Yuki Chiba & BABYWOODROSE’s Documentary: A Track-by-Track Credit Guide

Documentary, the joint album by Yuki Chiba and BABYWOODROSE, arrived through YC Sounds on April 25, 2026: seven tracks in approximately 15 minutes. ChaseTheMoney has the producer credit on five of them. That makes him central to its construction, but the number alone leaves out other contributors, including two additional composers on the opening track.

The useful questions begin with the work itself. Who made each track? Who shaped the album as a whole? How does the shared artist billing relate to the credits on individual songs? Comparing the official music-video descriptions with the distributor’s credits gives a more specific picture of this collaboration than a simple division between Japan and America. The production records below are followed by HIPHOPCs’ interpretation of the sequence and the joint format.

Seven tracks, with producer and composer credits kept distinct

Apple Music’s album page lists Yuki Chiba and BABYWOODROSE, the April 25 release date, seven songs, 15 minutes and YC Sounds. That release record and TuneCore Japan’s distribution page provide starting points for checking the album’s basic details.

In the table below, the producer column follows the description of the official video for “Kyoku”. The composer column follows the distributor’s credits. These are different roles, so a name in one field does not replace the information in the other.

The opening track is the clearest reason to read both sources. Its headline producer credit names ChaseTheMoney, while the composer field also names Jayx and Rapha.beatz. Those additional contributions belong in an account of how the record was made. For the final track, the table likewise preserves the names used in the two source fields.

All seven tracks list Chiba and BABYWOODROSE as lyricists, with Chris Bhikoo credited for mixing and mastering. The rap-performance field for “George Washington,” however, lists Chiba alone. Shared album billing, shared writing credits and the performer field on a particular track describe different things. The credits do not support a blanket statement that both artists rap on every track.

ChaseTheMoney’s five tracks: the opener and tracks three to six

ChaseTheMoney’s producer credit appears on track one and then on tracks three through six. JayUncut takes track two, “Seikatu Syuukan1”; after the four-track middle stretch, Ambezza takes the closer, “Beverly Hills.” The placement, as well as the total of five tracks, is a distinctive feature of the production record.

Compare the opener, “Kyoku,” with “George Washington.” They share a producer, but their registered teams differ. “Kyoku” has three named composers and lists both Chiba and BABYWOODROSE in its rap-performance field. “George Washington” names ChaseTheMoney as composer and Chiba alone as rapper. The joint billing stays the same while the track-level composition and performance records change.

This is why album billing and individual roles deserve separate attention. The producer field names the same person for both songs; following the composer and rap fields reveals different combinations. This comparison analyses the credits. It does not supply unverified descriptions of timbre, flow or the artists’ intentions.

The work around the beats

The official video descriptions also record several roles beyond track production. Chris Bhikoo handles mixing and mastering; Kota Yamamoto is credited for cover design; Ryo Takahashi is executive producer and creative director. A&R credits name Shumpei Shoji and, for track two, STEELO as STEEKNOWS. Eillyhustlehard directs the music videos.

While the track producers change, Chris Bhikoo handles mixing and mastering across all seven songs, and Ryo Takahashi is credited with creative direction for the release. The distinction between work on individual tracks and work that brings an album together is more informative than dividing the team by the beatmakers’ nationalities.

The credits do not identify every recording location or establish contractual control. What they do document is the two artists’ lyric writing, the production roles on individual tracks, the finishing of the recordings and the people working on video and design.

BABYWOODROSE: writing credits on all seven tracks, rap credits on six

The album is billed to “Yuki Chiba & BABYWOODROSE.” TuneCore lists BABYWOODROSE as a lyricist on all seven tracks and in the rap-performance field on six, the exception being “George Washington.” There is a specific record of participation across the album beneath that shared billing.

“Seikatu Syuukan1,” for example, names JayUncut as composer and both artists as lyricists and rappers. “Beverly Hills” names Mathias Liyew in its composer field, again with both artists writing lyrics and rapping. Both the JayUncut-produced “Seikatu Syuukan1” and the Ambezza-produced closer credit BABYWOODROSE for lyrics and rap. Describing him as a one-song guest would miss that arrangement.

For an introduction to his own releases, BABYWOODROSE’s TuneCore artist catalogue provides a useful route. Alongside Documentary are Trapadelic from 2025 and Fuck Da Industry and Addicted from 2026. The joint album can lead back to his catalogue under his own name.

