Nelly Furtado Releases Expanded Edition of "LOOSE" 🌴 (15th Anniversary)

Available now, HERE, Loose (Expanded Edition) further illuminates the attitude, vibe and creativity that captured the hearts of fans and critics alike. Among the rarities and bonus material on Loose are a version of "Do It" feat. Missy Elliott, Spanish versions of "All Good Things (Come To An End)," "In God's Hands" and "Te Busque" feat. Juanes, plus several remixed tracks.

IGA/UMe kicked off the 15th-anniversary celebration of Loose with the May 28 release of Nelly Furtado x Quarterhead, a remix EP featuring "All Good Things (Come To An End) (Nelly Furtado x Quarterhead)," a new remix by gold and platinum award-winning German production duo Quarterhead. The single is one of the bonus tracks on the expanded edition (and the Remix EP with three additional edits is available here).

Loose spawned eight singles, including Furtado's first No. 1 Billboard Hot 100 hit, "Promiscuous" feat. Timbaland, which topped the charts just weeks after the album's original release and has also seen tremendous activity on social media this year with fans creating over 2 million short-form videos, including mashups with other hit songs, dance videos and remixes with other trending sounds, among others. "Promiscuous" now has three remix versions on the expanded edition: "Promiscuous (Axwell Remix) (feat. Timbaland)," "Promiscuous (Crossroads Vegas Mix)" and "Promiscuous (Josh Desi Remix)." An alternate version of the second Billboard chart topper, "Say It Right," is also included as one of the bonus tracks: "Say It Right (Reggae Main Mix) (Featuring Courtney John)."  

NELLY FURTADO LOOSE (EXPANDED EDITION) [15TH ANNIVERSARY eALBUM]

1. Afraid (feat. Attitude)
   
2. Maneater
   
3. Promiscuous Interlude (feat. Timbaland)
   
4. Promiscuous (feat. Timbaland)
   
5. Glow
   
6. Showtime
   
7. No Hay Igual Interlude (feat. Timbaland)
   
8. No Hay Igual
   
9. Te Busque (feat. Juanes)
   
10. Say It Right
    
11. Do It
    
12. In God's Hands
    
13. Wait For You Interlude (feat. Timbaland)
    
14. Wait For You
    
15. All Good Things (Come To An End)
    
16. Te Busque (feat. Juanes) (Spanish Version)
    
17. Let My Hair Down
    
18. Somebody To Love
    
19. Undercover
    
20. What I Wanted
    
21. Runaway
    
22. Crazy (Radio 1 Live Lounge Session)
    
23. Do It (feat. Missy Elliott)
    
24. All Good Things (Come to an End) (Spanish version)
    
25. En Las Manos De Dios (In God's Hands, Spanish version) 
    
26.  In God's Hands – Single version (feat. Keith Urban)
    
27. Say It Right (Reggae Main Mix) (feat. Courtney John)
    
28. No Hay Igual (Remix) (feat. Calle 13)
    
29. Promiscuous (Axwell Remix) (feat. Timbaland)
    
30. Promiscuous (Crossroads Vegas Mix) 
    
31. Promiscuous (Josh Desi Remix)
    
32. All Good Things (Come to an End) (Nelly Furtado x Quarterhead)

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

Inside the Producer’s Studio – Timbaland

Timbaland Tells The Real Story About His Smash Hits Records He Did With Missy Elliott "Get Ur Freak On", Aaliyah's "One In A Million" & Jay-Z "Big Pimpin"

Justin Timberlake Talks About The First Time He Met with Timbaland & Making His
Classic Smash Hit "Cry Me A River"

Nelly Furtado - Say It Right (Timbaland Extended Mix)

Nelly Furtado - Say It Right (Timbaland Extended Mix) 

Nelly Furtado - Loose (Instrumentals)

