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Record producer (music producer)

A Danish recording session
Occupation
Names	Record Producer
Activity sectors	Music Industry Music
Description
Competencies	Instrumental Skills, Keyboard Knowledge

A record producer is an individual working within the music industry, whose job is to oversee and manage the recording (i.e. "production") of an artist's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, selecting songs and/or musicians, coaching the artist and musicians in the studio, controlling the recording sessions, and supervising the entire process through mixing and mastering. Producers also often take on a wider entrepreneurial role, with responsibility for the budget, schedules, and negotiations.

Today, the recording industry has two kinds of producers: executive producer and music producer; they have different roles. While an executive producer oversees a project's finances, a music producer oversees the creation of the music.

A music producer can, in some cases, be compared to a film director, with noted practitioner Phil Ek himself describing his role as "the person who creatively guides or directs the process of making a record, like a director would a movie. The engineer would be more the cameraman of the movie."^[1] The music producer's job is to create, shape, and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will typically develop an overall vision for the album and how the various songs may interrelate.

In the US, before the rise of the record producer, someone from A&R would oversee the recording session(s), assuming responsibility for creative decisions relating to the recording.

With today's relatively easy access to technology, an alternative to the record producer just mentioned, is the so called 'bedroom producer'. With today's technological advances, it is very easy for a producer to achieve high quality tracks without the use of a single instrument; that happens in urban music (like hip hop, rap, etc). Many established artists take this approach.

In most cases the music producer is also a competent arranger, composer, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer is also in charge of the creative mix. He or she will liaise with the sound engineer who concentrates on the technical aspects of recording, whereas the music producer keeps an eye on the overall project's marketability.

History[link]

Early record producers[link]

During the 1890s, Fred Gaisberg ran the first recording studio and provided the closest approximation of production by guiding an opera singer closer or further away from a gramophone's horn to match the dynamics in the score. (Citation: Gronow and Saunio 1998, p. 8; Moorefield 2005, p. 1).

However in the first part of the 20th century the record producer's role was similar to the role of a film producer in that the record producer organized and supervised recording sessions, paid technicians, musicians and arrangers, and sometimes chose material for the artist. In the mid-1950s a new category emerged, that of the independent record producer. Among the most famous early independent producers are the famed songwriting-production duo Leiber & Stoller, "Wall of Sound" creator Phil Spector and British studio pioneer Joe Meek.

Magnetic tape enabled the establishment of independent recording studios in major recording centres such as London, Los Angeles and New York. Unlike the old record company studios, which were effectively a "closed shop", these new studios could be hired by the hour by anyone who could afford to do so.

The biggest and best commercial studios were typically established and operated by leading recording engineers. They were carefully constructed to create optimum recording conditions, and were equipped with the latest and best recording equipment and top-quality microphones, as well as electronic amplification gear and musical instruments.

Top-line studios such as Olympic Studios in London, Fine Recording in New York City, United Western Recorders, and Musart in Los Angeles quickly became among the most sought-after recording facilities in the world, and both these studios became veritable "hit factories" that produced many of the most successful pop recordings of the latter 20th century.

Evolution of the role of the producer[link]

Prior to the 1950s, the various stages of the recording and marketing process had been carried out by different professionals within the industry – A&R managers found potential new artists and signed them to their labels; professional songwriters created new material; publishing agents sold these songs to the A&R people; staff engineers carried out the task of making the recordings in company-owned studios.

Freed from this traditional system by the advent of independent commercial studios, the new generation of entrepreneurial producers – many of whom were former record company employees themselves – were able to create and occupy a new stratum in the industry, taking on a more direct and complex role in the musical process. This development in music was mirrored in the TV industry by the concurrent development of videotape recording and the consequent emergence of independent TV production companies like Desilu.

The new generation of independent producers began forming their own record production companies, and in many cases they also established their own recording labels, signing deals that enabled the recordings they produced to be manufactured and distributed by a major record company. This usually took the form of a lease deal, in which the production company leased the usage rights to the original recording to a major label, who would press, distribute and promote the recording as their own, in return for a percentage of any profit; the ownership of the master recordings typically reverted to the producer after the deal expired.

Producers would now typically carry out most or all of the various production tasks themselves, including selecting and arranging songs, overseeing sessions (and sometimes also engineering the recordings) and even writing the material^[2], although it became a common practice for producers to claim a writing credit even if they did not actually contribute to the song.

