Nelly Furtado feat. Missy Elliott - Do It [CDQ]

High CD quality version to the radio mix of Nelly Furtado's 2006 Timbaland-produced smash hit "Do It", featuring guest appearance by Missy Elliott

Nelly Furtado &Timbaland - Promiscuous (Axwell Remix)

All Good Things (Come to an End) (Nelly Furtado x Quarterhead)

 

Nelly Furtado feat. Keith Urban - In God's Hands (Audio)

 

Nelly Furtado - All Good Things (Instrumental)

Nelly Furtado - All Good Things (Instrumental)

Mp3


Produced By Timbaland & Danja

Nelly Furtado: "Maneater" caused Fire🔥 in The Studio

 The 38-year-old Singer released the song in 2006, and it was featured on her album Loose. She has confirmed there was a fire in the studio when she was laying down the track, revealing it left her incredibly spooked. She feared something about the sound of the music had caused the flames, and for a while was too scared to work on it.

 This is true - there are many witnesses who were there "Timbaland" and his Co-Producer "Danja": when we recorded Maneater a speaker caught fire. It started smoking and a flame shot out of the speaker, which nobody at the Hit Factory in Miami had ever seen before in the 40 years the studio has been there, she said. We put that beat on, and it was so rumbling and rapturous and pagan that it incited a fire!

 

We actually were scared of the beat. We felt like it had the devil in it, or something. We put it away for a few weeks, until we had the courage to play it again. It was life-threatening! Someone almost got first-degree burns.

The star insists there is one key element which runs through all her releases if they dont sound good stripped back to just vocals and a guitar, she ditches them.

The one unifying thread is, clearly, I'm a pop singer and pop songwriter and melody and lyrics are central to what I do, she told the BBC. My goal is to always record albums where pretty much every song sounds just as good with only an acoustic guitar and a vocal. That's always the test.

Nelly Furtado stopped working on her hit Maneater for a while as she was convinced the beat had the devil in it... Damn Timbo!

Say It Right (Behind The Scenes)

Today we Got a Rare Video from The Archive, Nelly Furtado On Set Of  Her #1 Single "Say It Right" with Timbaland

 Enjoy Watching and Let Nelly & Timbo take you Back to the memories of 2006

                                 

Nelly Furtado Talks about what Makes Timbaland "The Greatest"

In the March 2007 issue of GQ, Alex Pappademas considers Timbaland, the influential producer who made Missy Elliott's career, crafted hits for Jay-Z, and helped Nelly Furtado get Loose. Here, Furtado talks about what makes the man so great. 


Timbaland produced your third album, Loose. I think a lot of people were surprised when you teamed up with him, but the album turned out to be a huge success both commercially and creatively. Why do you think you guys worked so well together ?

I think my career is all about unlikely collaborations, y'know. One day I'll do something with Timbaland, the next day I'll do something with Michael Bublé. The two don't really seem to have any thread that holds them together, but I like to be the thread.

The first time I met Tim, ironically, or not so ironically, was because he wanted to sample my music—a song called "Baby Girl" that I'd created with [producers] Track & Field. There's this whole vocal arrangement, that we spent hours on, with my voice totally layered, this very Brazilianinspired vocalpercussion riff that's a very big part of the song. He sampled that part of the song and created a whole song around it for one of his artists, Ms. Jade. And my label called me and said 'Hey, Timabland wants to sample you, but he wants you to come in and approve the track.' And I was like, 'Amazing,' because one of my musical dreams was to work with him.

This was, like, six years ago. So I went to the studio, and it was really like love at first sight. Musical love at first sight—literally within two minutes of meeting him, I was in a vocal booth with headphones on, and I was singing. That never happens. And it was really pure and real. I sang a whole improv section for the end of the song, and I ended up singing the chorus for the song, and doing the video and everything.