Artist: Nelly Furtado

Produced By Timbaland & Danja, Rick Nowels, 

Released: 2006 

Label: Geffen Records/ Mosley Music Group

1- Nelly Furtado - Showtime (Instrumental w/ hook)

2- Nelly Furtado - All Good Things (Instrumental)



3- Nelly Furtado - In God's Hands (Instrumental)


4- Nelly Furtado - Say It Right (Instrumental)


5- Nelly Furtado - Do It (Instrumental)


6- Nelly Furtado - Maneater (Instrumental)


7- Nelly Furtado - Promiscuous (Instrumental)


8- Nelly Furtado - Te Busque (Instrumental)


9- Nelly Furtado - No Hay Igual (Instrumental)

The Stories Behind Nelly Furtado's Hits

"LOOSE", her collaboration with Timbaland, went platinum in 32 countries. The follow-up, a Spanish language disc called Mi Plan, may have seemed like career suicide - but it won a Grammy and topped the Latin album charts. 

"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." Furtado explains

THE SONG THAT MEANS MOST TO ME

"TRY", which is a ballad from the second album, Folklore. I was about six months pregnant with Nevis my daughter at the time. So that album has a lot of sincere, emotionally poignant moments for me. I was really inspired.

The second half of the song was totally improvisation. It captured a lot of emotion. So every time I sing it in my live show - all around the world it's had the same reaction - fans get quite emotional, and there's a lot of crying. And I have cried when I sing it. A lot of people have told me the song gave them hope or helped them through a difficult situation.

THE SONG THAT STARTED A FIRE 🔥

This is true - there are many witnesses who were there: 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.

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 SONG THAT WAS MORE SUCCESSFUL THAN I EXPECTED

"SAY IT RIGHT". I had no idea what a giant song it would become. The thing that still perplexes me about the song is that I still can't put into words what it's about. I think it's maybe about personal, visceral abandon. Throwing yourself into something without inhibitions.

It has a mystery to it - which is something I always wanted to do with a pop song. When Timbaland and I were creating Loose, we were really inspired by the Eurythmics and songs like Sweet Dreams. Songs that are definitely pop songs, but that draw you into certain abstract states of mind. And I think Say It Right has that quality. It's quite haunting.

We wrote it really late at night. It was four in the morning and it just kind of came out of nowhere. We'd been watching Pink Floyd's The Wall on a huge screen all day long on mute - so I think it was playing into our subconscious a little bit.

THE SONGS THE RECORD LABEL SENT BACK

When we were recording Loose, we really liked the sounds we were creating in the studio. My whole life, I had grown up making beats in my friends' basements and loving the rawness of this direct sound, before you fix what is broken. For major records, you smooth down and master the sound but on Loose we did the opposite. We wanted it raw, we wanted it visceral, we wanted the speakers to buzz. We fought for that. The label asked us to do better, smoother mixes and we refused. I said, "no, it needs to sound this way".

Sonics are everything. A lot of the beats and the sound on Loose are louder. When Timbaland put out my album and then Justin Timberlake's album, there was an actual volume increase. I think everything on the radio became louder after that, for the next five years. Because what we did in the mix stage was creating the illusion of having the speakers turned up to 11. We were maxed out on all fronts. You're getting volume - which is what people want, because that's what you feel at a live show.

THE SONG I LOVE PLAYING IN CONCERT

Turn Off The Light. We've done electro versions, hip-hop versions. Timbaland came and surprised people when we played it at the Hammerstein Ballroom in New York. We did my regular version, then it was Tim's urban remix, and then we rapped, and then we went into a heavy metal ending, where I played guitar and traded licks with my guitar player. It just got rowdy, and the crowd would really move and jump in that part.

It's a great festival song, too. I played it at Glastonbury and people jump and move. It's got a lot of groove potential, so if you want that, you can really get it going on that song. It's got a bluesy raunchy sounding solo in the middle. It's great for moshing to.

