Hit-Boy. Has there ever been a name more fitting for an artist?
Since the late 2000s, the producer has been behind some of the most recognizable hits in rap music. Hailing from Southern California, he began landing placements in the late 2000s before joining Kanye West’s camp, becoming an integral part of the G.O.O.D. Music production team.
Hit-Boy has famously had his ups and downs with the label. But even through the frustrations, he remained a steady force in modern-day rap and R&B, crafting classics for artists ranging from Drake to Travis Scott to Beyoncé.
By the late 2010s, he became more intentional with his collaborations, focusing less on hit singles and more on crafting textured, fully developed albums with artists like Nas and Big Sean. In 2020, he was one of the most sought-after producers in rap, largely because he mastered the art of tailoring his beats to each artist’s unique style.
On Friday, January 30th, Hit-Boy will face off against Mike WiLL Made-It—who is no slouch—in the latest VERZUZ. This matchup marks the second VERZUZ since Complex partnered with Swizz Beatz and Timbaland’s brand—and introduces a new interactive twist: fans can now predict the matchup by creating their own setlists. On the night of the event, scores will reveal how accurate—or off—the predictions were.
"Mike WiLL Made-It vs. Hit-Boy": Build Your Own VERZUZ setlist here.
If you need help making a setlist, scroll down to read our 20 best Hit-Boy songs of all time list.
20.Kanye West feat. DJ Khaled, "Cold" (2012)
Album: Cruel Summer
Hit-Boy and Kanye would eventually fall out over typical Rule Number 4080 stuff. But when the two were locked in, they made magic together. A prime example is “Cold,” which features Ye talking serious cash shit about everyone from Kris Humphries to PETA over a knocking, late-’90s Tunnel-style beat that sounds like it could’ve been made by Rockwilder or Swizz Beatz. —Dimas Sanfiorenzo
19.Pusha T, "My God" (2011)
Album: Fear of God
Just a couple of months after announcing himself as a solo artist on My Beautiful Dark Twisted Fantasy, Pusha T released “My God.”
While Pusha is typically excellent, the novelty here was hearing him outside of the skeletal production he favored when working with the Neptunes. “My God” is driven by militant drums and a soulful, swelling organ, signaling a clear departure from the Clipse sound he helped hone. —Dimas Sanfiorenzo
18.Nas, "Ultra Black" (2020)
Album: King’s Disease
When Nas and Hit-Boy first announced they were doing an album together, nobody could have imagined what would come next: six albums, multiple sequels, and a redemptive arc for one of rap’s all-time great rappers.
Their collaboration had a consistency that makes it tough to rank individual tracks, but we’re going with their first release, “Ultra Black.” The song’s throwback feel shows exactly why their partnership worked so well, with Hit-Boy striking a balance between nostalgic sensibilities and just enough modern flourishes to keep it from sounding dated. —Dimas Sanfiorenzo
17.A$AP Rocky, "Goldie" (2012)
Album: LONG.LIVE.A$AP
In spring 2012, “Goldie” dropped as the first single from what would be Rocky’s debut album, a polished followup to the haunted greatness he created with his mixtape LIVE.LOVE.A$AP. Clams Casino’s sound defined that tape and Hit-Boy’s “Goldie” beat shares some of the same DNA (the pitch-shifted vocal sample running beneath the verses wouldn’t be out of place on some cloud rap). But “Goldie” is more propulsive and the children’s-toy quality of Hit-Boy’s production makes it brighter, less sedate. It shines. —Ross Scarano
16.Nicki Minaj Feat. Cam’Ron & Rock Ross, "I Am Your Leader" (2012)
Album: Pink Friday: Roman Reloaded
Even with all of the pop star success Nicki Minaj has had, she still likes to remind fans that she came up through the hood DVD, mixtape circuit. “I Am Your Leader,” her posse cut with Cam’Ron and Rick Ross, served as that reminder during the Roman Reloaded era.