Independent music production companies rapidly gained a significant foothold in popular music and soon became the main intermediary between artist and record label, discovering and signing new artists to production contracts, producing the recordings and then licensing the finished product to record labels for pressing, promotion and sale. (This was a novel innovation in the popular music field, although a broadly similar system had long been in place in many countries for the production of content for broadcast radio.) The classic example of this transition is renowned British producer George Martin, who worked as a staff producer and A&R manager at EMI for many years, before branching out on his own and becoming a highly successful independent producer with his AIR (Associated Independent Recordings) production company and studios.

As a result of these changes, record producers began to exert a strong influence, not only on individual careers, but on the course of popular music. A key example of this is Phil Spector, who defined the gap between early rock and roll and the Beatles (1959–1964). Although many of Spector's s productions were credited to acts such as The Ronettes, The Crystals, the Righteous Brothers, the Paris Sisters and Bob B. Soxx & the Blue Jeans, in reality they were created using a crack team of top-rank Los Angeles session players (now known as "The Wrecking Crew") and often featured an interchangeable lineup of lead singers, including Ronnie Spector and Darlene Love. The prime example of Spector's modus operandi is the record widely regarded as his masterpiece, "River Deep, Mountain High". It is credited to "Ike & Tina Turner", but it is now well-known that Ike Turner was paid $20,000 to stay away from the sessions; the backing track was in fact performed by the Wrecking Crew, and the backing vocals were provided by a chorus of 21 singers, comprised of Ikettes Janice Singleton and Diane Rutherford and most of the female singers on Spector's roster, including Ronnie Spector, Darlene Love and Cher. Spector's Wall of Sound production technique also persisted after that time with his select recordings of the Beatles, the Ramones, Leonard Cohen, George Harrison, Dion and Ike and Tina Turner.

Some producers also became de facto recording artists, creating records themselves or with anonymous studio musicians and releasing them under a pseudonym. In the USA, some of the earliest examples in popular music were the novelty records released under the name Alvin & The Chipmunks, which became hits in many countries in the mid-1950s. These records, written, performed and produced by entertainer David Seville, relied on the simple gimmick of recording an instrumental track, then overdubbing the vocals while the the tape ran at half-speed. When played back at regular speed, the music would sound normal, and the voices would remain synchronised with the music, but the pitch and timbre of the voices would be dramatically shifted up, creating the instantly recognisable, chirpy "helium" effect. In the UK in the early 60s, Joe Meek was the first British pop producer to make records with studio-created groups, and he had major hits with singles like "Telstar" and Heinz's "Just Like Eddy".

Other examples of this phenomenon include the records by fictional groups the Archies and Josie & the Pussycats, produced by Don Kirshner and Danny Jansen respectively, who were contracted by TV production companies to produce these records to promote the animated children's TV series of the same name. Similarly, Jeff Barry and Andy Kim recorded as the Archies. The same producer-as-artist phenomenon can be found with many modern-day pop-oriented street- and electronic-music artists. In later years this became a prominent and often successful sideline for major producers, as evidenced by the string of albums by the studio group The Alan Parsons Project (created by former EMI/Abbey Road staff engineer Alan Parsons) and the successful musical adaptation of H.G. Wells' War of the Worlds, devised and produced by former David Essex producer Jeff Wayne.

Another change that occurred for the role of producers occurred progressively over the 50’s and 60’s. The development of multitrack recording and new technology such as electric guitars, amplifiers, and better microphones led to a fundamental change in the way recordings were made. The goal of recording no longer was simply accurately capturing and documenting live performance. Instead producers could manipulate sounds to an unprecedented degree and producers like Spector and Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio and were no longer reserved to the role of functional engineer. Examples of such engineers includes George Martin, Joe Meek, Teo Macero, Phil Spector, Brian Wilson, and Biddu. These producers became known as creative producers who turned the studio into a creative space.

