There haven’t been many figures in hip-hop like Irv Gotti.
During the ‘90s, Gotti, born Domingo Lorenzo Jr., worked his way up from an A&R to running one of the most successful rap imprints in hip-hop. In 1998, he and his brother Chris founded Murder Inc. Records, with Ja Rule as their marquee artist. The first album released under the imprint was Venni Vetti Vecci, a downbeat and gritty street album from Ja Rule. The album went on to become a success, achieving platinum status off the strength of “Holla Holla,” which became a charting hit.
However, over the years, thanks largely to the instincts of Gotti, Murda Inc. would broaden and commercialize their sounds, blending hip-hop and R&B and making it the sound of pop music. The label has sold an estimated 30 million records, largely due to the sound-shifting efforts of Gotti, Ja Rule, and R&B singer Ashanti. Gotti, who passed away yesterday at the age of 54, was deeply involved in nearly every song released under the label during that time.
Before Murder Inc.’s rise, Gotti’s talents as a producer were already being felt. His name appeared in the liner notes of classic rap albums like Jay-Z’s Reasonable Doubt and DMX’s It’s Dark and Hell Is Hot. Like many producers, the Hollis, Queens native got his start as a DJ. In the early ’80s, he honed his skills behind the turntables, playing in the park and cutting up classic breakbeats, like La Pregunta’s 1978 disco epic, “Shangri-La.” Later, Gotti learned to make beats from another Queens hip-hop legend, Large Professor of Main Source.
In a 2019 Drink Champs interview, Gotti explained how he absorbed the art of beat-making by watching Large Professor work on a now-classic remix for Slick Rick:
“Remember Slick Rick’s ‘It’s A Boy?’ It was called ‘It’s a Boy.’ It’s a remix. I watched that nigga do that shit in front of my face. I said, ‘I got it! I fucking got it. That’s how they do it, I got it!’”
From his foundation playing jams in the park and making mixtapes to ruling the charts in the late ’90s and early 2000s, Irv Gotti’s contribution to hip-hop culture is stamped and certified. In celebration of his life and the music we have ranked the 25 best songs produced by Irv Gotti, a list that spans decades.
Album: The Last Temptation
Year: 2002
By the time “Mesmerize,” the first single from Ja Rule’s The Last Temptation album, was released, there were signs that the syrupy sound Murda Inc. had perfected was starting to run its course. In some ways, “Mesmerize,” which would peak at No. 2 on the Billboard Hot 100, was a last hurrah—the final time the formula truly worked. (50 Cent would go on to mock Ja and Murda Inc., then later use the best parts of their sound.)
But “Mesmerize” is undeniable. The song is among the duo’s cheeriest, where it almost sounds like they are smiling while recording. It’s also the song where Ja commits the most as a singer and as an actor (watch the Greece-inspired video above.) —Dimas Sanfiorenzo
Album: Belly (Original Motion Picture Soundtrack)
Year: 1998
The Belly soundtrack was, and remains, one of the most celebrated in the game. The first single unveiled from the soundtrack for the Hype Williams-directed film was “Grand Finale,” an epic union between four of the East Coast’s hottest rappers with Gotti on the beat. This song was a banger even in 1998—a year that’s often seen as one of the best for rap posse cuts. —Will Schube
Album: Endangered Species
Year: 2001
Tru Stylez and Irv Gotti’s bright, staccato keyboard stabs are pure earworms, while the hook is catchy radio candy. As always, Big Pun showcases his versatility, sliding effortlessly into the track with his playful, polysyllabic flow and sharp punchlines. —John Morrison
Album: Chyna Doll
Year: 1998
Released ahead of Foxy Brown’s 1999 sophomore album Chyna Doll, “Hot Spot” was a slick, club-ready jam that further cemented her reputation as a hitmaker. Built on a staccato kick and snare pattern, shakers, and an infectious chorus, “Hot Spot” is a quintessential late-’90s club rap anthem. —Will Schube
Album: The Fast and the Furious
Year: 2001
Dr. Premier used a faucet drop for a beat, Dr. Dre utilized a gunshot sound as drums, and Irv Gotti and Mr. Fingas turned the Motorola two-way ringtone into a beat. Don’t ever let them tell you hip-hop isn’t innovative. This track would become the career highlight for Cadillac Tah, a rapper who typically played the role of Ja’s hype man. But the song, which appeared on The Fast and the Furious soundtrack, is undeniably a classic moment. —Dimas Sanfiorenzo
Album: Streets is Watching
Year: 1998
Years before Irv Gotti was all up in Ashanti and Ja Rule music videos, dancing while clutching luxury champagne bottles, he was much further in the background as Jay-Z’s A&R who helped Roc-A-Fella Records get major label distribution.
