Hit-Boy might be music's busiest person in 2020. Across a four-month timespan, the two-time GRAMMY-winning superproducer quarterbacked four of the biggest projects in rap this year. In May, he dropped the fourth and final installment of his The Chauncey Hollis Project solo series, followed by Also Known As Courtesy Of Half-A-Mil, his collaborative album with Dom Kennedy, in July. He followed up with King's Disease, the 13th album from rap icon Nas, in August, and Big Sean's fresh-out-the-oven Detroit 2, released Friday (Sept. 4)—both of which he executive-produced. 

But for Hit-Boy, it's just another day in the office.

"It's too many artists trying to tap in for me to just work on one thing at a time, but I still am able to give my focus," he tells GRAMMY.com on the eve of the release of Detroit 2. "It's like quantity and quality. I don't know how to explain it right now."

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With his mind on his music and his music on his mind, Hit-Boy is used to juggling a packed calendar in the studio. He's kept a 24/7-schedule since first breaking into the industry in the late 2000s. He's since become one of the go-to producers in the game, creating hits for everyone from Kanye West to Beyoncé to Mariah Carey. The versatile creative sees genre-hopping as a learning experience.

"I just get to learn more about different ways people make music," he says of his broad production style. "People in the pop world are totally different from people who make beats for Big Sean and JAY-Z … I honestly just like to learn, no matter what type of music it is."

Hit-Boy, who started off rapping before transitioning to making beats, is also busy carving his own lane as an artist. His new solo album, The Chauncey Hollis Project, and his team-up with Dom Kennedy, Also Known As, see him switching from behind the board as a producer to in front of the mic as a rapper. It's the latest progression in Hit-Boy's ever-evolving creative journey.

"I'm gonna just keep developing, just keep working, man," he says of his next steps. "It's a never-ending process for me."

GRAMMY.com caught up with Hit-Boy to talk about his creative process behind Big Sean's Detroit 2 and Nas' King's Disease, how the COVID-19 pandemic has impacted his artistic approach and how he's paving a path as a rapper in his own right.

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You've worked with just about everyone in music, from Kanye West to Jennifer Lopez to Beyoncé. Do you ever get nervous or anxious when you work with a huge superstar?

Earlier in my career, yeah. I definitely used to get a little nervous, but I always just believed I had something, even if all of it wasn't great. I know I have something in the batch that was going to catch people's attention. That's the same method I take on now, but I've just advanced so much at just being a musician and locking in on making beats ... Now that I got that science figured out, I'm just on damn near autopilot right now. I'm just getting placement after placement.

It sounds like you're in high demand. How do you juggle it all? Are you working on multiple projects at once? Or do you stay exclusively focused on one album or one project from beginning to end?

It's too many artists trying to tap in for me to just work on one thing at a time, but I still am able to give my focus. Like with Nas' album, King's Disease, we made time for our sessions, made sure there wasn't too many people around and locked in. My relationship with [Big] Sean—I've got a bunch of stuff on Detroit 2. I was able to still be in the zone, working on his sh*t, then also do a Nas album in the middle of that, and then work on Polo G's album and work on all this other sh*t I got going.

I feel like my method is like: Get to the studio before people show up, make as many tight beats as I can, all type of styles. Then whoever comes through that day, I'm going to have at least one or two that's going to catch your ear ...

It comes from me having my label deal and more so trying to focus on, I feel like, what was too many things at one time, which was trying to be an artist myself, signing a bunch of artists, trying to be a hot producer, trying to produce for everybody at once. That was too much, but now ... I work with whoever comes in my realm and respects what I do ... It's like quantity and quality. I don't know how to explain it right now.

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You recently executive-produced Nas' latest album, King's Disease. Can you talk about the creative and production process behind that album?

I mean, obviously he's Nas. You know what I'm saying? Certain people know me—I'm Hit-Boy. But it's like, let's remove that and let's just try to make songs, let's just try to make records ... You could still pop your sh*t and talk about what you want to, but at the same time, let's just make this as enjoyable as possible. When we was going in, we just was letting the room lead the way and the energy was taking us to every next piece of the puzzle.

I just knew that it was a high standard with this project. People was going to really click play on this, and if it was whack, they was gonna let me know. So for so many people I respect, like younger producers like Metro [Boomin], like Pi'erre [Bourne], Tay Keith, and then I got people like Timbaland, Swizz [Beatz] and all these OGs also reaching out [and] just showing respect—that just shows me [that] this hit the core of music lovers. People who really listening, they understanding this is really quality sh*t.

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You also executive-produced the new Big Sean album, Detroit 2. What sort of vibe or sound did you try to create on that album?