Another notable related phenomenon in the 1960s was the emergence of the performer-producer. As pop acts like The Beatles, The Rolling Stones, The Beach Boys and The Kinks rapidly gained expertise in studio recording techniques, the leaders of many of these groups eventually took over as producers of their own work. In some cases this was not credited at the time - many recordings by acts such as The Rolling Stones, The Small Faces, Donovan, The Kinks and The Who are credited to their various producers of the time, Andrew Loog Oldham. Mickie Most or Shel Talmy, but many of these performers have since asserted that many of their recordings in this period were (in practial terms) either self-produced - e.g. The Rolling Stones' Decca recordings - or were collaborations between the group and their recording engineer - e.g. The Small Faces' Immediate recordings, which were made with Olympic Studios engineer Glyn Johns.

Similarly, although The Beatles' productions were credited to George Martin throughout their recording career, many sources now attest that Lennon and McCartney in particular had an increasing influence on the production process as the group's career progressed,and especially after the band retired from touring in 1966. The Beach Boys are probably the best example of this trend - within two years of the band's commercial breakthrough, group leader Brian Wilson had taken over from his father Murry, and he was sole producer of all their recordings between 1963 and 1967. Alongside The Beatles and Martin, Wilson also pioneereed many production innovations - by 1964 he had developed Spector's techniques to a new level of sophistication, using multiple studios and multiple "takes" of instrumental and vocal components to capture the best possible combinations of sound and performance, and then using tape editing extensively to assemble a perfect composite performance from these elements.

Equipment and technology[link]

Mixing Console

There are numerous different technologies utilized by the producer. In modern day recordings, recording and mixing tasks are centralized within computers. However, there is also the main mixer, outboard effects gear, MIDI controllers, and the recording device itself.

See also[link]

• Music executive
• Musician
• Audio engineering

References[link]

Further reading[link]

• Gibson, David and Maestro Curtis. "The Art of Producing". 1st. Ed. USA. ArtistPro Publishing, 2004. ISBN 1-931140-44-8
• Burgess, Richard James. The Art of Music Production. 3rd Ed. UK. Music Sales, 2005. ISBN 1-84449-432-4
• Hewitt, Michael. Music Theory for Computer Musicians. 1st Ed. USA. Cengage Learning, 2008. ISBN 139781598635034
• Gronow, Pekka and Ilpo Saunio (1998). An International History of the Recording Industry. ISBN-X. Cited in Moorefield (2005).
• Moorefield, Virgil (2005). The Producer as Composer: Shaping the Sounds of Popular Music. ISBN. 123
• Olsen, Eric et al. (1999). The Encyclopedia of Record Producers. ISBN 0-8230-7607-5, ISBN 978-0-8230-7607-9
• Zak, Albin. The Poetics of Rock: Cutting Tracks, Making Records. Berkeley: University of California Press, 2001.
• List of the Producers of the Current Top 100 Songs, Top 100 – Album Credits

External links[link]

• Record Producer Video Interviews
• Music Producers Directory

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Ralph Murphy (born 1944) is a British-born Canadian musician, record producer, and songwriter.

Biography[link]

Early life and career[link]

Murphy was born in Saffron Walden, England during World War II. At the age of six, Murphy emigrated to Canada with his mother. An avid lover of music, Murphy taught himself to play guitar and began playing gigs in Wallaceburg, Ontario at the age of 14. At 17 he moved between Los Angeles and New York making his way in the music business.

At 19, Murphy moved to London, signed a record deal with Pye Records and released two singles with Jack Klaysen as The Guardsmen. The Guardsmen then changed their name to the Slade Brothers and released an additional two singles. The Slade Brothers opened up for famous headlining acts, such as The Kinks, The Troggs, Martha and the Vandellas, The Byrds, and The Walker Brothers.

Producing career[link]

Murphy signed his first publishing deal with Mills Music in 1965. He had his first big hit with James Royal's "Call My Name" in 1966. Murphy started producing records in 1966 for CBS, Fontana, Carnaby, Decca, Other hits included Billy Fury's "Beyond a Shadow of a Doubt" and the Casuals "Touched". In 1967, Murphy joined the group Harper and Rowe. The following year, he became Raffi Murphy in the group The High Windows.

In 1969, Murphy moved to New York and produced albums for several groups, including, but not limited to, April Wine,^[1][2][3] Mashmakhan, Shooter, Brutus,^[4] Sea Dog, Chris Bartley, and the Rock Garden.

