Hit-Boy is a name synonymous with chart-topping success. As a prolific producer and songwriter, he’s been instrumental in creating hits for hip-hop giants like Drake, Nas, and Lil Wayne, along with pop sensations such as Beyoncé, Mariah Carey, and Ariana Grande. His talent lies in both his incredible ear for music and his collaborative spirit.
Rapper Big Sean, a frequent partner, praises their workflow: “We’ve made some of our best songs in just one night off straight vibe. It’s never forced, always natural.”
At 38, Hit-Boy has nearly two decades under his belt in an industry that has transformed dramatically, from how music is made and performed to how it’s released and consumed. This longevity offers him a unique perspective on the music industry’s ongoing evolution.
Now embarking on a new chapter as an independent artist, he’s preparing for his solo album, “Sftwre Updte,” after finally breaking free from a long-standing publishing deal that began in his teens. He recently shared stories about several of his key songs and projects, highlighting how he’s not just survived but thrived amidst the ever-shifting musical landscape and soundscape.
‘Drop the World’: A Breakout Moment
Born Chauncey Hollis Jr., Hit-Boy grew up immersed in a rich tapestry of musical influences. His uncle, Rodney Benford, was part of the R&B group Troop. His mother’s playlist often featured Mary J. Blige, while his grandmother preferred Marvin Gaye and Aretha Franklin. Another uncle introduced him to the raw energy of N.W.A, Ice Cube, and Snoop Dogg.
He recalls, “All that music was just downloading into my soul.”
His journey began with creating remixes on MySpace and selling homemade CDs for $5 outside local malls. In 2007, at just 19, he signed a $50,000 co-publishing deal with Universal Music Publishing Group and producer Polow da Don, who discovered his beats on MySpace and became his mentor.
Hit-Boy admits he didn’t fully grasp the terms of the deal, which he says had no end date. He recounts, “I didn’t understand the terms. I’m just trusting the lawyer.”
Two years later, while living in Atlanta, Hit-Boy was inspired by a Lil Wayne interview where the rapper expressed a desire to work with Eminem. This sparked a creative fire.
Collaborating with producer and musician Chase N. Cashe, he crafted the distinctive synth sound that defines “Drop the World.”
“When we made the beat, I swear to God, I was like, ‘This could be the beat for Wayne and Eminem,’” Hit-Boy remembers. They sent the track to Wayne’s engineer, a common practice in the early digital era. “We was emailing heavy back then. We was just sending beats out to whoever we could.”
The song’s massive success was thrilling. “I was watching that on the iTunes charts and I was going crazy,” he says. “Wayne was on super fire at that time. That put me and Chase in a space where hip-hop Twitter was talking about us — that hip-hop sphere of the blog era.”
‘Niggas in Paris’: A Grammy Win, a Bitter Lesson
From the iconic 2011 collaboration “Watch the Throne,” Jay-Z and Ye (formerly Kanye West) delivered “Niggas in Paris,” a track celebrated for its witty lyricism and vibrant, up-tempo beat.
Having joined Ye’s G.O.O.D. Music, Hit-Boy had initially sent this beat—characterized by its icy synthesizers and bleeps—to Ye eight months prior, expecting it to be picked for the album. When he didn’t hear back, he even considered letting another artist use it for a mixtape. However, a call from Don C, Ye’s manager at the time, changed everything. He requested the file, “Hit-Boy 1663,” be resent.
Ye’s message to Hit-Boy was prophetic: “When this song drops your life about to change.”
Ye further refined the beat, notably adding the now-famous opening sample from Will Ferrell in “Blades of Glory”: “We’re going to skate to one song and one song only.”
The track went on to win Best Rap Performance and Best Rap Song at the 2013 Grammy Awards, and became a staple in Jay-Z and Ye’s live performances, often played multiple times in a single show.
Despite the immense success, the moment was tinged with disappointment for Hit-Boy. He realized he wasn’t receiving the financial compensation he felt such a massive hit warranted.