I just wanted everything to sound modern, even like some of the soulful [songs]. The song we dropped with [Nipsey Hussle], rest in peace, "Deep Reverence"—it's like a real throwback, Roc-A-Fella-ish sample vibe, but then the drums sound modern; they sound new. So I kinda kept that through the whole project. It's just remnants of music we enjoyed, but it's placed in a modern way, so definitely just trying to make sure it was just a fresh sound.

You mentioned a bunch of artists coming into your studio. Are you currently producing with artists in-person? Or are you working mostly virtually and remotely due to the COVID-19 pandemic?

We started the Nas album before the pandemic hit. That's what's crazy: We named it King's Disease before we even knew about the corona. Giving us that time during the pandemic when it was super shut down, we got to really sit and just really produce the record like how we wanted to. That was a good thing.

I'm kinda doing it both ways. People been hitting me [up] crazy. I've been emailing stuff out, but we always get the better connection when it's in-person. Me and [Big] Sean, we worked on all our stuff just face-to-face. I'm cooking beats from scratch. We really just building it from the ground up, so it's always good to do it that way. But if you do have to email, there's nothing wrong with that either.

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What do you lose and what do you gain from producing virtually and working remotely compared to working with someone in-person?

You just get more of a connection when you work in-person. You're able to get that instant feedback ... It just makes it easier to navigate. When you [send it], you're just kind of shooting blind and just hoping that the person connects with the beat you sent. It's just two different things. They both worked out for me, personally, I have to say. I feel like my best beats come when I'm just dolo, just vibing out, zoning out and just letting whatever come to me. But I also been tapping into just making a lot more beats with people, too. It's just all music at the end of the day.

Speaking of the pandemic, we've been in quarantine for a long time now. You're in and out of it in your studio. How has this pandemic and quarantine era impacted your creativity?

I honestly feel like I'm more creative than ever ... My son was born right when we went into quarantine, within a day or two. It's just been good for me to have his energy and be able to spend more time with him and not have to fly out [to] no places and doing even more than I'm already doing. I feel like it's just been a blessing for me, for real. It's just looking good, so I'm trying to keep the energy up.

In addition to your production work, you're also an artist. You're able to switch from behind the board as a producer to in front of the mic as a rapper. What kind of challenges come with that creative duality?

Man, it's kind of all just music to me ... Like sometimes, I might not even rap on my own beat; I get beats from other people. I'm able to just separate it that way. I'm not looking at it like, "Oh, I'm Hit-Boy. I'm about to make a song." I'm just like, "I'm about to say what needs to be said on [this beat]." Then when I make the beat, it kinda make me even more tapped in because I can get into the Hit-Boy bag and then just still give it that honest perspective.

What are you developing to carve a lane for yourself as Hit-Boy, the artist?

I'm just recording ... I put out The Chauncey Hollis Project. I did that in installments. I put out three songs at a time until it equaled 12 songs. That was just a moment for me, just being honest, just talking about my life, where I've been, where I'm going, what I'm on now. Just more of that, you know what I'm saying? More projects, more and more people featuring on my music now because I'm working with so many artists. They be hearing my sh*t. They like, "OK, I want to hop on this." I'm gonna just keep developing, just keep working, man. It's a never-ending process for me.

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As a producer, you're switching from producing harder rappers like Travis Scott and Clipse to pop stars like Ariana Grande and Selena Gomez. Creatively, what do you gain from jumping around genres like that?

I just get to learn more about different ways people make music. People in the pop world are totally different from people who make beats for Big Sean and JAY-Z and stuff like that, for the most part. There are some people that can hop in multiple lanes, but not everybody can do that. I honestly just like to learn, no matter what type of music it is.

What are some other genres that you are curious to explore that you haven't explored yet?

Like some hardcore rock 'n' roll sh*t. Who knows, man? Country, I haven't done no serious country records. I'm down to just try whatever, as long as it makes sense and I could still really feel the music.

We're almost at the end of the year, which is crazy to think about. What do you have left in the pipeline for 2020?

We've got, obviously tonight, that Big Sean, Detroit 2. Then I got an album with Benny The Butcher that's dropping; we got some dope features on that, some dope, soulful production. I feel like that was the thing with the Nas album. People saw I was producing that, they was like, "He known for club records and 'N****s in Paris.' But what can he give Nas?" 

And then once people heard it, it was like, "OK, we get it now." I feel like with the Benny project, it's going to be [an] even deeper thing. He's a new artist, so it's just a blank canvas to be able to paint something that could be something crazy.

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How do you compare working with newer artists like Benny The Butcher and superstars like Beyoncé and Kanye West?

They both hungry for this sh*t. Beyoncé, she work like a new artist, too. But Benny, he got some crazy, hungry—just really coming from the streets and coming from his background. For him, coming to the studio, he be like, "Man, this sh*t fly that we in the studio together." I feel the same way. He really taking advantage of the moment. When we in there, when I'm playing some sh*t, he understands what's going on. He just attacking everything with the highest intensity.

