1 00:00:00,120 --> 00:00:03,040 Speaker 1: Welcome to Rolling Stones five hundred Greatest Songs, a podcast 2 00:00:03,120 --> 00:00:07,960 Speaker 1: based on Rolling Stones hugely popular, influential, and sometimes controversial list. 3 00:00:08,240 --> 00:00:09,680 Speaker 2: I'm Britney Spanis. 4 00:00:09,320 --> 00:00:11,400 Speaker 3: And I'm Rob Sheffield and we are here to shed 5 00:00:11,480 --> 00:00:14,400 Speaker 3: light on the greatest songs ever made and discover what 6 00:00:14,560 --> 00:00:15,560 Speaker 3: makes them so great. 7 00:00:16,640 --> 00:00:18,120 Speaker 2: So big one, big one this. 8 00:00:18,120 --> 00:00:19,439 Speaker 3: Week all time favorite. 9 00:00:19,480 --> 00:00:21,320 Speaker 1: Both of us and I mean, one of the best 10 00:00:21,440 --> 00:00:25,560 Speaker 1: songwriting production duos in all of music history. 11 00:00:25,720 --> 00:00:26,840 Speaker 2: Worked on this song. Today. 12 00:00:26,840 --> 00:00:29,440 Speaker 1: We are going to talk about Missy Elliott's get Your 13 00:00:29,440 --> 00:00:34,040 Speaker 1: Freak on the I mean absolutely transcendent song that placed 14 00:00:34,080 --> 00:00:36,519 Speaker 1: four sixty six on the two thousand and four and 15 00:00:36,640 --> 00:00:39,440 Speaker 1: twenty ten lists and jumped all the way to number 16 00:00:39,440 --> 00:00:41,800 Speaker 1: eight on the twenty twenty one list. It's one of 17 00:00:41,840 --> 00:00:44,879 Speaker 1: three Missy songs on the list. Work It came in 18 00:00:44,920 --> 00:00:47,839 Speaker 1: at number fifty six, and the Rain Super Dupa Fly 19 00:00:48,040 --> 00:00:50,480 Speaker 1: came in at number four fifty three. And the song 20 00:00:50,520 --> 00:00:52,640 Speaker 1: was written and produced by Missy and Timbaland, one of 21 00:00:52,640 --> 00:00:55,320 Speaker 1: the again one of the greatest combinations, one of the 22 00:00:55,360 --> 00:00:58,800 Speaker 1: greatest duos in songwriting history, and they have had a 23 00:00:58,840 --> 00:01:04,320 Speaker 1: long running just collaborative partnership and friendship and just continue 24 00:01:04,360 --> 00:01:08,039 Speaker 1: to make really avant garde and experimental music, as Get 25 00:01:08,080 --> 00:01:10,640 Speaker 1: your Freak On is exemplary of absolutely. 26 00:01:10,720 --> 00:01:10,920 Speaker 2: Yeah. 27 00:01:10,920 --> 00:01:13,200 Speaker 3: I mean there's no way you would hear any five 28 00:01:13,319 --> 00:01:18,240 Speaker 3: second snippet of this song and not think two thoughts simultaneously. 29 00:01:18,560 --> 00:01:23,520 Speaker 3: This is Missy and Timbaland, and second, what planet is 30 00:01:23,520 --> 00:01:27,360 Speaker 3: this coming from? They always had such a completely innovative, 31 00:01:27,360 --> 00:01:31,000 Speaker 3: original sound that sounded like nothing else, even when everybody 32 00:01:31,040 --> 00:01:32,960 Speaker 3: was trying to imitate what they did a couple of 33 00:01:33,000 --> 00:01:33,600 Speaker 3: years earlier. 34 00:01:33,840 --> 00:01:37,560 Speaker 1: Yeah, it's a level of weirdness that literally only Missy 35 00:01:37,640 --> 00:01:40,119 Speaker 1: can get away with performing. You know, It's like Missy 36 00:01:40,200 --> 00:01:43,320 Speaker 1: can only do this so effectively and so perfectly where 37 00:01:43,360 --> 00:01:47,960 Speaker 1: she herself is i mean just completely always futuristic, always 38 00:01:48,040 --> 00:01:52,160 Speaker 1: kind of weigh hundreds of thousands of years ahead of 39 00:01:52,200 --> 00:01:54,440 Speaker 1: whatever's going on in pop music, and can get away 40 00:01:54,480 --> 00:01:56,240 Speaker 1: with I mean, this was her third album. 