The tabernacle was not present, so officially Jesus was asleep.”
The neptunes tv#
But my mom was working graveyard shifts.” This provided the kind of gestation period in which a gifted kid with a vivid imagination – who loved Twilight Zone and space movies, and composed a school paper on Bob Moog after seeing a TV news segment about the threat of synthesizers replacing live musicians – could begin to coalesce his varied interests: “I got interested in Moogs and synthesizers and the basics of that, and electronic music and sine waves.” He began DJing community dances at church, where he got away with playing 2 Live Crew records. But he also recalls plenty of time on his own. Watching them work, it just took me back to, man… ’97!”Ĭhad stayed busy with organized music activities – boy scout bands, band camp. Pharrell would lay drums, do this and that, and then he’d be like, ‘Chad, what do you hear?’ Or he’d try to articulate to Chad, ‘It’s some chords here I don’t know what they are, help me find them.’ And Chad would just get up there and play, and ultimately, man, it all just blossomed into something incredible. That chemistry was still intact on “Punch Bowl,” the Clipse reunion track off Nigo’s I Know Nigo album: “The thing that was beautiful to me was seeing those old patterns of working. He always was the person to find more greatness and could find unorthodox sounds that made a perfect match with what it is that we had done vocally.” We might even leave, and maybe Chad would stay back, or come in that night behind us. “Because he’d find more magic in a record that I would think was finished. “Chad was always the x-factor to us,” he adds, referring to the Clipse, the hardcore rap duo Pusha formed with his brother No Malice before going solo, and for whom the Neptunes produced two classic albums.
When I ask him how the duo collaborates, he’s initially reluctant, only elaborating in a follow-up conversation: But where Pharrell over time made the transition from faceless producer to internationally-famous vocalist, Chad has remained something of a private figure, an enigma even. The hyper-condensed version: Chad and Pharrell met at band camp, bonded in school and were discovered by legendary producer and New Jack Swing pioneer Teddy Riley at a high school talent show. The Neptunes origin story is well-documented. But things seem to have cooled off: Although the Neptunes were credited on the recent Nigo track “Punch Bowl,” Pharrell appears solo on other recent production credits, and the once-busy Neptunes Instagram account has been deactivated. Just the thought of Hugo and Williams working together again was exciting- the Neptunes dominated the late ’90s through mid ’00s, crafting hits for Jay-Z, Justin Timberlake, Usher, Gwen Stefani et al, while collapsing conventional styles into a continually inventive sound that blurred rap, R&B, rock, pop and dance. In 2020, Chad and Pharrell made waves by convening sessions at Pharrell’s Miami compound for old collaborators and new. As she says, “Dancing’s what I love - now watch me.” In the accompanying video, and on the MTV Video Music Awards stage that year, we would watch Spear dance, the start of a whole new musical era for her.Neptunes credits slowed in the last 10 years, as Pharrell did more solo work as both artist and producer. The melody is loose because this is a dance song, not a sing-along. We hear this transformation in the raspy breath and half-whispered vocals that open the song. She dropped the ballad-style singing from her earlier hits, instead opting to combine her controlled vocal fry and rhythmic percussiveness with a sort of sing-speaking throughout.
Now with a soundtrack of off-kilter beats and harmonic dissonance, Spears needed a new vocal approach. Working on “I’m a Slave 4 U” with Pharrell Williams and Chad Hugo, better known together as the Neptunes, Spears evolved her sound to sit alongside the R&B of her chart peers. With her new sound, Britney signaled that she had moved beyond Swedish-produced-pop polish for an entirely new sonic identity, just as she had left behind the ingenue character of her first two albums.
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