The vast majority of the hip-hop industry records during vampire hours. Most artists and producers arrive at the studio around 10 p.m. and work till five or six in the morning, meaning most modern hip-hop is recorded between midnight and 4 a.m. So, just after 10 p.m. one Friday night in Miami, superproducer Scott Storch is on his way to work, driving to the Hit Factory Miami in his white convertible Lamborghini, slicing down the freeway doing eighty, totally stoned.
He’s in a red T-shirt, jeans and multihued Nike Air Force Ones, and he’s glistening like the morning dew because of an obscene amount of jewelry, including a thirty-four-carat yellow-diamond ring worth $3 million, a thirteen-carat white-diamond ring, a $250,000 diamond-encrusted watch and three iced-out chains around his neck. Call Storch hip-hop’s Liberace. He’s worth $70 million, the result of his work with Dr. Dre (he co-produced “Still D.R.E.”), Beyoncé (he produced “Baby Boy” and “Naughty Girl”), Justin Timberlake (“Cry Me a River”), Lil’ Kim (“Lighters Up”), Fat Joe (“Lean Back”), 50 Cent (“Candy Shop”) and Chris Brown (“Run It” and “Gimme That”). But even after a slew of great clients, he’s still bitter about those few who don’t call back.
Storch is driving to the studio to work on a song for Jessica Simpson called “Mr. Operator,” another piece of the large body of work he has coming out in the next year, including songs he made with Nas, Ludacris, the Game, Mario, Eve, Mya and Jay-Z. “I’m working with Jay-Z on his new album,” Storch says, the Lamborghini engine behind his shoulder roaring like a lion. “The first time we ever really worked together. We got some fire.” He’s also working on an album for Brooke Hogan, Hulk’s daughter, which will be the first release from Storch’s new label, Tuff Jew. “I heard her sing and I thought, ‘She’s not just a celebrity’s daughter.'”