So we should keep an eye on Benny The Butcher is what you're saying.

One-thousand percent.

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You released the fourth and final installment of your The Chauncey Hollis Project solo series in May, followed by Also Known As Courtesy Of Half-A-Mil, your collab album with Dom Kennedy, in July. What do those two albums offer as separate entities?

The music I make with Dom has just got its own specific feeling. And I went for just soulful, just giving people an honest me on my project. That's what I always try to do on every song. But with [Also Known As], we always just kind of create a vibe, something that females can mess with, and then you can just ride to it ... We always just creating music. We always just recording ...

Those two albums put you directly in the artist seat. Where can we expect those two artist projects to go next?

Honestly, I can't even call it, bro, because I was just moving off instinct. When I decided to drop the first installment [of The Chauncey Hollis Project], the first three songs, it was the night before. I just had recorded the songs, started mixing them, and I was like, "Man, I want to drop this sh*t." I made the decision [to drop it] Wednesday, [then] dropped it Thursday ... 

I still got people hitting me, people DMing me daily, listening to The Chauncey Hollis Project, listening to [Also Known As], people in they ride playing it. It's like, "OK, we headed in the right direction." So I can't even call it, man. You never know how this thing is going to go. But I'm just going to continue to make the music that I feel, and hopefully people connect with it.

Go with the flow.

Yup. We one song, one project at a time.

Are you always thinking about music, 24/7?

I am, man. That goes back to when I said I had my artist [deal] and I was working with Kanye and I was working with Beyoncé and JAY-Z. I had a point where I was like, "Man, I'm definitely not even taking no sessions if it's not Kanye, JAY-Z or Beyoncé." That's a crazy thing to be able to say within your lifetime. I'm not going to say it hurt me, but I feel like I should have been spreading my sound out a little bit more, especially with not having a tag and not having my brand all the way up where I needed it to be.

Now I feel like I've been playing catch-up. That's why I was able to do a bunch of songs on [Big] Sean's sh*t, do a bunch of sh*t on [Nas'] King's Disease, because I'm seeing the field different now. Once I catch that connection with an artist, it's over—we just tapping in. It's something about the type of grooves and the type of beats I'm making right now that makes people want to make songs, so [I'm] really trying to take this sh*t to a different level.

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Since Ice Spice first caught our attention two summers ago, she's been nothing short of a rap sensation. From viral hits like her breakout "Munch (Feelin' U)," to co-signs from Drake and Cardi B, to a Best New Artist nomination at the 2024 GRAMMYs, the Bronx native continues to build on her momentum — and now, she adds a debut album to her feats.

Poised to be one of the hottest drops of the summer, Y2K! expands on Ice Spice's nonchalant flow and showcases her versatility across 10 unabashedly fierce tracks. She dabbles in Jersey club on "Did It First," throws fiery lines on lead single "Think U the S— (Fart)," and follows the album's nostalgic title with an interpolation of an early '00s Sean Paul hit on "Gimmie a Light."

Y2K! also adds more star-studded features to Ice Spice's catalog, with Travis Scott, Gunna and Central Cee featuring on "Oh Shh...," "B— I'm Packin'," and "Did It First," respectively. At the helm is producer RiotUSA, Ice Spice's longtime friend-turned-collaborator who has had a hand in producing most of the rapper's music — proving that she's found her stride.

As you stream Ice Spice's new album, here are five key takeaways from her much-awaited debut, Y2K!.

Ice Spice is one of the few ladies holding down the New York drill scene on a mainstream level. She's particularly rooted in Bronx drill, a hip-hop subgenre known for its hard-hitting 808s, high-hats and synthesizers — and according to the sounds of Y2K!, it’s seemingly always going to be part of her artistry.

"It's always time to evolve and grow as an artist, so I'm not rushing to jump into another sound or rushing to do something different," Ice Spice told Apple Music of her tried-and-true musical style. 

While Y2K! may not be as drill-driven as her debut EP Like…?, the album further hints that Ice isn't ready to retire the sound anytime soon. The subgenre is the dominant force across the album's 10 tracks, and most evident in "Did It First," "Gimmie a Light" and "BB Belt." Even so, she continues her knack for putting her own flair on drill, bringing elements of trap and electronic music into bops like "Oh Shhh…" and "Think U the S— (Fart)."

Minus a few tunes, all of Ice Spice's songs start off with her signature "Stop playing with 'em, Riot" catchphrase — a direct nod to her right-hand man RiotUSA. Ice and Riot met while attending Purchase College in New York, and they've been making music together since 2021's "Bully Freestyle," which served as Ice's debut single. "As I was growing, she was growing, and we just kept it in-house and are growing together," Riot told Finals in a 2022 interview.