A large part of the song’s success comes from Hit-Boy’s production, which delivers a minimalist bop built around a Timbaland-inspired humming vocal. It’s distinct enough to stand out, but not so distracting that it takes away from the rapping—which is excellent. —Dimas Sanfiorenzo
15.Rihanna, "Woo"(2016)
Album: ANTI
The most dissonant song on ANTI, “Woo” is a poison-pen taunt at an ex. (No surprise that The Weeknd is credited as a co-writer.) The guitar careens around Rihanna’s voice like a power tool gone haywire. “I don’t even really care about you no more,” she sings, the vocal sounding fried to a crisp. It’s hard to imagine a tougher sentence to hear, the type of kiss-off that could kill. —Ross Scarano
14.Travis Scott Feat Frank Ocean, "Carousel" (2018)
Album: ASTROWORLD
There are many producers credited on Travis’ classic third solo album. Hit-Boy is one of those names, serving as the mastermind behind “Carousel,” a song that somehow juggles samples from the Beastie Boys’ rowdy 1986 single “The New Style” and Texas rapper Big Tuck’s “Not a Stain on Me,” alongside vocals from Frank Ocean and Travis Scott’s melodic flow.
Despite balancing these sometimes conflicting elements, the track maintains a spacey, hypnotic, smoothed-out aura that makes it one of the album’s standouts. —Dimas Sanfiorenzo
13.Nicki Minaj Feat. Beyoncé, "Feeling Myself" (2015)
Album: The Pinkprint
There was an epic aspect to “Feeling Myself,” which served as an unofficial sequel to “Flawless (Remix)”: the best rapper and singer of their respective generations coming together again for a duet.
There’s a world where they could have gone full maximalist, but Hit-Boy wisely opts for an understated beat, featuring screeching synth chords that take a sharp, almost outwardly turn by the middle of the song. —Dimas Sanfiorenzo
12.ASAP Rocky Feat. Joey Bada$$, Action Bronson, Danny Brown, Kendrick Lamar, Big K.R.I.T. & Yelawolf, "1Train" (2013)
Album: LONG.LIVE.A$AP
Hit-Boy is known for making hits, boy. But listening to his catalogue, you get the impression that he’d rather be producing tracks like “1Train.”
The beat is unabashedly old-school, driven by dramatic, RZA-inspired violins and boom-bap drums, with splashes of futuristic scratches and sounds throughout. It’s the perfect backdrop for some of the most promising up-and-coming rappers of 2013 to come together and catch wreck, creating—perhaps—the last great posse track in the process. —Dimas Sanfiorenzo
11.Lil Wayne Feat. Eminem, "Drop the World" (2009)
Album: I Am Music
Hit-Boy had production credits for A-list artists like Jennifer Lopez and Gucci Mane before “Drop the World” hit, but in many ways, the Rebirth single was the real beginning of the Hit-Boy story.
First, the song was a hit—the first collaboration between two of the greatest rappers of all time, Eminem and Lil Wayne. Second, the beat showcased early trademarks of the sounds Hit-Boy would develop later, including sci-fi–inspired, sparse backdrops and live drums that leave enough room for the two rappers to get a little weird. —Dimas Sanfiorenzo
10.Big Sean Feat. Nipsey Hussle, "Deep Reverence" (2020)
Album: Detroit 2
There’s a melancholy undercurrent in “Deep Reverence,” largely stemming from the posthumous appearance of Nipsey Hussle, who was killed a year earlier.
The line “Fuck rap, I'm a street legend / the block love me with deep reverence” sets the tone perfectly. The song also showcases Hit-Boy’s versatility, delivering a beat that is introspective without feeling heavy, while still carrying enough flair to serve as a strong first single for Sean.—Dimas Sanfiorenzo
9.Polo G Feat. Juice WRLD, "Flex" (2020)
Album: The Goat
Hit-Boy, of course, has a distinct sound. But “Flex” once again shows that his real strength lies in how well he tailors his production to the artists he’s working with.
On “Flex,” a collaboration between two Chicago giants, he crafts a guitar-driven, melodic, almost soft instrumental for Polo G and Juice WRLD to cook on. —Dimas Sanfiorenzo
8.Beyoncé, "***Flawless" (2013)
Album: Beyoncé
In early 2013, Beyoncé surprise dropped “Bow Down / I Been On” on SoundCloud. The song foreshadowed a new era for Beyoncé—one marked by defiance and an edgier, hip-hop–driven sound.