Reflecting on his co-publishing deal, he stated, “That was the time I realized it was going to be an uphill battle.”
‘King’s Disease’ and ‘Magic’ Trilogies: A Reignited Partnership
Years ago, a social media post showing a friend in the studio with Nas caught Hit-Boy’s attention. He quickly reached out, inviting the legendary “Illmatic” rapper to his own studio.
“He actually pulled up the next day,” Hit-Boy recounts. “We did three ideas he recorded on the spot.”
What started as a spontaneous session evolved into a prolific three-year collaboration. “He didn’t leave for three years,” Hit-Boy marvels. “He kept pulling up. It just was working at that time.”
From 2020 to 2023, this partnership birthed the critically acclaimed King’s Disease and Magic trilogies, with Hit-Boy as the sole producer. A highlight came in 2021 when King’s Disease earned Nas his first Grammy Award after 14 previous nominations.
For Hit-Boy, this achievement was deeply meaningful. “That was just confirmation that I’m doing it the right way, sticking to my guns and doing what sounds real to me,” he shares.
‘Grindin’ My Whole Life, Pt. 2’: A Father-Son Saga
For most of his life, Hit-Boy grew up without his father, Chauncey Hollis Sr., known in the music world as Big Hit, who spent significant periods incarcerated over three decades.
After serving a nine-year prison sentence in 2023 for a hit-and-run, Big Hit was released, reigniting a shared musical passion between father and son. They immediately began collaborating.
The day after his father’s return, they woke early to write “Grindin’ My Whole Life, Pt. 2,” a track that beautifully captures their separate journeys while emphasizing their unbreakable father-son connection.
In December 2024, Big Hit unveiled his debut solo album, “The Truth Is in My Eyes.” Hit-Boy served as executive producer, enlisting an impressive lineup of collaborators including Snoop Dogg, Benny the Butcher, and The Alchemist.
The Alchemist, a highly respected and prolific rap producer, describes Hit-Boy’s dedication: “When he gets an idea, he goes into a mode where he has laser precision with the execution and urgency of it. He thinks in capital letters.”
This project forged a deep bond that Hit-Boy had longed for with his father. They recorded over 700 songs together. However, Big Hit’s return to jail was a profound setback, leading Hit-Boy to re-evaluate his commitment.
“I gave my pops everything I could financially,” Hit-Boy shares. “I’ve lost so much bread, opportunities, connections and put my name on the line. It still wasn’t enough to keep him out of the system. That’s what has led me to be like, I’m not holding no more hands. If I got to say that about my pops, I can say that about anybody.”
The Next Chapter: Embracing AI and New Horizons
In early September, Hit-Boy hosted a celebratory party to mark the long-awaited termination of a publishing contract that he describes as having constrained nearly half of his life.
He credits Jay-Z and Roc Nation CEO Desiree Perez with instrumental help in negotiating his release from the restrictive deal.
“I feel like I’m about to get out of prison right now,” he declared. “I’m free for the first time in my adult life.”
Energized by his newfound freedom, Hit-Boy is diving into multiple ventures. These include a solo album featuring Dom Kennedy, Peezy, and Orion Sun; a collaborative album and short film titled “Goldfish” with The Alchemist, set for an October 25th release; and a podcast, “Let Em Cook,” which will gather chefs and cultural icons for engaging conversations.
He’s also enthusiastically exploring music’s cutting-edge: artificial intelligence. Recently, he experimented with AI to transform his voice into a female one, allowing him to preview how certain vocalizations would fit a track.
“I can get a 30-piece orchestra with the click of a button,” he enthuses, highlighting AI’s capabilities.
In another instance, Hit-Boy utilized AI to generate test lyrics over one of his beats. Liking the initial direction, he then brought in Orion Sun to refine the concepts and craft her own lyrics. “And then she killed it,” he proudly states.
“This is only going to get easier,” he predicts. “But then if you know what you’re doing and you actually got soul and you really locked in, you can basically get out any idea you have. It’s going to get to the point where it is impossible to have a creative block.”