangster, 2007 - Arthor Elgort The Heart of the City Tour, Hollywood Bowl, Los Angeles, CA, April 2008 - Lenny Santiago American Gangster Tour, House of Blues, 2008 - Lenny Santiago The Heart of the City Tour, Hollywood Bowl, Los Angeles, CA, April 2008 - Lenny Santiago FUSE show, Madison Square Garden, New York City, September 11, 2009 - Lenny Santiago 40/40 Club opening Las Vegas, NV, 2006 - Lenny Santiago Blueprint 3 Tour, 2009 - Lenny Santiago The Heart of the City Tour, Air Canada Centre, Toronto ON, April 2008 - Lenny Santiago.