Riot produced every track on Like.. ? as well as "Barbie World," her GRAMMY-nominated Barbie soundtrack hit with Nicki Minaj. Their musical chemistry continues to shine on Y2K!, as Riot had a hand in each of the LP's 10 tracks.

In a surprising move, though, Ice doesn't just lean on Riot this time around. Synthetic, who worked on Lil Uzi Vert's GRAMMY-nominated "Just Wanna Rock," brings his Midas touch to "Think U the S—." Elsewhere, "B— I'm Packin'" is co-produced by Riot, Dj Heroin, and indie-pop duo Ojivolta, who earned a GRAMMY nomination in 2022 for their work on Kanye West's Donda. But even with others in the room, Riot's succinct-yet-boisterous beats paired with Ice's soft-spoken delivery once again prove to be the winning formula.

Named after Ice Spice's birthdate (January 1, 2000), her debut album celebrates all things Y2K, along with the music and colorful aesthetics that defined the exciting era. To drive home the album's throwback theme, Ice tapped iconic photographer David LaChapelle for the cover artwork, which features the emcee posing outside a graffiti-ridden subway station entrance. LaChapelle's vibrant, kitschy photoshoots of Mariah Carey, Lil' Kim, Britney Spears, and the Queen of Y2K Paris Hilton became synonymous with the turn of the millennium.

True to form, Y2K!'s penultimate song and second single "Gimmie a Light" borrows from Sean Paul's "Gimme the Light," which was virtually inescapable in 2002. "We really wanted to have a very authentic Y2K sample in there," Ice Spice said in a recent Apple Music Radio interview with Zane Lowe. Not only does the Sean Paul sample bring the nostalgia, but it displays Ice's willingness to adopt new sounds like dancehall on an otherwise drill-heavy LP.

Taking the Y2K vibes up another notch, album closer "TTYL," a reference to the acronym-based internet slang that ruled the AIM and texting culture of the early aughts. The song itself offers fans a peek insideIce's lavish and exhilarating lifestyle: "Five stars when I'm lunchin'/ Bad b—, so he munchin'/ Shoot a movie at Dunkin'/ I'm a brand, it's nothin.'"

Whether she's flaunting her sex appeal in "B— I'm Packin'" or demanding potential suitors to sign NDAs in "Plenty Sun," Ice exudes confidence from start to finish on Y2K!.

On the fiery standout track "Popa," Ice demonstrates she's in a league of her own: "They ain't want me to win, I was chosen/ That b— talkin' s—, she get poked in/ Tell her drop her pin, we ain't bowlin'/ Make them b—hes sick, I got motion." And just a few songs later, she fully declares it with "BB Belt": "Everybody be knowin' my name (Like)/ Just want the money, I don't want the fame (Like)/ And I'm different, they ain't in my lane."

For Ice, "baddie" status goes beyond one's physical attributes; it's a mindset she sells with her sassy delivery and IDGAF attitude.

In album opener "Phat Butt," Ice boasts about rocking Dolce & Gabbana, popping champagne, and being a four-time GRAMMY nominee: "Never lucky, I been blessed/ Queen said I'm the princess/ Been gettin' them big checks in a big house/ Havin' rich sex," she asserts.

Further down the track list, Ice Spice firmly stands in her place as rap's newest queen. In "BB Belt," she raps, "I get money, b—, I am a millionaire/ Walk in the party, everybody gon' stare/ If I ain't the one, why the f— am I here, hm?"

Between trekking across the globe for her first headlining tour and lighting up the Empire State Building orange as part of her Y2K! album rollout, Ice Spice shows no signs of slowing down. And as "BB Belt" alludes, her deal with 10K Projects/Capitol Records (she owns her masters and publishing) is further proof that she's the one calling the shots in her career.

Whatever Ice decides to do next, Y2K! stands as a victory lap; it shows her prowess as drill's latest superstar, but also proves she has the confidence to tackle new sounds. As she rapped in 2023's "Bikini Bottom," "How can I lose if I'm already chose?" Judging by her debut album, Ice Spice is determined to keep living that mantra.

July has graced us with a diverse array of new music from all genres, lighting up dance floors and speakers everywhere.

The last weekend of the month brings exciting new collaborations, including another iconic track from Calvin Harris and Ellie Goulding, as well as a fierce team-up from Paris Hilton and Meghan Trainor. Halsey and Muni Long offered a taste of their forthcoming projects, while Jordan Davis and Miranda Lambert each delivered fun new country tunes. 

In addition to fresh collabs and singles, there's a treasure trove of new albums to uncover. Highlights include Ice Spice's Y2K!, Rakim's G.O.D., Sam Tompkins' hi, my name is insecure, Wild Rivers' Never Better, Tigirlily Gold's Blonde, and kenzie's biting my tongue.