41 00:01:56,320 --> 00:01:57,520 Speaker 2: This was Missy so addictive. 42 00:01:57,720 --> 00:01:59,520 Speaker 1: The fact that it still sounds like this could be 43 00:01:59,640 --> 00:02:01,680 Speaker 1: you know, people would kill for this to be like 44 00:02:01,720 --> 00:02:03,440 Speaker 1: the first time that you ever heard them. 45 00:02:04,760 --> 00:02:09,400 Speaker 3: Yes, and that this is just one song from one 46 00:02:09,480 --> 00:02:12,799 Speaker 3: album in one of the greatest runs in pop music history. Yeah, 47 00:02:13,160 --> 00:02:17,359 Speaker 3: Missy and Timbaland just always had that unique chemistry and 48 00:02:17,760 --> 00:02:20,360 Speaker 3: as soon as people around the world heard it, people 49 00:02:20,440 --> 00:02:23,120 Speaker 3: became obsessed. I mean, you don't forget when you heard 50 00:02:23,120 --> 00:02:25,720 Speaker 3: them for the first time. The song I voted for 51 00:02:25,800 --> 00:02:28,880 Speaker 3: on my list was The Rain Super Dupa Fly Yes, 52 00:02:29,160 --> 00:02:31,799 Speaker 3: which that was the beginning. That was their first hit 53 00:02:32,040 --> 00:02:33,560 Speaker 3: and they had so much further to go and so 54 00:02:33,639 --> 00:02:37,280 Speaker 3: much further to evolve. But really, I mean, whichever their 55 00:02:37,360 --> 00:02:40,200 Speaker 3: songs you pick, it's just an absolutely unique run. 56 00:02:40,520 --> 00:02:43,040 Speaker 1: Yeah, I mean, this song is just I mean, there's 57 00:02:43,080 --> 00:02:45,920 Speaker 1: so many different levels and layers of the parts that 58 00:02:45,960 --> 00:02:49,079 Speaker 1: make it so great and cool and eclectic. I mean 59 00:02:49,120 --> 00:02:52,680 Speaker 1: there's the bongra type of beat that's on there, and 60 00:02:52,960 --> 00:02:55,240 Speaker 1: there's someone speaking in Japanese and either end of the song, 61 00:02:55,240 --> 00:02:58,120 Speaker 1: and there's like a German kind of new age artist 62 00:02:58,160 --> 00:03:00,440 Speaker 1: sampled on it. You know, it's just like this very 63 00:03:00,480 --> 00:03:03,400 Speaker 1: like worldly song. They're able to encompass all this and 64 00:03:03,480 --> 00:03:07,280 Speaker 1: still make it so distinctly Missy. It doesn't sound like 65 00:03:07,400 --> 00:03:10,720 Speaker 1: Missy stepping into anything else, but what Missy does, like, 66 00:03:10,880 --> 00:03:12,280 Speaker 1: it's it's so purely her. 67 00:03:12,680 --> 00:03:15,840 Speaker 3: Yes, And every time you think this song couldn't get 68 00:03:15,880 --> 00:03:17,560 Speaker 3: any weirder, it gets weirder. 69 00:03:17,760 --> 00:03:18,040 Speaker 2: Yeah. 70 00:03:18,080 --> 00:03:21,080 Speaker 3: They just both keep throwing in like bizarre sonic things. 71 00:03:21,200 --> 00:03:24,519 Speaker 3: I really like the part where like Missy Hawks Aligi. Yeah, 72 00:03:24,560 --> 00:03:27,720 Speaker 3: and it's like who else, literally who else on the 73 00:03:27,760 --> 00:03:30,799 Speaker 3: planet would try this and make it rock so hard 74 00:03:30,960 --> 00:03:33,480 Speaker 3: and make it so undeniable. 