This banger from the Streets Is Watching soundtrack crystallizes a moment where Hov and Irv were more like Capo and Don, with the former even rapping: “If I’m pressed for dough / I’ve got to consult Irv Gotti.” The way the beat staggers out a glitzy Mary J Blige and LL Cool J slow jam into something much more sinister reflects how Irv Gotti was already working out the signature Murda Inc. sound. — Thomas Hobbs
Album: Venni Vetti Vecci
Year: 1999
Everyone remembers something different after hearing “Murda 4 Life” for the first time. Maybe it’s Ja’s inimitable flow, equal parts drunken karaoke crooner and battle-ready cypher star. Maybe it’s the closing refrain during Memphis Bleek’s verse: “Supply you with ten bitches times two/ I’m a motherfuckin animal.” For me, though, it’s that delirious woodwind sample that Gotti cooks up, somewhere between the siren song of a Leprechaun and a bunch of five-year-olds during a recorder recital. It’s perfect. —Will Schube
Album: No More Drama
Year: 2002
A hit duet from Ja Rule and the Queen of hip-hop soul, Mary J Blige, “Rainy Dayz” displays the malleability of Murda Inc.’s rap-meets-R&B formula. A stark contrast to more uplifting records like “Always On Time”, “Rainy Dayz” is darker and unabashedly melancholy. Rule and Mary make a surprisingly apt team as their wildly differing vocal styles compliment one another over Gotti’s production. —Will Schube
Album: Chapter II
Year: 2003
Utilizing the same sample of Isaac Hayes’ “The Look of Love” as Jay-Z’s “Can I Live?,” Ashanti’s “Rain On Me” stands as a high point in Irv Gotti’s catalog of hits. Co-produced by Chink Santana, the track exemplifies Murda Inc.’s signature hip-hop-meets-R&B sensibilities. The song’s sample creates a luxurious backdrop for Ashanti’s dynamic vocals, and “Rain On Me” serves as a heartbreaking ode to love and loss. —Will Schube
Album: The Natural
Year: 1993
Built around s loop of Deneice William’s gorgeous 1976 ballad “Free,” “Shit’s Real” is a gritty anthem about life in the struggle. Before it was picked up by Blunt Recordings, Mic Geronimo’s debut 1993 single was a certified street banger. Throughout 1994’, the song’s reach grew, getting play on late night radio mixshows and mixtapes nationwide and establishing itself as an underground classic. —John Morrison
After taking a very public L to 50 Cent, Ja Rule came back strong with a united front. “New York,” the posse cut primarily produced by Cool & Dre with some touch-ups from Irv Gotti, stands out as a true city anthem. Its legacy is so powerful that Jadakiss used it to end The Diplomats during their Verzus battle. —Dimas Sanfiorenzo
Album: Chapter II
Year: 2003
If Clipse’s “Grindin” never existed, the syncopated bass on “Rock Wit U” might be more celebrated in the canon of production choices of that era. But, “Grindin” came first and as such Gotti’s work with Ashanti is merely cherished for the singer’s angelic voice and the warm synth chords that help give the song its structure.
Beneath the surface, though, lingers that bass drum, popping off like a heart murmur or an entire fourth of July fireworks display all at once. —Will Schube
Album: Rule 3:36
Year: 2000
On Ja’s ode to sneaking around and side relationships, Gotti takes plucked harpsichord-like synths, orchestral percussion accents, and cinematic string swells that give the song some tension—the sort of jump scare that can come when you’re moving around with someone else’s girl. —Will Schube
Album: Venni Vetti Vecci
Year: 1999
There are plenty of reasons why the Ja Rule, DMX, and Jay-Z Murda Inc. album never came to be, but Ja summed it up succinctly in a 2014 interview with MTV News “It was a situation where egos played a part in its demise.” At least we have “It’s Murda,” a tantalizing taste of these talents together. It’s a gift—better than nothing at all. It’s a curse—we could have had more. —Will Schube
Album: …And Then There Was X
Year: 1999
By all accounts, the genesis of DMX’s “What’s My Name?” lies with veteran producer Self who crafted the beat. While it is unclear what Gotti contributed to the track musically, his vision was a key factor in the song’s success and DMX’s early ascent. A punishing, unforgiving street anthem, “What’s My Name?” was a runaway smash and a defining classic from DMX’s early wave of hits. —John Morrison
Album: Rule 3:36
Year: 2000
“Put It on Me” marked the first real indication that Murda Inc. was moving toward a more pop-oriented direction. Initially released as a duet between Ja and Vita, the song was later remixed with Lil’ Mo harmonizing on the hook, which helped it become one of the most successful songs of 2000.
Lil’ Mo was the best thing to happen to the track, adding depth, texture, and soul to what was otherwise a sugary pop song. —Dimas Sanfiorenzo
Album: Romeo Must Die
Year: 2000
Aaliyah and DMX’s “Come Back in One Piece” might be the most memorable moment of the 2000 film Romeo Must Die. It’s an excellent song, in large part due to the chemistry between DMX and Aaliyah, but also due to the sterling production from Gotti. It’s a playful East Coast interpretation of g-funk, featuring bubbling bass melodies, an excellent Parliament sample and off-beat piano chords that would fit in a Herbie Hancock composition.
Gotti’s heavily syncopated beat gives a challenging template for both artists, who use the rhythmic qualities of the groove to give their deliveries enticing twists. —Will Schube
Album: Jealous Ones Still Envy (J.O.S.E.)