As you check out all the new music that dropped today, be sure you don't miss these 10 tracks and albums.

Although fans anticipated Machine Gun Kelly's next release to mark his return to hip-hop, no one seems to be complaining about "KellyRoll." Embracing the trend of venturing into the country genre, mgk teams up with fellow GRAMMY-nominated artist Jelly Roll on their newest track, "Lonely Road."

The genre-blending track interpolates John Denver's classic "Take Me Home, Country Roads." However, unlike Denver's sentimental ode to the simplicity of rural life, mgk and Jelly Roll reinterpret the track through the lens of romantic relationships that have come to a, well, lonely end.

As mgk revealed in an Instagram post, "Lonely Road" was a labor of love for both him and Jelly Roll. "We worked on 'Lonely Road' for 2 years, 8 different studios, 4 different countries, changed the key 4 times," he wrote. "We finally got it right."

In another interpolation special, Halsey samples not one but two classics in their latest single, "Lucky." The song's production features elements of Monica's 1999 hit "Angel of Mine," while the chorus flips Britney Spears' fan-favorite "Lucky" into a first-person narrative.

While Halsey has always been a transparent star, their next project is seemingly going to be even more honest than their previous releases. After first revealing their journey with lupus with the super-personal "The End" in June, "Lucky" further details their struggles: "And I told everybody I was fine for a whole damn year/ And that's the biggest lie of my career."

Though they haven't revealed a release date for their next project, Halsey referred to her next era as a "monumental moment in my life" in an Instagram post about the "Lucky" music video — hinting that it may just be their most powerful project yet.

Read More: Everything We Know About Halsey's New Album

Ahead of Paris Hilton's forthcoming album, Infinite Icon — her first in nearly 20 years — the multihyphenate unveiled another female-powered collaboration, this time with Meghan Trainor. Co-produced by Sia, "Chasin'" is a lively pop anthem about discovering self-worth in romantic relationships and finding the strength to walk away from toxicity.

"She is the sister I always needed and when she calls me sis, I die of happiness inside," Trainor told Rolling Stone about her relationship with Hilton. Coincidentally, Trainor first wrote the track with her brother, Ryan, but the pop star was waiting for the right collaborator to hop on the track — and Hilton was just that.

"We made something truly iconic together," Trainor added. "It was a bucket list dream come true for me."

A highly awaited return to music after eight years, Australian electro-pop duo Empire Of The Sun are back with their fourth studio album, Ask That God.

"This body of work represents the greatest shift in consciousness our world has ever seen and that's reflected in the music," says member Lord Littlemore in a press statement.

Like their previous work that transports listeners to a different universe, this album continues that tradition with trancey tracks like lead single "Changes" and the thumping title track. Ask That God offers a chance to reflect on the blend of reality and imagination, while also evoking the radiant energy of their past songs.

Dance music's collaborative powerhouse, Calvin Harris and Ellie Goulding, are back with another summer hit. Their latest track, "Free," marks the fourth collaboration between the duo — and like their past trilogy of hits, the two have another banger on their hands.

The track debuted earlier this month at Harris' show in Ibiza, where Goulding made a surprise appearance to perform "Free" live. With Harris delivering an infectious uptempo house beat and Goulding's silky vocals elevating the track, "Free" proves that the pair still have plenty of musical chemistry left.

Post Malone's transition into country music has been anything but slow; in fact, the artist went full-throttle into the genre. The  New York-born, Texas-raised star embraced his new country era with collaborations alongside some of the genre's biggest superstars, like Morgan Wallen and Blake Shelton. Continuing this momentum as he gets closer to releasing F-1 Trillion, Post Malone teams up with Luke Combs for the new track "Guy For That."

The catchy collaboration tells the story of a relationship that has faded, where the protagonist knows someone who can fix almost anything, except for a broken heart. It's an upbeat breakup song that, like Post's previous F-1 Trillion releases, can get any party going — especially one in Nashville, as Malone and Combs did in the track's music video.

Just one month after Surfaces released their latest album, good morning, the duo's Forrest Frank unveiled his own project, CHILD OF GOD — his debut full-length Christian album. Among several features on the LP, one of the standouts is with GRAMMY-winning artist Tori Kelly on the track "Miracle Worker."

Over a plucky electric guitar and lo-fi beats, Frank and Kelly trade verses before joining for the second chorus. Their impassioned vocals elevate the song's hopeful prayer, "Miracle Worker make me new."

Their collaboration arrives just before both artists hit the road for their respective tours. Frank kicks his U.S. trek off in Charlotte, North Carolina on July 31, and Kelly starts her world tour in Taipei, Taiwan on Aug. 17.