And y'know, since then, he was just a musical friend. We worked a couple more times in the studio, just doing remis and stuff. And we kinda lost touch for a while, like four years or something. And then when this album [Loose] came about, I started working with all kinds of producers—I worked with Track & Field, I worked with Pharrell, I worked with Scott Storch in Miami. I had a bunch of tracks, I had some good songs, but then finally the label was like, 'You know what Tim wants to do a track with you, and we think you should do it."

It hadn't occurred to me. We'd always talked about doing an album together, but I guess we'd been putting it off. It's kinda what everybody expected after the first album—that I'd put out a Tim album, like a hiphop/R&B album. I had showed my feathers a little bit, on different hiphop things I'd done with the Roots, and Jurassic 5 and Missy, and everyone was like, 'Okay, she'll go that way,' and I didn't, because I hate doing what people think I'm gonna do. So anyway, I flew to Miami. And it was a momentous occasion, cause I hadn't seen him in about four years, so when I walked in that studio it was like seeing an old friend, or when you go and see a relative you haven't seen in ages, and you've flown across the world or something. He's sitting there behind all these keyboards, cramped in the corner. And he was like, 'Hey—let's make some music.' And that very same day, I just had this feeling in the pit of my stomach like something magical was gonna happen.

So you wrote the whole album together in the studio ?

Oh, yeah, totally. These songs came out of pure spontaneous moments, just hanging, just vibing. That's why I named the album Loose. When we did the album, we kind of approached it like we were a band. We had these fabulous dreams of actually starting a band. I felt like I was in a band—like I was in Blondie or something. We decided to do a lot of this album in the mix room, just on the floor. I wasn't in an [isolation] booth writing it. We would all write and jam right in front of the board. We were all so passionate—we wouldn't stop to eat our food, we'd just record late at night, and go home so tired.

What was the process like Would he start by just throwing you a beat ?

Yeah. He has, like, skeletons of beats sometimes, on his keyboard. And he'll have, like, twenty things, and he'll just play me stuff. He's the only producer where I have a melody for absolutely everything he plays me. He just inspires me on a really basic level, like a primal level. Everything he plays really inspires me. He'll play a beat, and I'll start singing, and I'll come up with a hook. He's very picky, so it's great for me. It's a very Pavlovian experience, because every time he didn't like something, he'd just kind of leave the room and go do something else. [laughs] So I learned very quickly to only come correct with my hooks.

I totally know what you're talking about. When I was interviewing him, and he wasn't into a line of questioning, he'd sort of tune out ?

I know, I know! You gotta keep him interested. He's got a low attention span. But so do I. That's why we get along. It's kinda funny. Actually, though, certain songs weren't like that. Like "Promiscuous"—people always assume I wrote that song, because I write all my other material, but that's the firstever song that I didn't really write that much of. I wrote maybe 50% of the lyrics, but the melody is all Tim. And the whole "Promiscuous" thing came out of Tim's dirty little mouth. [laughs] He didn't know what he meant when he said it. He didn't know what "Promiscuous" meant, isn't that funny He really only learned what it meant once it became a really big hit. He was like, "Oh—that's what that's about."

I Guess He just knew it was something dirty...

He just knew it was a sexy word. Tim's kinda all about—when I say he's all about sex, I don't mean he's some kind of sexual fiend, but he's really a very visceral human being, very electric, very ofthisworld. I think he's extremely gifted. I think he's been abnormally blessed, by God, with a really special gift, to just really make people move. I always say it's like he's an extraterrestrial on the keyboards, because it's like he's beaming things in from outer space, but it's almost like he's beaming things in from the future, y'know He's always just five years ahead of everybody else, and that's just a fact, and that'll never change. It's just who he is—it's a part of who he is. He's just not satisfied with mediocrity, he's not satisfied with being like everybody else. And he doesn't even have to study that hard to do that. It's just in him. Some people are natural forecasters of public taste, or natural forecasters of culture. They're just ahead of their time. And I think Tim was born that way, and he'll always be ahead of his time.

