Hit-Boy - What's the Deal? - Official Video - Do not miss this one!

For nearly two decades, Hit-Boy has been the mythical hand shaping the sound of Hip-Hop as we know it. The 3x GRAMMY Award-winning producer and rapper has crafted era-defining records that have stood the test of time. From the 5x Platinum “Drop the World” (853M+Streams) with Lil Wayne and Eminem (2010) to RIAA Diamond-certified tracks like “N***as In Paris” (3.5B+ Streams) with Jay-Z and Kanye West (2011),“XO” (800M+ Streams) with Beyoncé, and “SICKO MODE” (6.2B+ Streams) with Travis Scott and Drake (2018), there’s a reason why “Hit” is in his name. Working with a wide range of artists that also includes modern-day Hip-Hop royalty like Kendrick Lamar, Nicki Minaj, and Drake, as well as Pop stars like Ariana Grande and new artists like Doechii, has only amplified his reach.   His range is unmatched, and as a sonic chameleon, Hit-Boy helped score the blueprint of modern rap music while still continuously evolving his style and sound. In 2020, he became the chief architect behind Nas’ renaissance, executive producing the GRAMMY Award-winning King’s Disease trilogy—earning critical acclaim, industry validation, and a cemented reputation as one of the most decorated producers of his generation. But beneath all the Platinum and Diamond plaques, awards, accolades, and millions of records sold and streamed, was an artist biding his time. Now free from his 18-year deal with Universal Music Publishing Group (UMPG), his forthcoming solo album SFTWRE UPDTE finds Hit-Boy stepping fully into the light for the first time—not just as a producer, but as a man with a message, and an all-around musician geared to rewrite his own code.

Born Chauncey Hollis and raised in Southern California, Hit-Boy’s entry into music came through the internet-era hustle—uploading beats to Myspace and cold-emailing them to his idols. He became both a student and a master of FL Studio, ultimately redefining the production software’s parameters to make it his own. His DIY ethos coupled with an ear for both the classics and a futuristic sound caught the attention of Polow Da Don, and eventually Kanye West, who signed Hit-Boy to G.O.O.D. Music in 2011. What followed was a production run that redefined sonic luxury, as Hit-Boy not only surfed the wave of Hip-Hop’s growing prominence, but actively reprogrammed it. But the story behind the sounds was never seamless. “I've taken time over my career to invest in artists, and always end up in this position where, I'll basically change somebody's life, while still just trying to change my own,” He reflects. “I'm at this point now where I'm taking that capital and I'm putting it into myself.” A similar sentiment can be said about his former publishing deal. At just 19 years old, Hit-Boy was locked into a highly binding deal, one where his genius was currency and often left him to be the last one paid. Those days are now behind him.   The course of his life has changed in so many ways throughout the duration of his career. With his father “Big Hit” being in prison for nearly 30+ years of his son’s life, once he finally left the prison halls, Hit-Boy wanted to help foster his father’s career on the shoulders of his own success, even helping his father release his project The Truth Is In My Eyes, while simultaneously amplifying his father’s work in prison reform. He even worked with COMMUNITYx to have his father released due to his unlawful sentencing. However, just when progress was within reach, his father re-entered prison. As a result, an emphasis on philanthropy, prison reform and supporting underrepresented communities is an ongoing aspect of Hit-Boy’s career outside of his decorated music career. Hit also severed his publishing deal after 18 years and became a father determined to break generational curses and trauma with his son. To do all of that, he had to hit a hard reset, focusing on the betterment of his health, both physically and mentally. “People have never seen me on this level, ” Hit expresses. “They've never even seen a free me. ” With the forthcoming solo album SFTWRE UPDTE, we meet a brand-new version of Hit-Boy, as he enters a creatively-free era, working to redefine his voice and role in the music industry and beyond by branching out into the film and tech industries simultaneously. “If I'm gonna update my software musically, I gotta update myself in the process, ” He explains. The project runs the gamut of that revelation, as it sonically and lyrically details the inner workings of Hit-Boy’s life and his mind. It’s vulnerable and experimental at the same time, while enlisting a diverse roster of guests including Dom Kennedy, Peezy, and Orion Sun.

In 2021, Hit-Boy served as Executive Producer of the Original Motion Picture Soundtrack for the Academy Award-winning Judas and the Black Messiah, and Composer/Executive Producer of the Original Motion Picture Soundtrack for Netflix’s Uncorked (2020). Hit-Boy has entered his most daring chapter yet: a sound pioneer now pioneering his purpose. “I’ve come to this understanding that I am more than what I contribute to this game,” he says.“My time here is precious, so I’m making the most of it.

SONG LYRICS: Hit-Boy “What’s The Deal”   #INTRO V twizzy That’s how we comin’ It’s only right that I- Put that real focus on myself, for once Real wavy, SC type sh*t   #VERSE V twizzy tires goin’ skirtt It’s mayhem Some of the hardest beats I ever heard I made ‘em Some of the baddest joints you ever seen I played ‘em Left they ass right where they stand Straight up - cut it out I ain’t taking no pay cut N*ggas telling stories how they up They ain’t up I’m married to this loaf, skip the wedding ring I don’t trust a thing, I’m watchin’ everything Lift me from the dirt, I was hurt they tried to bury me I woke up out a scary dream Thought I was you n*ggas, it was scaring me It’s smoke in y’all black mirrors My story realer than most of these cap n*ggas I ain’t shoot no craps wit ‘em We can’t hit the stu We don’t need to stay in touch if imma tell the truth I ain’t wit the lies, find someone to tell ‘em to Treat this shit like Peloton how I pedal through We been goin’ federal ooh Couple runners in the sprinter (ay) Dark shadow Rick beanies for the winter (ay) We shoot first we don’t talk first Credit cards on me and they all work Different color stones, pack of Starburst I don’t look like a star, I look like hard work What you really know about it (uh) What you really know…   #CHORUS   Got some old homies, I swear I used to love ‘em Gave ‘em all a fair shot before I said f*ck ‘em I had played it cool, now I’m looking for trouble Wanna reach me Hit my n*gga Reg Hit my n*gga Double   #VERSE F*ck peace Parked in the alley and they strapped up Pull a skit then peel off in a black truck I got slaps, rolling sh*t up in a slap wood I hit a freak and put the footage on the MacBook When it come to beats, the beats come to me I’m like Sonic on the FL, I’m running rings Tennis chains on my neck, more than a dub a piece I’m not lying lil bro, n*ggas can’t f*ck wit me F*ck it That’s how I feel What’s the deal One hand on her t*tties, I got one hand on the wheel Lover boy balaklava so they can’t see who I is Brodie bro like SahBabii He pulled up wit a stick (pulled up wit a stick) Bag it in the package I just got the tracking Crack a h*e straight up, ain’t no dirty macking Who really active, really ‘bout this sh*t Who get it crackin They in stacked jeans, but I’m the one that’s really stacking Show ya ass and imma grab the belt Took it to the Max B, I think I’m Biggavell I went GT3 cause that’s just how I felt They ask me what I’m working on I’m working on myself   #CHORUS Got some old homies, swear I used to love ‘em Gave ‘em all a fair shot before I said f*ck ‘em I had played it cool, now I’m looking for trouble Wanna reach me Hit my n*gga Reg Hit my n*gga Double