Year: 2001
The kind of catchy hit that Fat Joe will be able to play to appreciative crowds for the rest of his life, Ashanti’s sweet as honey hook, as well as the slow groove of a bass line, make for the kind of song even non-rap fans will happily nod along.
After the death of Big Pun there were serious questions over whether his mentor Fat Joe could ever get a disrupted career back on track. However, Irv’s ear worm beat guaranteed a revival. Lovesick rap songs can sound corny in the wrong hands, but at this point Gotti Irv had found a way to ensure Don Cartagena even had mafioso rap fans chanting: “What’s love gotta do with a little menage?” — Thomas Hobbs
Album: Venni Vetti Vecci
Year: 1999
Before the Murda Inc. sound became all about marrying gangsta rap with R&B, the label was best known for producing pure mean-mugging hood anthems. Case in point: Ja Rule’s breakout hit “Holla Holla.” The sporadic patterns of the synth and bass line make you feel like you’re in the passenger seat of an Chevy impala uncontrollably bouncing up and down due to glitchy hydraulics; Irv’s musical canvas gave Ja the platform to become both a sex symbol and turbo-charged thug on the Billboard pop charts. — Thomas Hobbs
Album: Vol. 2… Hard Knock Life
Year: 1998
Another club banger produced by Gotti and Lil Rob, 1998’s “Can I Get A…” harkens back to the era in hip-hop when the club was king. A bouncy web of futuristic synths and double-time drums, “Can I Get A…” was an East Coast hit that tipped its hat to the rowdy, electronic beats coming out of the dirty South at the time. Add in stellar guest verses from Amil and Ja and you get a club-throttling anthem made for the money-getters and Alizé-sippers worldwide. —John Morrison
Album: Pain Is Love
Year: 2001
From the second Ja Rule growls out the words “What’s my motherfucking name?” on Irv Gotti’s remix of Jennifer Lopez’ “I’m Real,” you don’t stop smiling. Built around a flip of the splendidly stoned wandering flute on “Mary Jane” by Rick James, this woozy sample injects the beat with a laid-back-in-the-cut feel. The way J-Lo and Ja share flirty slick talk gives off the atmosphere of the rap equivalent of West Side Story unfolding over on Arthur Avenue.
When this one dropped back in 2001, it’s fair to say Irv Gotti didn’t just have rap music—but pop music itself—in the palm of his hand. —Thomas Hobbs
Album: Ashanti
Year: 2002
Ashanti’s debut single was a generation-defining statement, a moment in R&B and rap that shifted the genre to more interesting and boundary-pushing places. Gotti’s beat on the cut is built around weeping strings and a piano line from The Notorious B.I.G.’s “One More Chance / Stay with Me (Remix).” Beneath this melodic gold lies a bassline as sturdy as solid marble, giving the song a pulse that Ashanti always returns to after her show-stopping vocal runs. The “Foolish” beat, mostly taken from the Biggie cut with some additional muscle from Gotti, may not be his most innovative work, but he knows better than to fix something that ain’t broken. —Will Schube
Album: It’s Dark and Hell Is Hot
Year: 1998
DMX’s 1998 album, It’s Dark and Hell is Hot, is both a watershed moment in rap music and one of the most unique and singular debuts in the genre’s history. Raw, vulnerable, and fucked up, the album opened up new emotional depths in rap and introduced DMX as one of its brightest new talents. The album gets off to a strong and dramatic start with its Lil Rob and Irv Gotti-produced intro. Taking a synth string, bells and timpani sample from jazz legend James Mtume’s score for the 1986 film adaptation of Richard Wright’s novel, Native Son, DMX’s intro is a powerful tone-setter for a classic album. —John Morrison
Album: Reasonable Doubt
Year: 1996
Melding a soulful string and brass sample with vivid street poetry, “Can I Live?” is a prime example of the potent formula that made Jay-Z’s 1996 debut, Reasonable Doubt, so great. Backed by lush beat from Gotti—who was going by DJ Irv then—Jay walks us through valleys and peaks of the drug game while chasing the promise of a better life on the other side. —John Morrison
Irv Gotti, Ja Rule, and Ashanti didn’t invent the rap/R&B duet—Method Man and Mary J. Blige’s “I’ll Be There for You/You’re All I Need to Get By” won a Grammy five years earlier—but they perfected it. The trio created a template that still shapes music today, where it’s now commonplace for singers to rap verses and rappers to sing hooks.
On “Always on Time,” Ashanti is only featured on the hook. But it’s a perfect chorus—infectious and a sweet counterpoint to Ja’s mostly explicit lyrics. The song’s production is also key. Irv Gotti delivers a memorable guitar riff that would go on to influence much of 2000s hip-hop and R&B (listen to Fabolous’ “Can’t Let You Go” or Diddy’s “I Need a Girl, Pt. 2” for a taste of its ripple effect).
“Always on Time” might not be the best song Irv ever did—”Can I Live?” tops it, if I’m being honest—but it’s the most important and influential. —Dimas Sanforenzo
View news Source: https://www.complex.com/music/a/john-morrison/irv-gotti-songs-ja-rule-ashanti-murda-inc