When I tried to have the nutsandbolts music conversation with him, and talk about why he made certain choices, he didn't have that much to say. I got the sense that doesn't really intellectualize this stuff.

Yeah, not at all. He's the opposite

It's that directlinetoGod kind of musicmaking. 

It's funny, though, because it's so human. It's almost like his music really connects that world to fleshandbone humanity. And that's why this album of mine is the way it is. People are like, "Oh, this is different. It's very sexual." And I was at a time, too, where I was just getting kind of comfortable with real life and making mistakes, and not being afraid of the darker side of things. And I think it was a perfect moment for him and I to make that album, because it was me just really letting go. I had to get on that horse and ride that wave. He taught me how to let go of thinking too much. Because I think the only difference between my new CDs and my old CD is really that in the past, I think I overintellectualized my music, and when I work with Tim it's impossible to overintellectualize, because you just can't do it. He's just such a good meter of realness that it just doesn't happen. He's the type of guy who, I'll be like, "C'mon, Tim, let's bring in some musicians"—we brought in these wonderful Cuban guitar players, and we spent like five or six hours tracking this song, and he's like, "Aww, it's cool, it's cool," and at the end he just erased everything. He liked it better the way it sounded without it! He knows what he likes.

And you trust him on that ?

Yeah, I do. You have to. You can't let your pride get in the way. That's why the album sounds so rough. The label was like, "What's up with this mix It's so dirty. It sounds so raw and edgy. We don't like it. We need a more pristine mix," and I was like, "No, that's not the point." The whole thing is sonics, the whole thing is sound. That's what Tim does. He doesn't do what everybody else does, y'know And that's the way to change popular culture, really. Do something different, and lead people this way or that way. He's the leader of the pack. It's uncanny.

Did he work really fast on a lot of these songs Did they not take as long as some of the tracks you've done in the past ?

Oh, yeah. I've got a great story, actually. Y'know how he had no idea about "Promiscuous" being a risqué word He had put up another beat, which ended up being a song called "Do It." And I was sitting there in the hallway, writing the lyrics, and his beat was up, playing for like an hour, and I was like, "Tim, this beat's so good. It's been on for an hour and I'm not sick of it." And he's like, "Really What you got for it" And I sang it to him, like, "Oh, do it like you do it to me/Do it like you do it to me." And he's like "Oh, I like it, but I don't know—is it too risqué for, like, the _TRL_type crowd" [laughs] And again, this is after we did "Promiscuous."

Promiscuity is okay, but… 

…you can't say "Do it like you do it to me." [laughs]


via GQ Magazine

Nelly Furtado - Say It Right (Timbaland Extended Mix)

Nelly Furtado - Say It Right (Timbaland Extended Mix) 

10 Greatest Albums Produced By Timbaland

Timbaland is one of the greatest producers in the history of music. Over the years, he's managed to craft tons of hits for various artists and his catalog is extensive. One thing about his catalog that is special IMO is the fact that he has worked closely with artists over the years to help them craft projects personally. One listen to an album entirely produced by Timbaland, and you can see he influenced the vision and the lyrics as well as the sound. While he's produced for numerous artists, his greatest accomplishment might actually be the albums he had a huge hand in. Those are the projects we are here to discuss today. Let's take a look at the 10 greatest albums produced by Timbaland.

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Aaliyah- One In A Million (1996)

Aaliyah’s second album, 1996’s One in a Million It was a game changing album in her too-short career, as well as in the careers of producers Timbaland and Missy Elliott, It was a pivotal moment for Aaliyah. 1994’s Age Ain’t Nothing But a Number put her on the map, but it was well-known that the album was written and produced by her mentor, and lover, R. Kelly. But by 1996, she’d cut ties with Kelly and her label Jive Records. She now had to prove that she was a viable star, on a new record label, without her former mentor.