75 00:03:33,600 --> 00:03:33,799 Speaker 2: Yeah. 76 00:03:33,840 --> 00:03:36,160 Speaker 1: And I think the thing that for both of them 77 00:03:36,600 --> 00:03:39,040 Speaker 1: that works so well and what I think, of course, 78 00:03:39,200 --> 00:03:42,240 Speaker 1: kind of keeps them sort of united and so with 79 00:03:42,280 --> 00:03:44,080 Speaker 1: such great respect for each other, but also to have 80 00:03:44,120 --> 00:03:45,480 Speaker 1: so much fun and so much freedom in. 81 00:03:45,480 --> 00:03:46,200 Speaker 2: The studio together. 82 00:03:46,560 --> 00:03:49,440 Speaker 1: It's just the fact they both love hip hop that 83 00:03:49,480 --> 00:03:51,920 Speaker 1: makes you dance, like they really have such an appreciation 84 00:03:52,040 --> 00:03:55,119 Speaker 1: for that above all else, Like it matters so much 85 00:03:55,120 --> 00:03:57,600 Speaker 1: to them to make kind of this like really classic 86 00:03:57,680 --> 00:03:59,200 Speaker 1: hip hop that's meant. 87 00:03:59,000 --> 00:04:01,840 Speaker 2: To be in tribute to the great bee. 88 00:04:01,640 --> 00:04:04,760 Speaker 1: Boys and hip hop dancers of the previous eras that 89 00:04:04,800 --> 00:04:06,880 Speaker 1: inspired them so much as kids and inspired them so 90 00:04:06,960 --> 00:04:09,680 Speaker 1: much as as artists. And you can feel that in 91 00:04:09,840 --> 00:04:12,480 Speaker 1: everything that they have made together. 92 00:04:12,600 --> 00:04:16,760 Speaker 3: It's really true and that they came from. Talk about 93 00:04:16,800 --> 00:04:19,440 Speaker 3: a place that you know, qualified as the edge of 94 00:04:19,440 --> 00:04:22,200 Speaker 3: nowhere is considered by the music world in the nineteen nineties, 95 00:04:22,240 --> 00:04:26,280 Speaker 3: but Portsmouth, Virginia, which even by Virginia standards is a 96 00:04:26,279 --> 00:04:30,560 Speaker 3: really isolated place. Yeah, and for them it was very 97 00:04:30,680 --> 00:04:33,680 Speaker 3: much like the John Lennon Paul McCartney story, that they're 98 00:04:33,720 --> 00:04:37,520 Speaker 3: from this town that is completely ignored by the rest 99 00:04:37,520 --> 00:04:39,800 Speaker 3: of the world, not just the music world, a very 100 00:04:40,120 --> 00:04:44,599 Speaker 3: isolated place that where they find each other and they 101 00:04:44,600 --> 00:04:47,760 Speaker 3: have a unique sonic chemistry from the very beginning, and 102 00:04:47,800 --> 00:04:50,840 Speaker 3: they have this formula and people around the world were like, 103 00:04:50,920 --> 00:04:53,360 Speaker 3: what is the Liverpool sound? What is it about the 104 00:04:53,360 --> 00:04:55,880 Speaker 3: Mercy River. It's like, no, it wasn't Liverpool, It's just 105 00:04:55,960 --> 00:04:58,560 Speaker 3: John and Paul found each other and created something, and 106 00:04:58,680 --> 00:05:02,719 Speaker 3: very much that way with Portsmouth and the Missy Timberland sound, 107 00:05:02,760 --> 00:05:05,320 Speaker 3: and considering how much great music each of them has 108 00:05:05,360 --> 00:05:09,680 Speaker 3: made individually and in collaboration with other artists, but always 109 00:05:09,680 --> 00:05:12,600 Speaker 3: something so beautiful about the way that they always saved 110 00:05:12,640 --> 00:05:13,960 Speaker 3: their best tricks for each other. 