THE SONG THAT DIDN'T MAKE IT ONTO THE GREATEST HITS

I really wanted the Get Ur Freak On remix I did with Missy Elliot. That was really important for my career, because it opened the whole hip-hop world to me, right after I'm Like A Bird came out. So there was a cool duality going on.

There's a funny story behind it, too - People would play that remix on the seriously urban, street radio stations in New York and the DJs said: "Oh, Missy's done a duet with a Jamaican boy."

I also wanted my duet with Michael Buble, Quando Quando Quando. It's like my jazz tune. The duet with Timbaland and Justin Timberlake [Give It To Me] isn't on there, either. And I have a really cool duet with Josh Groban. We wanted to do a collaborations album for a while, because I've done so many - and I'm still doing more. I'm not in a band but I have a thirst and a desire to be around musicians. When I was 12 I would sneak out of my house and hang around with DJs and MCs. I think I spend more time hanging around and jamming than focussing on my career.

via BBC

Timbaland's Hottest Billboard Charts

It’s the song forever reminds you of a particular year – the summer hit. It’s the tune you can’t get out of your head, which greets you every time you pop into a store or work out at the gym, according to Billboard magazine, these are Timbaland's top summer jams of the past 15 years. 

1- on the week of June 17, 2000. "Try Again" By Aaliyah debuted on #1 in the US Billboard Hot 100, 
It also peaked at number one on the Hot 100 Airplay chart, "Try Again" Was the Official Soundtrack for The Movie "Romeo Must Die" AALIYAH

2- On 8 July 2006 "Promiscuous" By Nelly Furtado Feat Timbaland topped the Billboard Hot 100, and becoming her first number-one single. It spent six weeks at the top spot.. this sexy song was an international hit for the Canadian songstress. NELLY FURTADO

3- "SexyBack" By Justin Timberlake was commercially successful in the US. The single debuted at number One on the Billboard Hot 100 in July 2006, Also its became Timberlake's first number-one hit on the Billboard Hot 100 from his Futuresex/Lovesounds album.The single spent seven consecutive weeks at the number-one position on the Hot 100.
JUSTIN TIMBERLAKE

4- "My Love" was commercially successful in the United States. The single debuted at number #1 on Billboard Hot 100 November 11, 2006, "My Love" was certified Platinum by the RIAA on February 26 2007,and has sold 2,208,000 copies as of April 2013. 
JUSTIN TIMBERLAKE

5- The Song "Say It Right" By Nelly Furtado debuted on the Billboard Hot 100 chart at number #1

in February 2007, "Say It Right" was certified Platinum by the ARIA as A Platinum Single. 

NELLY FURTADO

6- "What Goes Around.../...Comes Around" was commercially successful in the US. The single debuted at number #1 on December 23, 2006 on the Billboard Hot 100, and it was certified platinum by the Recording Industry Association of America on June 2007.

7- In the US, "Give It to Me" debuted on the Billboard Hot 100 on the week ending 24 February 2007 at number eighty-seven. The song slowly rose the chart for weeks until the week ending 21 April 2007, when the song ascended forty-one places, from forty-two, to Number One

TIMBALAND

8- "Apologize" was OneRepublic's breakout hit and first number one hit. In the US, "Apologize" peaked at number #2 on the the Billboard Hot 100, and became the third single from Shock Value to have topped the chart. It also became the album's first number one single on the Billboard Adult Top 40.

9- "The Way I Are" By Timbaland Feat Keri Hilson & D.O.E topped the chart In UK, the song debuted at number One on the UK Singles Chart on July 1, 2007 , becoming Timbaland's second Second Single following "Give It to Me". 

 10- "4 Minutes" By Madonna feat Justin Timberlake & Timbaland topped the chart In UK, the song debuted at number one on Billboard's European Hot 100 for four weeks.Overall, "4 Minutes" reached number one in 21 countries worldwide,  According to the Official Charts Company, it was the seventh best-selling song of 2008 and has sold 500,000 copies there.