This guide does not treat BABYWOODROSE simply as support for a story about Chiba’s international career. The reasons for pairing the two artists and the negotiations behind the project would require reporting with the people involved. The published writing and performance credits, and a route into BABYWOODROSE’s own work, are already available to readers.

Chiba’s international connections before this album

Chiba’s work across borders extends back to his years as KOHH. His appearances include Keith Ape’s “It G Ma” and the version of Frank Ocean’s “Nikes” issued on the physical edition of Blonde. In 2024 he also collaborated with Megan Thee Stallion on “Mamushi.” Our Yuki Chiba profile traces the change in names, the records and their references.

For Chiba’s own account of a recording process, J-WAVE’s report of his conversation with Kan Takagi — Japanese is particularly useful. Chiba describes recording his verse and Megan’s hook in Japan, after which she recorded her verse in America and sent it back. Multiple places were already part of the making of one song.

In that conversation he also discusses plans to move to Los Angeles and his ambition to win a Grammy. These comments help explain the direction he was considering in 2025. They do not establish that the specific arrangement of Documentary, released the following year, had already been decided.

Warner Music Japan’s July 4, 2025 announcement — Japanese sets out a comprehensive agreement, his affiliation with 300 Entertainment Japan and plans to move his base to LA. The stated scope includes recording, management, merchandise and live production. The distributor’s entry for Documentary, meanwhile, identifies YC Sounds. A broad agreement and the label information on one release describe different relationships.

Against that background, the album offers a concrete way to follow international working relationships through a jointly billed project with BABYWOODROSE. It does not need a claim of being unprecedented in Japanese rap to merit attention. The sequence and division of work are specific enough to examine on their own terms.

What the proximity to POP YOURS establishes

According to the organizer’s lineup announcement — Japanese, POP YOURS 2026 was scheduled for April 3 to 5, with Chiba announced as the day-two headliner on April 4. Documentary arrived exactly three weeks later, on April 25. The same announcement lists Koshy & Sonsi on day one.

Those dates put the announced appearance on a major domestic stage and the album release in the same month. The source is a pre-event lineup announcement; it does not verify the performance itself or an intention to foreshadow the album. The official credits checked here also do not establish Koshy as an intermediary in making the record.

From the album to two videos, then to the people

The official video for “Kyoku” appeared on April 25, the album’s release date. “George Washington” followed on April 29, four days later. Both credit Eillyhustlehard as director and carry the two artists’ shared billing in their titles. Both videos are now available, so the release can be explored beyond the advance announcement in the original article.

• Listen to the complete Documentary album — Spotify
• “Kyoku” official video — published April 25, 2026
• “George Washington” official video — published April 29, 2026

The “Kyoku” video is an entry into an opening track with three named composers and rap credits for both artists. “George Washington” leads into track three, which retains the joint billing but lists Chiba alone in its rap field. Placing the videos beside the release information shows how a shared album name can encompass different forms of participation from song to song.

To move from the record to the people, the Yuki Chiba profile connects names, recordings and collaborators. In HIPHOPCs’ interview with YTG/Sam, Sam recalls meeting Chiba as a child and spending time with him in the studio and on tour. It is Sam’s account, rather than an interview with Chiba himself, and offers a different route into a friendship than a production credit can provide.

Calling Documentary an album with five tracks by an international producer leaves out the opener’s additional composers, the engineer who finished every track, and the difference between shared writing and individual performance credits. Following those roles through the seven-track table reveals several kinds of work coming together under a joint artist name.

Sources and update record

Release details come from Apple Music and TuneCore Japan; production credits and video dates from the official Eillyhustlehard Films uploads; the agreement from Warner Music Japan; Chiba’s account of recording from J-WAVE; and festival dates from the organizer. Direct links appear beside the relevant details. Comparisons of running order and roles are HIPHOPCs analysis of the credits, not a full-album listening review.

First published April 28, 2026; editorial source review updated October 4, 2026. Added the opening track’s additional composers; separated producer, composer and performance credits; corrected the interval between the album and second video; clarified the edition of an earlier guest appearance; and updated video links. Removed unsupported claims about almost no Japanese involvement, historical precedence and the artists’ unreported intentions.

Photo: United States Embassy in Tokyo, August 16, 2024 / Wikimedia Commons file and source. The Commons record identifies it as a U.S. federal-government work in the public domain in the United States. The image uses the portrait crop supplied by Commons.