Aaliyah took a more futuristic approach to R&B music. Nowhere is this more apparent than with the album’s first two singles, “If Your Girl Only Knew” and the title track. The latter saw Aaliyah owning her crown as R&B’s most experimental torchbearer.

One In A Million eventually sold more than a million worldwide — including two million copies stateside — and frequently pops up on ’90s best-of lists. It’s clear the album’s deft combination of electronic and R&B set a precedent for the music of this decade, sitting comfortably on a shelf alongside recent releases from Kelela, FKA twigs and Nao (just pretend people still put physical copies on shelves). The foresight and risk-taking that Aaliyah showcased in 1996 would become fully realized five years later on her eponymous third (and final) album.

Missy Elliott- Supa Dupa Fly (1997)

Arguably the most influential release by a female rapper in history, this project birthed one of rap’s most important icons, male or female. The Hip Hop/R&B experimental masterpiece not only delivered a fresh sound to a period in between dominant trends.

The sound and success of this project is due in equal part to Missy and fellow Virginian super-producer Timblaland. The new age, digital R&B style production pioneered a sound that became the standard of any Top 40 crossover hit of the era. His technical ability as a beat maker personally complimented Missy’s unorthodox, almost broken-up, flow and smooth, soulful vocals. Missy’s ability as an innovative song writer allowed for the mind boggling production to not be wasted. The subjects that were touched on came with new perspective and the way she rode each beat added such emphasis, giving the project a strong theatrical quality.

Commercially, it performed quite well peaking at #3 on the Billboard 200 chart. The album claimed the #1 spot on the R&B/Hip Hop chart and made appearances on music charts in New Zealand and the Netherlands.  The album was certified platinum in the United States and silver in the United Kingdom, both in the year of its release. Critics across the board praised both Timbaland and Missy Elliot for their work on this album, calling it “a key prophecy of the dominant 21st century Black pop”

Timbaland And Magoo- Welcome To Our World (1997)

 

 in the late '90s as apart of the rapper/producer duo Timbaland and Magoo. The childhood friends and DMV duo made their debut with the album Welcome to Our World on Nov. 11, 1997.

The 18-track debut took two years to craft and featured names like Aaliyah, Ginuwine and Missy "Misdeamonor" Elliott" on guest vocals. The album birthed three singles for the guys, "Up Jumps da Boogie" and "Clock Strikes", "Luv 2 Luv Ya". "Up Jumps da Boogie," which was released in July before the album dropped, would prove to be their highest charting single, peaked at No. 12 on the Billboard Hot 100 and No. 1 on the Hot Rap Singles chart. "Up Jumps da Boogie" went certified RIAA Gold by late '97 while the album as a whole went platinum in sales by 1998,

100% Ginuwine (1999)

It was good to be Ginuwine in the 1990s. The singer found himself at the epicenter of R&B when he was recording his sophomore album, 100% Ginuwine. Ginuwine talks about working with the dream team of Timbaland, Static Major, Missy Elliott and more to craft the classic record.

“Pony” was one of the biggest songs of my career," he said of his debut, so crafting a collection to follow was difficult. "It was really hard to follow that up. But those are songs you just can’t call. It’s either gonna be a smash or it’s not. Going into the second CD, I just truly wanted to be myself and not alienate the base that got me there."

Beating the sophomore slump, 100% Ginuwine yielded such songs as, "So Anxious" and "Same Ol' G;" it went double platinum, selling more than two million copies. Timbo contributed to nearly every cut on the album.

Missy Elliott- Da Real World (1999)

 this album is extremely slept on when talking her catalog. Her other albums produced by Timbaland were great, but it's something about this one that takes the cake as her second greatest project. Now, the beauty of listening to Timbaland's production on multiple Missy albums is that it shows his progression as a producer and the sound. This album is full of different features and as such, the sound accompanies each feature, with tracks like "All N My Grill", "She's A Bitch", "Hot Boyz", "U Can't Resist", and more helping to make this album feel more complete. Da Real World is a gem in the Timbaland production catalog.

