Sei sulla pagina 1di 18

To be honest, Ive avoided doing this type of project.

Its difficult
to pick 14 songs that define who I am. Some of my best songs were
never released as singles. Ive challenged myself to make classic
albums that will define my legacyand 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 collectors 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 cant 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 Im 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 theres no limit to where we can take hip-hop
culture. Vol. 2 comin soon. On to the next one.

Best, - S.C.
Hustlers 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-Zs achievement is our achievement. When
he wins, we win. His rsum is remarkable. And unrelenting. It includes
passing Elvis Presleys 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. Its 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 followersall 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
JAYs 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, 2009s soaring tribute to New York. Its also telling that
each lead single from the Blueprint trilogy is accounted for here, as well as
four songs from JAYs retirement disc, 2003s The Black Album. Hits Vol.
1 is a testament to his careerbut it barely scratches the surface. Wheres
something from Reasonable Doubt? Can I Get A? And how about some
hardcore? Where Im From? There could be an entire Vol. 2 packed with
soul-turning tunes like Streets Is Watching and U Dont Know. JAY
just might do that. I wouldnt 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-hops most important artist, and hes 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-hops Michael Jordan. Hes our Muhammad Ali. JAY, with his
bricks-to-billboards biography, is the personification of achievement. Hes
a living legend - a true MC and pop star who has killed the long-held premise
that hip-hop artists cant 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. Its a time


capsule of the best at his best - so far. Its hard to put your history in context,
when youre 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. Im 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 lineAllow me to reintroduce myselfwas inspired by Digital Undergrounds
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. Its called PSA because it was supposed to be like a commercial, a brief skit. But its 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, 2009
The Def Jam contract had run its course, ending in a great waywhich never happensand this felt like the right
mood and the right message to send for Blueprint 3. The song is about the formation of Roc Nationplanting our
flag in the ground. Me aligned with two great artists that Ive 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 didnt
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 Girl-
friend, and the beef he had with Big. I dont remember ever meeting Pac. We never had an encounter. He dissed
me too, but for me, it wasnt 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 cant 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 didnt really connect to. So I
didnt send it to Flex. But imagine Encore as The Black Albums first single? I dont know how much it would have
added sales-wise but the presentation would have been great. Way better. Pardon meIm a perfectionist.

I Just Wanna Love U (Give It 2 Me)


PRODUCED BY THE NEPTUNES / THE DYNASTY: ROC LA FAMILIA, 2000
We played it 30 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 Remys in the system was the perfect way to start the song. Why do
I have to think of another line? Theres 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 didnt 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 hookwhich 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.
Im not a big talker outside of my immediate circle. I use music to express my feelings. To say what I want to say. Ive
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 in 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! Thats why we added that part in the
song because it was real. You cant 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 ideasand for whatever reason, a lot of them dont work out. So when it does
happen, its like, euphoria. Id always wanted to do a song with Rick Rubin, and I knew once he pulled out the Ro-
land, it was gonna be a problem. He also truly produced me, which felt uncomfortably good. I wasnt used to some-
one 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 Ts concept, but I ran with it in a different way. I wanted to flip the hook,
make it not about a girl. So I had these storiesthe Southern racist cop. I wanted to paint the picture with his voice.
Even down to the things he says, a lot of you are. Thats racist! The song is light in its approach, but its 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, Thats Alicia. What sticks out to me about the record is the as-
piration and the hopethat theres a place where you can become something. But you have to be aware that theres 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. Ive 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 connectedall 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 werent supposed to want to be better than them. It was time to address that. It was a respectful
way of saying: Im 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 its done in a way that feels natural. If youre 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 cant do that. Id know the record could be big, but it didnt 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 societyit all relates to me and a huge group of people I was speaking to. I was also saying: Im
never gonna make a record like Sunshine again. Im not comin to yall. Im making great albums every year, and
you cant deny me. Youre 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 hadnt 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. Its like were partying and then close the door and lets 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 (And The Winner 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.
Youve reached the height of everything. The horns made me feel like I was winning a Grammy. Its 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 was 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 didnt get it, but then the genius of his cadence hit me. Back then MTVs Making Of The Video was re-
ally impacting record sales and I had to have that. I got Hype and 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. Manage-
ment/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 cour-
tesy 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 BEYONC 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 Girl-
friend written by D. Harper, R. Rouse, T. Shakur and T. Wrice, used courtesy of WB Music Corp./Suge Publish-
ing (ASCAP)/Songs of Universal Inc./Joshuas 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. Contains 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 Stu-
dios, 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. Con-
tains 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 Entertain-
ment/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 Mo-
town 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. Recorded 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 Publish-
ing (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 Janet 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. Re-
corded 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 Its 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
Inc. Written by M. McEwan, published by R. Francis Music (BMI).
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 Daddys 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 Victor Abjaoudi II at Roc The Mic, NYC. Assisted by Steve Rock Star Dickey. Arrange-
ment, tenor saxophone: Kenneth Scooter Whalum. Trumpet: Keyon Harrold, Cameron Johnson. Trombone: Saun-
ders Sermons. Bass, guitar: Ed Wolverine Goldson for Grind Music. Percussion: Bashiri Johnson. Drums: Mario
Winans. Additional vocals: Beyonc, Cassie & Kanye West. Beyonc 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 Timbaland Produc-
tions. 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

Pho to Ind ex

Page 2 As US President, 2008 - Clay Patrick McBride


Page 3 Dynasty, 2000 - Jonathan Mannion
Page 4 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
Page 5 In My Lifetime Volume 1, New York City, 1997 - Jonathan Mannion
Blueprint 1, 2001 - Jonathan Mannion
Page 6 Big Pimpin video shoot, Life & Times of S. Carter Volume 3, Miami, FL 1999 - Lenny Santiago
Page 7 Blueprint 1, 2001 - Jonathan Mannion
The Black Album, 2003 - Jonathan Mannion
Page 8 Dynasty, 2000 - Jonathan Mannion
Page 9 The Black Album, 2003 - Jonathan Mannion
Kingdom Come, 2006 - Anthony Mandler
Page 10 American Gangster, 2007 - Arthor Elgort
Page 11 10 year anniversary show for Reasonable Doubt,
Radio City Music Hall, NYC, June 2006 - Lenny Santiago
Page 12 American Gangster, 2007 - Arthor Elgort
Page 13 The Heart of the City Tour, Hollywood Bowl, Los Angeles, CA, April 2008 - Lenny Santiago
American Gangster Tour, House of Blues, 2008 - Lenny Santiago
Page 14 The Heart of the City Tour, Hollywood Bowl, Los Angeles, CA, April 2008 - Lenny Santiago
Page 15 FUSE show, Madison Square Garden, New York City, September 11, 2009 - Lenny Santiago
Page 16 40/40 Club opening Las Vegas, NV, 2006 - Lenny Santiago
Page 17 Blueprint 3 Tour, 2009 - Lenny Santiago
Page 18 The Heart of the City Tour, Air Canada Centre, Toronto ON, April 2008 - Lenny Santiago.

Potrebbero piacerti anche