111 00:05:14,200 --> 00:05:17,080 Speaker 1: Yeah, I mean they definitely they push each other so 112 00:05:17,160 --> 00:05:19,840 Speaker 1: much further, and they always push whoever they're working with 113 00:05:19,920 --> 00:05:21,960 Speaker 1: so much further, which is so excellent to see. Like 114 00:05:22,279 --> 00:05:25,120 Speaker 1: the way that, you know, thinking about their joint production 115 00:05:25,279 --> 00:05:27,400 Speaker 1: and work on Alia's music, you know, the fact what 116 00:05:27,440 --> 00:05:29,640 Speaker 1: they were able to kind of accomplish with Aliyah is 117 00:05:30,200 --> 00:05:33,840 Speaker 1: so I mean that sort of trio together is so 118 00:05:33,839 --> 00:05:36,160 Speaker 1: beautiful and wonderful and kind of you know, I wish 119 00:05:36,240 --> 00:05:37,720 Speaker 1: for you, which we had gotten like a million more 120 00:05:37,720 --> 00:05:39,479 Speaker 1: albums from them, because I think that was such a 121 00:05:39,480 --> 00:05:41,720 Speaker 1: great kind of combination of sort of this R and 122 00:05:41,760 --> 00:05:45,160 Speaker 1: B budding princess and like these kind of these two 123 00:05:45,240 --> 00:05:48,719 Speaker 1: absolutely avant garde producers and writers who were able to 124 00:05:49,040 --> 00:05:51,320 Speaker 1: see so much of what put so much potential that 125 00:05:51,360 --> 00:05:51,719 Speaker 1: she had. 126 00:05:52,279 --> 00:05:56,200 Speaker 3: Unbelievable that the collaboration between them was so unique and 127 00:05:56,240 --> 00:05:56,880 Speaker 3: so perfect. 128 00:05:57,000 --> 00:05:57,240 Speaker 2: Yeah. 129 00:05:57,279 --> 00:06:00,159 Speaker 3: I remember when One in Million came out, and it's 130 00:06:00,200 --> 00:06:02,919 Speaker 3: weird because people thought that the Alias story had already 131 00:06:02,960 --> 00:06:06,600 Speaker 3: happened and was over. Everybody thought, well, it's great that 132 00:06:06,640 --> 00:06:10,120 Speaker 3: Aliah is making another album and starting over, And it 133 00:06:10,160 --> 00:06:12,760 Speaker 3: was so shocking for people to hear One in a Million. 134 00:06:13,000 --> 00:06:15,599 Speaker 3: Nobody knew who Missing Timberland were. They were just the 135 00:06:15,680 --> 00:06:18,600 Speaker 3: names and the credits, and it was such a striking 136 00:06:18,640 --> 00:06:19,719 Speaker 3: and other worldly sound. 137 00:06:19,800 --> 00:06:22,240 Speaker 1: Yeah, and there are individual kind of you know, Timbaland 138 00:06:22,240 --> 00:06:24,520 Speaker 1: working with Nelly Fortado. 139 00:06:24,360 --> 00:06:26,520 Speaker 2: And justin Timberlake and kind of what. 140 00:06:26,560 --> 00:06:28,640 Speaker 1: He was able to bring out of these two pop 141 00:06:28,640 --> 00:06:31,080 Speaker 1: stars and in this moment. I mean, we've talked about 142 00:06:31,120 --> 00:06:33,200 Speaker 1: Max Martin in a previous episode, and then this kind 143 00:06:33,200 --> 00:06:36,400 Speaker 1: of like polar opposite type of production for pop music 144 00:06:36,440 --> 00:06:39,239 Speaker 1: comes up and kind of like challenges but also pushes 145 00:06:39,279 --> 00:06:41,800 Speaker 1: a lot of that conversation forward. And thinking about just 146 00:06:41,880 --> 00:06:44,800 Speaker 1: kind of this like very very futuristic R and B 147 00:06:45,160 --> 00:06:47,560 Speaker 1: and kind of dance music and kind of spacey kind 148 00:06:47,560 --> 00:06:50,400 Speaker 1: of beats and melodies that he brought to both those 149 00:06:50,480 --> 00:06:53,479 Speaker 1: artists who were doing vastly different things prior to working 