Since their debut in 2022 with "Tippy Toes," Japanese girl group XG has been making waves and showing no signs of slowing down. With their first mini album released in 2023 and now their latest single, "SOMETHING AIN'T RIGHT," the group continues to rise with their distinctive visuals and infectious hits.

The track features a nostalgic rhythm reminiscent of early 90s R&B, showcasing the unique personalities of each member. As an uptempo dance track, it's designed to resonate with listeners from all across the globe.

"SOMETHING AIN'T RIGHT" also serves as the lead single for XG's upcoming second mini album, set to release later this year.

For nearly 15 years, Mustard has been a go-to producer for some of rap's biggest names, from Gucci Mane to Travis Scott. On the heels of earning his first Billboard Hot 100 chart-topper as a producer with Kendrick Lamar's "Not Like Us," he's back with his own collaboration-filled project.

Faith of a Mustard Seed features a robust 14-song track list with contributions from Vince Staples, Lil Yachty, Charlie Wilson, and more. The LP marks Mustard's fourth studio album, and first since 2019's Perfect Ten.

In an interview with Billboard, Mustard shared that the album's title is an ode to late rapper Nipsey Hussle, who suggested the title during one of their final conversations before his untimely death in 2019. And once "Not Like Us" hit No. 1, Mustard knew it was time to release the long-in-the-making album.

Every album comes with a backstory, but not many come with two. Rakim's new project G.O.D's Network (REB7RTH), out July 26, came together in a few quick months, from signing a deal in February 2024 to completion in June. The process was spurred by one dedicated A&R person frantically combing through his network of rappers to get guest verses over beats produced by the God MC himself.

But to hear that A&R man, Matt "M80" Markoff, tell it, creating the seven-song project didn't take four months. It took four years.

"I've known [Rakim's longtime manager] Matt [Kemp] and Rakim since 2007," Markoff tells me when I get him on the phone in late June. "They're used to getting calls from me a couple of times a year just for, like, show referrals, verse referrals, things of that nature."

Back at the beginning of the pandemic, Markoff had been talking to the folks at Fat Beats, the venerable record store-turned-distributor that's a huge name in independent hip-hop. He mentioned Rakim's name to the company, and Fat Beats responded that they'd love a project from the God MC. The original pitch, Markoff remembers, was "a three or four song EP with some remixes."

Rakim quoted his price, Fat Beats agreed, and the project was underway, with the emcee meeting with producers to look for beats. But Rakim, who hasn't released a solo album since 2009's The Seventh Seal, is not one to be hurried.

"Ra was having [DJ] Premier and Pete Rock and Ninth Wonder and some of these people come to the studio," Markoff says. "Because of scheduling conflicts and stuff and, you know, normal course of life, it just wasn't right. The vibe wasn't there."

That's where Jazzy Jeff came into play. Rakim and the legendary DJ began working together and, per Markoff, it "just meshed." It seemed like, instead of a handful of songs, a full-length record was in the offing.

"As soon as they finish the first song, I walk into Fat Beats and say, ‘Hey, this is what we're doing now,'" the A&R man recalls. "Instead of Rakim with random producers, it's Rakim/Jazzy Jeff. That'll be huge."

Then…nothing.

A few years pass, and the Rakim and Jazzy Jeff project is still unfinished. (Rakim described its status as "We have a couple records already done.") Fat Beats, which was on the auction block (it was eventually sold in March 2024), wants its money back. Rakim obliges, and everyone seems set to forget about the whole thing.

Markoff, however, was not about to give up on working with the man he calls "my favorite emcee of all time."

The revamped album started its life as not an album at all. Instead, the original conception was a model Markoff had used before: licensing beats by people not typically thought of as producers. In this case, he'd be offering aspiring rappers the chance to get beats by arguably the most influential rapper of all time. 

"He's taken people who are not necessarily known as producers and put together beat packages for them," manager Matt Kemp says of Markoff. "And then, one of the things he does is he goes out and he licenses those beats through a company that he has. If you're a European artist that wouldn't necessarily have access to things like that, you can get it."

So that, as of February of this year, was the (revamped) plan: have Rakim do six beats and one verse, and sell non-exclusive licenses, so that any rapper, anywhere in the world, who wants to use them in a song of their own could do so. This, indeed, was a vision that was followed through all the way to the finish line — you can see the end result released July 12, priced between $700-$1,050 depending on what you want to do with the beats and the rhyme, here.

But along the way to creating that package, things got significantly more complicated. As Rakim was making the beats, he found he really liked them. In some cases, he even wanted to rhyme on them himself.

"As the beats started coming together and Rakim was really in the studio and we started putting the rhymes onto them, we realized that it was bigger just than that [original vision]," Matt Kemp said.

The wheels started turning. Rakim, the God MC, as a producer? That would be a project worth sharing with the world, not just a few aspiring artists.