Bubba Sparxxx- Deliverance (2003)

Deliverance is crazy hot because Timbaland’s beats are some of the funkiest he’s created to date. He hits us with six banging tracks right away, “Jimmy Mathis,” “Coming’ Round,” “She Tried,” “Nowhere” featuring Kiley Dean, “Overcome” and “Warrant.” The title track also ain’t nothing to f**k with. Whether it’s his eclectic samples or head noddin’ drum patterns, Timbaland touches us deep down in our souls. His beats hypnotize. Then Organized Noize gets OutKast on us for “Like It Or Not.” This CD is party material, to cruise to in your car or just to chill to. What Dre did for Eminem, Timbaland has done for Bubba. Tim blessed Bubba with hot beats and together they created an excellent album.

Justin Timberlake- FutureSex/LoveSounds (2006)

the album and all the sexy Timberlake helped bring back with its release. Coming four years after Justin Timberlake released his first solo album Justified, the followup was a far more experimental and equally risqué album, FutureSex/LoveSounds. The title alone, combining old words into a fresh formation, felt as though Timberlake created some new language, one which challenged the cookie cutter boxes that often represent pop music. With producer/collaborator Timbaland (whose name is all over the album’s credits, from playing instruments to lending vocals), Timberlake stretched the identity he’d long presented the world with, challenging what listeners thought about him. FutureSex/LoveSounds showed Timberlake all grown up and unafraid to own it. 

Nelly Furtado - Loose (2006)

In 2006, Nelly Furtado released her third album, Loose. Alongside Beyoncé's B’Day, Justin Timberlake's FutureSex/LoveSounds, and big country debuts by Taylor Swift and Carrie Underwood, it went on to become one of the best-selling records of that year as well a career-defining album for the Canadian musician. Singles like “Promiscuous” and “Maneater” & "Say It Right" significantly altered Furtado's public narrative; until then she'd been known as a kind of heartfelt singer-songwriter, but began to be talked about in the hyperbolic, often patronizing tone reserved for pop stars who invoke their sexuality. But Loose was hinged on her magic chemistry with producer Timbaland, and set them both up as even more versatile artists than fans had previously understood.

Timbaland - Shock Value (2007)

On February 4th 2007 Timbaland Released His 2nd Solo Album "Shock Value" 

It is Timbaland's first release on his own imprint, the Interscope Records-distributed Mosley Music Group. Shock Value features a long list of guest artists, among them Fall Out Boy, Justin Timberlake, The Hives, Keri Hilson, Nelly Furtado, Missy Elliott, 50 Cent, Tony Yayo, Dr. Dre, OneRepublic, Elton John, Magoo and Nicole Scherzinger.

His Biggest Singles on The Album Were "Give it To Me" , "The Way I Are" , "Apologize" 

The album was certified 3x Platinum with sales of 210,000+ copies. It reached the top of the album chart on the week beginning 12/31/2007.

Justin Timberlake - The 20/20 Experience (2013)

The 20/20 Experience, which has Timberlake seamlessly conflating the last 40 years of pop, soul, and R&B into a series of warping seven-minute songs that shamelessly extol the joys of music and marriage. More ambitious and judicious than his first album, Justified, and more consistent than 2006's FutureSex/LoveSounds, the record mixes up not only genres and traditional song structures, but entire critical value systems. The poptimists who rode Timberlake's wave to post-guilty-pleasure virtuousness may decry its lack of three-and-a-half minute hits; The tribal drums, quasi-mystical keening and background birdsong certainly make an r & b magic carpet ride of Don’t Hold the Wall. It’s a song that repeatedly incites the object of Timberlake’s affection to “Dance!” but is more likely to find clubbers kissing in corners. Winkingly salacious, Strawberry Bubblegum all but slips listeners into something more comfortable by sampling Barry White.