That track would become the foundation for “***Flawless,” which was produced by Hit-Boy. “***Flawless” is superior to “Bow Down” because it features a more operatic second half that mirrors the grand, maximalist sound heard on Watch the Throne. —Dimas Sanfiorenzo
7.Nipsey Hussle feat. Roddy Ricch & Hit-Boy, "Racks in the Middle" (2019)
Album: N/A
Obviously, “Racks in the Middle” is bittersweet.
The song dropped about a month before Nipsey was killed, making it the final release in his lifetime. The track really showcases the strengths of everyone involved: Nipsey’s sharp storytelling and presence, Roddy’s knack for melody and instantly catchy hooks, and Hit-Boy’s production, which feels both soulful and modern at the same time. —Dimas Sanfiorenzo
6.Drake, "Trophies" (2013)
Album: Young Money: Rise of an Empire
A short, coarsely looped sample is a Hit-Boy hallmark, and the horn blast on “Trophies” is one of his most beloved. It transports the listener immediately to New Year’s Eve 2013, when Drake put the song out, knowing it would be the go-to celebration song for anyone aspiring to greatness (or looking for an IG caption). It was, as they say, a moment. —Ross Scarano
5.Beyoncé, "Sorry" (2016)
Album: Lemonade
Hit-Boy has become one of Beyoncé’s most consistent creative partners, appearing on all of her solo albums since self titled.
The peak of their collaboration comes with “Sorry,” the centerpiece of Lemonade, At its core, the song is pure fury—a breakup anthem aimed at a cheating ex. But even as the lyrics burn bridges (with phrases like “middle fingers up” and “I ain’t thinking about you”), the track’s upbeat, almost infectious vibe gives it a tongue-in-cheek edge. —Dimas Sanfiorenzo
4.Travis Scott Feat. Drake, "SICKO MODE" (2018)
Album: Astroworld
There’s an Avengers-level squad of producers on “SICKO MODE.” Rogét Chahayed, CuBeatz, OZ, Tay Keith, and of course Hit-Boy, who handles the beginning, which has this amazing, dramatic yet melodic, astro-sounding build-up that Drake sings over. It’s a heroic intro—something a boxer walks out to—and the perfect setup for all the twists and turns the song takes. —Dimas Sanfiorenzo
3.Kendrick Lamar, "Backseat Freestyle" (2013)
Album: good kid, m.A.A.d city
Kendrick Lamar’s major-label debut, good kid, m.A.A.d city, is a nuanced and dense look at what it’s like to come of age in the streets of Compton. It’s a classic.
But there are not a lot of traditional “bangers” on there. The one main exception is “Backseat Freestyle,” a raw schoolyard anthem driven by clanking cowbells, booming bass, a hypnotic vocal sample, and one of Dot’s most persuasive rapping performance. —Dimas Sanfiorenzo
2.Kanye West, Jay-Z and Big Sean, "Clique" (2012)
Album: Cruel Summer
Kanye West’s crewed up Cruel Summer era is underrated.
That album has at least three classic posse cuts, with “Clique” standing out as the best (outside of “Mercy,” of course). The song features an incredible extended verse from Ye and a Hit-Boy beat that sounds like a musical tennis match—this is a compliment. —Dimas Sanfiorenzo
1.Jay-Z and Kanye West, "Niggas in Paris" (2011)
Album: Watch the Throne
The origins of “Niggas in Paris” trace back to a series of emails.
Hit-Boy, who made the beat for the song in about 15 minutes, emailed it to Kanye West but initially heard little back. Months later, Ye replied: “When this song drops, your life is going to change.”
Ye was, in fact, understating it.
“Niggas in Paris” became a zeitgeist-penetrating track—an event song that symbolizes the pro-stunting, Black excellence era that Watch the Throne represented. What’s striking is the simplicity of the beat, sonically similar to “Cold” but with heavier drums. Pair that with an inspired performance from Ye and Jay-Z, who deliver nothing but quotables—“Ball so hard, motherfuckers want to find me”—while rapping in a way that sounds like they are actually in a club in Paris. And then there’s, of course, the cinematic ending, which grows darker, more dramatic. A seismic ending for a seismic song. —Dimas Sanfiorenzo