Songwriting[link]

In 1971, Murphy had a number two country hit with Jeannie C. Riley titled "Good Enough to be Your Wife" which gave Murphy his first introduction to Nashville. In 1978, Murphy moved to Nashville and began a joint venture publishing/production company with Roger Cook called PICALIC. The company achieved its first number one hit within a year with a song by Crystal Gayle called "Talking in Your Sleep", written by Bobby Wood and Roger Cook. In 1978, Murphy cowrote "Half the Way" with Bobby Wood, which was cut by Crystal Gayle and became a number one hit. In 1980 Murphy cowrote "He Got You" with Bobby Wood, which was cut by Ronnie Milsap and also became a number one hit. Murphys' most recent success as "21st Century Christmas", cowritten with Paul Brady and cut by Cliff Richard which made it to number 2 on the UK charts. Other artists that have cut Murphy's songs include Randy Travis, Ray Price, Don Williams, Kathy Mattea, Little Texas, Shania Twain, Brotherhood of Man, Vanity Fair, and many more.

Murphy has worked with ASCAP for the past 14 years to facilitate workshops for songwriters, and help protect songwriters rights. He is the author of the noted Murphy's Laws of Songwriting, which he has posted to his website to help aspiring writers obtain success in their own careers, and has recently released an album of his previously recorded hits and also several of his own favorite previously uncut songs.

Other affiliations[link]

Murphy is a member of the Country Music Association, currently serves on the board of the Canadian Country Music Association. Currently a member of the Songwriters Association of Canada and the Songwriter's Guild of America. He is a former president of the Nashville Songwriter's Association, and a former President of the Nashville Chapter of the National Academy of the Recording Arts and Sciences and former Trustee of NARAS.

References[link]

External links[link]

• Official site

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Salaam Remi Gibbs, better known as Salaam Remi, is a hip hop producer and keyboard player, known for his association with Nas, Amy Winehouse, Fergie, and his reggae-tinged (often referred to as "broken-bottle") approach to production. A good example of this unique style can be found in the production on the Nas record "Made You Look", off his 2002 release God's Son.

Biography[link]

The son of studio musician Van Gibbs, Salaam first appeared on record as the keyboardist for Kurtis Blow's 1986 release Kingdom Blow. In the late 1980s Salaam began mixing records. His first full production was in 1992, for the hip-hop group Zhigge. He has also worked with such luminaries as the Fugees and Black Sheep.

Salaam Remi has been associated with releases like Lil' Flip's "I Need Mine", Ini Kamoze's "Here Comes the Hotstepper", The Fugees' multi-platinum The Score LP, and Toni Braxton's "You're Makin Me High." He also produced 10 tracks on the 2002 UK sensation Ms. Dynamite's album titled A Little Deeper, including the hugely successful lead single "Dy-Na-Mi-Tee", which had moderate crossover success in the U.S. market^{[citation needed]}. Salaam contributed tracks to Jurassic 5's 2006 LP Feedback and Nas' 2006 album Hip Hop is Dead and, more recently, racked up production credits on Frank, the platinum debut from North London soul-jazz singer Amy Winehouse. He also worked on her follow up, Back to Black, and was producing her third album that was to be released in 2011 up until her death. Remi also worked with Nelly Furtado on her first Spanish language album, Mi Plan. Remi's active projects in late 2008 include Jazmine Sullivan, Nas, Free, Nick Harrison, Lemar, Noel Gourdin, Julian Perretta, Leona Lewis, Corrine Bailey Rae, and Craig David, as well as many film and TV projects.

In addition to his work with other musical artists, Remi has delved into the film industry. He has worked on the soundtracks for such notable films as Office Space, Zoolander, The Departed, Blood Diamond, and Sex and the City. He also scored the Mike Tyson documentary, TYSON, worked as Executive Music Producer on After the Sunset and Rush Hour 3, and was Music Supervisor and Composer for a 2008 TV pilot called "Blue Blood".

