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I've been hearing lately about Q-Tip's stellar production and I wanted to see some of the things he's produced for other artist outside ATCQ. Does anyone have a link to one of those complete production discogs?
Q-Tip Production Discography
- Thread in 'Music' Thread starter Started by golfalphabravoecho,
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My favorite Q-Tip track. Here's some data I found from his Wiki page. Link here. He has a knack for coming from left field with his stuff like Janet Jackson's Got 'Til It's Gone. There is no hip hop or R&B producer that would sample Joni Mitchell & have it as funky as that song was...
Q-Tip produced the first three A Tribe Called Quest albums almost entirely by himself, with the exception of contributions from Skeff Anselm (Eight Million Stories, Everything Is Fair) and Large Professor (Keep It Rolling).[sup][6][/sup] Q-Tip also did production work as part of the production company The Ummah (for the fourth and fifth Tribe albums, many remixes, and assorted other projects), alongside fellow Tribe member Ali Shaheed Muhammad and the late Slum Village member Jay Dee. Outside of his work with Tribe, Q-Tip also produced for such artists as Nas ("One Love", from Illmatic, 1994), Mobb Deep ("Give up the Goods (Just Step)", "Temperature's Rising", and "Drink Away the Pain", from The Infamous, 1995) and R&B singers Mariah Carey ("Honey", from Butterfly, 1997) and Whitney Houston ("Fine", from Whitney: The Greatest Hits). He co-wrote and featured in Janet Jackson's song "Got 'til It's Gone" from the Velvet Rope album in 1997. He co-produced jazz guitarist Kurt Rosenwinkel's 2003 release Heartcore. He is/has been involved with producing for Esperanza Spalding, Mary J. Blige, RZA, Wale, Asher Roth, Chiddy Bang, Melanie Fiona, Mark Ronson, Busta Rhymes, Jay-Z, BeyoncÃ[emoji]169[/emoji], Phife Dawg, 'Angelo, Questlove, and Kanye West (My Beautiful Dark Twisted Fantasy). Q-Tip is also involved in the production of the Kanye West/Jay-Z album Watch the Throne.
Q-Tip produced the first three A Tribe Called Quest albums almost entirely by himself, with the exception of contributions from Skeff Anselm (Eight Million Stories, Everything Is Fair) and Large Professor (Keep It Rolling).[sup][6][/sup] Q-Tip also did production work as part of the production company The Ummah (for the fourth and fifth Tribe albums, many remixes, and assorted other projects), alongside fellow Tribe member Ali Shaheed Muhammad and the late Slum Village member Jay Dee. Outside of his work with Tribe, Q-Tip also produced for such artists as Nas ("One Love", from Illmatic, 1994), Mobb Deep ("Give up the Goods (Just Step)", "Temperature's Rising", and "Drink Away the Pain", from The Infamous, 1995) and R&B singers Mariah Carey ("Honey", from Butterfly, 1997) and Whitney Houston ("Fine", from Whitney: The Greatest Hits). He co-wrote and featured in Janet Jackson's song "Got 'til It's Gone" from the Velvet Rope album in 1997. He co-produced jazz guitarist Kurt Rosenwinkel's 2003 release Heartcore. He is/has been involved with producing for Esperanza Spalding, Mary J. Blige, RZA, Wale, Asher Roth, Chiddy Bang, Melanie Fiona, Mark Ronson, Busta Rhymes, Jay-Z, BeyoncÃ[emoji]169[/emoji], Phife Dawg, 'Angelo, Questlove, and Kanye West (My Beautiful Dark Twisted Fantasy). Q-Tip is also involved in the production of the Kanye West/Jay-Z album Watch the Throne.
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Give Up The Goods!
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Love this remix he did of his own song. Nice Jacksons sample...
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Didnt he produce One Love on Illmatic?
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Yup. That track is fire still....
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One of the illest producers/beatmakers/diggers in Hip Hop PERIOD.
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Didn't he steal a beat from Pete Rock??
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I loved that scene in the Beats, Rhymes, & Life doc where he was diggin' in the crates at that Japanese record store & listening to some vinyl. I wish someone who had access could show a Day In The Life segments with people like him, Primo, Questlove, Pete Rock, Bobbito Garcia, Stretch, Red Alert, etc diggin' in the crates....
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Yeah he talked about it in the complex magazine
âQ-Tip came over one day and heard the beat playing and liked it. And I had the records sitting around because I had just made it, so the records were there and he saw what I used. I guess he liked it and went back and tried to re-create it and make it sound just like the way I did it. I had a few more elements in it. I had the same drums and the sample, and he actually did the beat the same way I did it. And he shouted me out [at the end of the song].
âAt first I was a little upset when I didnât get the credit when I looked at the album [liner notes], but Iâm way over that by now. That was so long ago. Iâm on to bigger and better things. I hate talking about old, wack situations that donât mean nothing no more. But definitely, that was a classic.â