As it turns out, unbeknownst even to many Ra fans, the rapper has been making beats since the beginning. In fact, he produced — and played drums on — one of Eric B and Rakim's classic songs, 1992's "Juice (Know the Ledge)." So producing an entire project didn't seem like such a big stretch after all. 

"I always was attached to making beats," Rakim explains to me. "But I got to the point where I'm confident with my production now. I got the chance to produce the album and jumped at the opportunity." 

Rakim, as has been well documented over the years, comes from a musical family. His older brother Ronnie was a keyboard player of some note with his own claim on rap history, his other brother Stevie is also keyboardist who performed on some Eric B. and Rakim songs, and the rapper's aunt is the late R&B legend Ruth Brown. So when making beats, Ra will often play drums, bass, guitar, or piano. (He cops to enlisting one of his brothers if the keyboard part gets too complicated.)

He describes his production style this way: "You try to add on to the sample, and enhance certain sounds that you hear. Or you might just add a melody that you feel enhances the sample as well." 

In addition to playing instruments on the project, Rakim also plays the turntable.

"I always knew how to DJ, and I like being able to enjoy the project from a different seat," he tells me. "I enjoyed putting the music together, coming up with the scratch patterns."

So with the musical side of the equation firmly in place, what about the vocals? Rakim was inspired to add verses on a few songs, and hooks on a few more.

"It's mostly a project that I was supposed to be producing," he explains. "In the midst of that, there's certain beats that I'm playing and I'm like, ‘I gotta rhyme on this one,' or, ‘I got a rhyme that fits this one perfectly.'"

The question was, what to write about? After a decade and a half without an album, the rapper had a lot to discuss, and needed to find new ways to say it.

For the project's lead single, "BE ILL," he got in plenty of internal rhymes. And the song's tempo allowed him to come up with different rhythms.

"When tracks are at that speed, I'm able to manipulate time and space to come up with different rhythms because I have so much time and space to deal with," he says. "It was one of them songs I loved rhyming to. Just having fun with words and phrases, and at the same time having so much on my mind to say."

"I'm trying to say a lot of things," Ra admits when discussing his writing on the album. "It's hard to just come back and say a verse when you've been gone so long. So I tried to be very specific and cautious with the words that I chose, and try to be entertaining at the same time. So it was a little nerve wracking."

Even with Rakim's vocal contributions (he ends up with either verses or hooks on six of the project's seven tracks), more was needed to complete the songs. That's where Markoff really got going.

"Literally, I didn't waste a single day," he remembers. "I was calling the artists in my network. I reached out to each artist one by one, and let each artist go through the folder [of beats] with me and make their picks."

Among the artists Markoff reached out to were several members of the Wu-Tang Clan. He has a long relationship with the crew, having worked with them on several projects including the well-regarded 2005 album Wu-Tang Meet the Indie Culture.

Markoff recalls the exact moment when he lined up Wu member Masta Killa for his appearance on what became "BE ILL."

"I was at the first ever Wu-Tang Clan residency in Vegas, and I told Masta Killa, ‘Dude, I just got these Rakim beats 10 minutes ago.' I played 10 seconds of the second beat, which was the beat for ‘BE ILL.' And he was like, ‘That's the one.'" 

A different Wu-Tang show was responsible for one of the album's other notable guest appearances, Cash Money stalwart B.G. The two met at the concert, and the Louisiana rapper was in the studio "48 hours later," Markoff recalls.

For a handful of artists he had good long-term relationships with, Markoff let them choose which of Rakim's beats they wanted to rap over. In addition to Masta Killa, he names Chino XL, Hus Kingpin, 38 Spesh, and TriState as being on that short list. After that, he says, it was all his decision. 

The end result is a list of some of the top rappers in his Rolodex: Kool G. Rap, Method Man, Kurupt, Canibus, KXNG Crooked, Skyzoo, Joell Ortiz, and many more — including an outro from Snoop Dogg. But one of the most surprising things on the tracklist is that a number of the guests aren't alive anymore.

Nipsey Hussle, Prodigy, DMX, and Fred the Godson have verses on the record. All of them were people Markoff had worked with in some capacity over the course of his career. He says that all of the verses were "in my stash or under my ownership." So when he was looking for material for the Rakim project, they were a perfect fit.

The Nipsey Hussle contribution in particular stood out so much that the entire song, "Love Is the Message," was designed around it. The project's engineer placed Neighborhood Nip's verse first, and everyone else listened to that when recording.

"We kind of glorified who he is, and came up with the title ‘Love Is the Message' to put everything in perspective," Rakim tells me. "So everybody vibed off of that and everything that we implemented had to have that feel or had to be in that direction." 

One thing Rakim noticed as he was listening to the contributions coming in? Many of them were paying tribute to him. In particular, B.G. says in his verse that he's "on a song with the greatest." 