Production discography[link]

Singles[link]

• 1993
  • "Young Girl Bluez" (Biz Markie)
• 1994
  • "Here Comes the Hotstepper" (Ini Kamoze)
• 1996
  • "Fu-Gee-La" (The Fugees)
• 2002
  • "Made You Look" (Nas)
  • "I Can" (Nas)
  • "Get Down" (Nas)
• 2003
  • "Stronger Than Me" (Amy Winehouse)
  • "Can't Get It Back" (Mis-Teeq)
• 2004
  • "In My Bed" (Amy Winehouse)
  • "Thief's Theme" (Nas)
  • "Fuck Me Pumps (Amy Winehouse)
• 2007
  • "Tears Dry on Their Own" (Amy Winehouse)
  • "Less Than an Hour" (Nas feat. Cee Lo Green)
• 2008
  • "Be a Nigger Too" (Nas)
  • "Labels or Love" (Fergie)
  • "Just Friends (Amy Winehouse)
  • "Bust Your Windows (Jazmine Sullivan)
  • "Lions, Tigers & Bears" (Jazmine Sullivan)
• 2009
  • "Now I'm That Bitch (Livvi Franc feat. Pitbull)
• 2010
  • "All I Want Is You" (Miguel feat. J. Cole)
  • "Follow Us" (Big Boi feat. Vonnegutt)
  • "Night Is Young" (Nelly Furtado)
  • "Fuerte" (Nelly Furtado feat. Concha Buika)
  • "10 Seconds" (Jazmine Sullivan)
• 2011
  • "Nasty" (Nas)
  • "Play the Guitar" (B.o.B feat. André 3000)
• 2012
  • "Beautiful Surprise" (Tamia)
  • "The Don" (Nas)
  • "Cry" (Monica)

Productions[link]

With Amy Winehouse

• Amy Winehouse - You Sent Me Flying/Cherry
• Amy Winehouse - I Heard Love Is Blind
• Amy Winehouse - In My Bed
• Amy Winehouse - Just Friends
• Amy Winehouse - Me & Mr Jones
• Amy Winehouse - Moody Moody For Love
• Amy Winehouse - Mr. Magic
• Amy Winehouse - 'Round Midnight
• Amy Winehouse - Some Unholy War
• Amy Winehouse - Stronger Than Me
• Amy Winehouse - Tears Dry On Their Own
• Amy Winehouse - Brother

With Nas

• Nas - Bridging The Gap
• Nas - Get Down
• Nas - Hey Nas
• Nas - I Can
• Nas - Made You Look
• Nas - The N
• Nas - Nasty
• Nas - Suicide Bounce
• Nas - Thief's Theme
• Nas - What Goes Around
• Nas - Where Y'all At?
• Nas - Zone Out
• Nas - You Can't Stop Us Now

Others

• Beenie Man - Love Me Now (feat. Wyclef Jean)
• Big Boi - Follow Us (feat. Vonnegut)
• Blaque - Can't Get It Back
• Buckshot LeFonque - No Pain, No Gain (Salaam Remi Remix)
• Canibus - Get Retarded
• Cee-Lo Green - Bodies
• Ciara - Click, Flash
• Da Bush Babees - Remember We (Remix)
• Fugees - Fu-Gee-La
• Fugees - Nappy Heads (Remix)
• Fugees - Ready Or Not (Salaam's Remix)
• Fugees - Vocab (Salaam's Remix)
• Greg Nice - Set It Off
• Groove Collective - Lift Off (Salaam Remi Remix)
• Ini Kamoze - Here Comes The Hotstepper
• Jazmine Sullivan - Bust Your Windows
• Jazmine Sullivan - Lions, Tigers & Bears
• Joss Stone - Young At Heart
• Whitney Houston - My Love Is Your Love (Salaam Remix)
• Wyclef Jean - Bubblegoose (co-produced by Wyclef Jean)
• Lil' Flip - You'z A Trick
• Lil' Flip featuring UGK - You'z A Trick (Remix)
• Mutya Buena - B Boy Baby
• Rupee - Do The Damn Thing
• Angie Martinez - No Playaz (feat. Lil' Mo & Tony Sunshine)
• Angie Martinez - Live At Jimmy's (feat. Big Pun, Cuban Link, Domingo & Sunkiss)
• Lisa "Left Eye" Lopes - The Block Party
• Melanie Fiona - Running (feat. Nas)
• Mis-Teeq - All In One Day
• Mis-Teeq - Can't Get It Back (co-produced by Staybent)
• Mis-Teeq - Strawberrez
• Pras Michel - Dance Hall (feat. Sean Paul, Spragga Benz & Roundhead)
• Nas & Cee-Lo - Less Than An Hour
• Nina Sky - On Some Bullshit
• Nina Sky - Too Long To Let Go
• I-20 - Fightin In The Club (feat. Lil Fate, Titty Boi & Chingy)
• I-20 - The Realist
• I-20 - Point 'Em Out (feat. Juvenile)
• Kevin Lyttle - Last Drop (feat. Spragga Benz & Assassin) (produced by Nicholas Brancker & Salaam Remi)
• Kevin Lyttle - I Got It (feat. Trey Songz & Troy Taylor) (Produced by Nicholas Brancker & Salaam Remi)
• Kevin Lyttle - My Lady (produced by Salaam Remi)
• Kevin Lyttle - Dancing Like Making Love (Produced by Nicholas Brancker & Salaam Remi)
• Kevin Lyttle - My Love (Produced by Da Bhann & Salaam Remi)
• Leona Lewis - Forgiveness (Co-produced and co-written by Remi & Kara DioGuardi)
• Leona Lewis - You Bring me Down (Co-produced by Taj Jackson and Remi and co-written by Remi, Jackson & Lewis)
• Ludacris - Virgo (feat. Nas & Doug E. Fresh)
• Chrisette Michele - In This For You, Good Girl
• Carlos Santana - Manana (feat. Keon Bryce)
• Tego Calderón - Payaso Ft. Eddie Dee & Voltio
• Lemar - Trust Me
• Livvi Franc - Now I'm That Bitch
• Nelly Furtado - Suficiente Tiempo
• Nelly Furtado - Girlfriend in the City
• 2005: Motown Remixed - "ABC" (Jackson Five Remix)
• Major Stress - A Day In Da Stuy

References[link]

External links[link]

• http://www.salaamremi.com
• Salaam Remi at Allmusic
• http://www.hiphopdx.com/index/features/id.905/title.salaam-remi-made-you-listen

Eric Lau is a British music producer and DJ from London, England. His production style is characterized by heavy drums, often unrecognisable samples and a mixture of live and sequenced instrumentation.

He first gained exposure with the song "Im Fine" featuring Rahel on Gilles Peterson's Brownswood Bubblers (Part 4),^[1] this release marked the resurgence of the stripped back soul style and was followed swiftly by his debut EP for Fat City Records.

He released his debut album "New Territories" in 2008 on Ubiquity Records to critical acclaim. Straight No Chaser wrote "New Territories represents the arrival of a talented artist and perceptive one-man production house."^[2]

After a two year absence Lau returned in 2010 with a new EP titled "Kilawatt: V2", as the second instalment of the producer series released by Kilawatt. The release was received positively by both critics and fans.

On 27 September 2010, Lau released a 20-track instrumental LP entitled "Makin' Sound".

In February 2011 Lau followed up "Makin' Sound" with "Quadrivium", another 20-track instrumental project, featuring music inspired by the John Martineau book of the same name.

In November 2011 Lau released "The Mission - Single" with Detroit rapper Guilty Simpson and Georgia Anne Muldrow contributing a remix.

On February 3, 2012 Lau released the much anticipated "The Mission - EP", featuring vocals from rapper Guilty Simpson, Fatima and Olivier Daysoul. The vinyl edition of the release also featured contributions from drummer Chris "Daddy" Dave, and producer Damu The Fudgemunk.

Discography[link]

• Brownswood Bubblers (Part 4) (2006)
• Presents Dudley And Friends (2006)
• Producer No. 1 (2007)
• New Territories (2008)
• Kilawatt V2 (2010)
• Eric Lau & Friends - See & Under Standing (Reprise) (2010)
• Makin' Sound (2010)
• Quadrivium (2011)
• The Mission - Single (2011)
• The Mission - EP (2012)
• What I'd Rather - Single (2012)

References[link]

External links[link]

• Kilawatt Music's Web Site
• Ubiquity Records Web Site

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Tyrone "Ty" Fyffe, also known as Sugarless, is a Hip hop music producer from Queens, New York and currently president of Tybu Productions.

Mostly known for his dark and gritty new york hip-hop sound, Ty Fyffe first began working with the Flipmode Squad, and Lord Have Mercy in the mid-1990s^{[citation needed]}. Since then he has worked with the likes of Irv Gotti, Bone Thugs-N-Harmony, Slick Rick, and Blackstreet early on, as well as Foxy Brown, Canibus, Jay-Z, and Redman, to most recently Styles P, 50 Cent, Rakim, Busta Rhymes^[1][2]

Official Ty Fyffe website: TyFyffe.com^[3]

References[link]