"To hear things like that from my peers is a beautiful thing," says Rakim, who also admits to tearing up when hearing Snoop Dogg praise him on the outro of one of the album's songs. "Hip-hop is one of the more, I guess, feisty genres. It's hard to get that love from your peers. So it's a real blessing to hear it from people like that, to hear what they think of you and to say that on records. A lot of people might think that of you, but would never say it on a record."

For Markoff, B.G.'s tribute was particularly meaningful because of the rapper's history. He began his career in a duo, and later a quartet, with another rapper sometimes considered the greatest of all time, Lil Wayne.

"For B.G. to have that history, but acknowledge Rakim — I was speechless," Markoff confides. "It was really cool to see. It's like, ‘I'm not just going to say my partner, my friend, my confidant Lil Wayne's the best because we grew up together.'"

Finally, after all the guest verses came in, the project was ready. Seven songs, entirely produced by Rakim, with raps by him and a broad cross-section of artists. The question, then: what exactly is this project? An album? An EP? Rakim's big comeback? A teaser for his eventual full-length return?

To Markoff, none of these labels are important. He's not concerned about fans being disappointed that a project under Rakim's name features only a handful of the rapper's verses.

 "The fan is going to look at it however they want to look at it," he says. "The negative people will stay negative. It wouldn't matter if it was the greatest album of all time. The positive people that are so grateful that I stepped up to the plate to help bring new Rakim music to the world are going to love it."

After all, he continues, "The whole point originally when we started making it was letting his peers shine on Rakim beats. The fact that this project morphed into something that Rakim literally is on 95% of, I couldn't have asked for more of a blessing."

So Matt Markoff, the boy who fell in love with Rakim's music at 12 is now, three decades later, putting out music from his hero.

"Dream fulfilled," he says right before we hang up. "Now I gotta figure out what I'm going to do for the rest of my life." 

Editor’s Note: Updated to add the Instagram Live video featuring Harvey Mason jr. and Stevie Mackey.

The Recording Academy continues its mission to empower music's next generation with the launch of its second specialization in the GRAMMY GO platform: "Music Production: Crafting Award-Worthy Songs."

This new course, a partnership between the Recording Academy and leading online learning platform Coursera, aims to bolster the technological and audio skills of music producers of all levels. The course, taught by Howard University professor and GRAMMY nominee Carolyn Malachi, features appearances by three-time GRAMMY winner and rap icon Hit-Boy, chart-topping and GRAMMY-winning producer/songwriter CIRKUT, artist and celebrity vocal coach Stevie Mackey, five-time GRAMMY nominee and Recording Academy CEO Harvey Mason jr., and 15-time GRAMMY winner Judith Sherman.

Enrollment for "Music Production: Crafting Award-Worthy Songs" is open now.

Mixing a unique blend of theory and practice, the course teaches music creators of all levels the advanced skills and tools to develop the mindset and confidence of an experienced producer and produce songs of the highest industry standards across all genres. Explore the wide-ranging roles of a music producer, develop critical listening and analysis skills, and master the technical aspects to create music and compositions that cut through the noise. The course's applied learning approach allows learners to sharpen their pre-production skills, utilize Digital Audio Workstations (DAWs) effectively, and produce vocals, instrumentals and samples collaboratively. Through critical listening exercises and discussions, learners will refine their abilities to deliver professional-quality demos.

To celebrate the launch, the Recording Academy hosted an Instagram Live session on Tuesday in which guests Harvey Mason jr. and Stevie Mackey discussed the evolving role of music producers, strategies for working with artists, key elements of top-notch productions, common mixing mistakes, tips for keeping the creative process fresh, and enrollment details for the course.

Read more: How The Recording Academy's GRAMMY GO Is Building A Global Online Learning Community & Elevating The Creative Class

Building on the success of its first specialization, "Building Your Audience for Music Professionals," GRAMMY GO continues to offer industry-focused education tailored for emerging and established music creators and professionals alike. The innovative platform provides learners with real-time insights from leading music industry figures, ensuring the content remains practical and up to date. GRAMMY GO will also serve as an essential tool in the Recording Academy's global expansion into Africa and the Middle East, empowering music creators through enhanced training, bridging knowledge gaps, and fostering connections within the global music community.

Launched in April in partnership with Coursera, GRAMMY GO is the Recording Academy's first creator-to-creator platform, offering innovative courses tailored for both emerging and established music professionals. The initiative accelerates the Academy's global mission and reinforces its commitment to music education, providing a seamless bridge between all Academy initiatives.

Learn more about GRAMMY GO and the "Music Production: Crafting Award-Worthy Songs" and "Building Your Audience for Music Professionals" specializations.

Watch the Instagram Live session with Harvey Mason jr. and Stevie Mackey in full below:

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