150 00:06:53,520 --> 00:06:56,599 Speaker 1: with him, is like pretty extraordinary. What he did, like 151 00:06:56,680 --> 00:06:59,880 Speaker 1: with all those albums, like thinking specifically with like Loose 152 00:07:00,160 --> 00:07:03,160 Speaker 1: Otherhado and feature Sex Love Sounds with Justin even though 153 00:07:03,160 --> 00:07:05,159 Speaker 1: of course he worked on Unjustified a bit too, but 154 00:07:05,440 --> 00:07:06,000 Speaker 1: kind of the. 155 00:07:06,279 --> 00:07:07,440 Speaker 2: Further they pushed was great. 156 00:07:07,880 --> 00:07:09,760 Speaker 1: And of course with get Your Freak On of that 157 00:07:09,840 --> 00:07:12,080 Speaker 1: made already the two thousand and four list again a 158 00:07:12,120 --> 00:07:15,960 Speaker 1: song that people already just upon its release knew it 159 00:07:16,000 --> 00:07:18,120 Speaker 1: was great and ahead of the time, ahead of its time, 160 00:07:18,200 --> 00:07:20,160 Speaker 1: and you know, just kind of already a brilliant enough 161 00:07:20,160 --> 00:07:22,680 Speaker 1: song to even crack the list within gear or two 162 00:07:22,760 --> 00:07:23,400 Speaker 1: of it coming. 163 00:07:23,240 --> 00:07:25,320 Speaker 2: Out and being on there. Yes, what do you think 164 00:07:25,360 --> 00:07:25,720 Speaker 2: it was? 165 00:07:25,960 --> 00:07:29,200 Speaker 1: About Get Your Freak On to immediately make the list 166 00:07:29,240 --> 00:07:31,720 Speaker 1: and then also jump up so high into the. 167 00:07:31,680 --> 00:07:34,760 Speaker 2: Top ten the way it did on the newest version. 168 00:07:35,040 --> 00:07:37,920 Speaker 3: I think it's come to stand for all the brilliant 169 00:07:37,920 --> 00:07:40,520 Speaker 3: stuff that they've done. Honestly, it's weird that in a 170 00:07:40,560 --> 00:07:42,880 Speaker 3: pull like this there's always going to be vote splitting 171 00:07:43,200 --> 00:07:46,560 Speaker 3: for somebody like Missy, who has so many songs, the 172 00:07:46,600 --> 00:07:49,560 Speaker 3: proportion of songs that are classics, like, it's weird that 173 00:07:49,600 --> 00:07:53,480 Speaker 3: there's not a lot of mid Missy songs. Yeah, and 174 00:07:53,960 --> 00:07:57,400 Speaker 3: especially when Get Your Freak one came out, people were 175 00:07:57,480 --> 00:08:00,280 Speaker 3: used to the idea that, Okay, it's summer, so that 176 00:08:00,320 --> 00:08:02,280 Speaker 3: means Missy's going to have a new record and it's 177 00:08:02,280 --> 00:08:04,040 Speaker 3: going to be the song of the summer. Yeah, because 178 00:08:04,040 --> 00:08:06,600 Speaker 3: that was the fourth summer in a row, when people 179 00:08:06,640 --> 00:08:08,760 Speaker 3: were just used to that. People just assumed that was 180 00:08:08,760 --> 00:08:11,000 Speaker 3: going to happen at that point. It's really weird to 181 00:08:11,080 --> 00:08:14,760 Speaker 3: even try to imagine what summers and pop music were 182 00:08:14,880 --> 00:08:18,360 Speaker 3: like before Missy and Timberland started making records. Because super 183 00:08:18,440 --> 00:08:21,640 Speaker 3: Dup a Fly was definitely Okay, this is not just 184 00:08:21,720 --> 00:08:23,960 Speaker 3: the song of the summer, this is how a summer 185 00:08:24,080 --> 00:08:27,440 Speaker 3: actually sounds. And this is how it's always going to 186 00:08:27,440 --> 00:08:31,000 Speaker 3: be from now on, and it's wild that forget your 187 00:08:31,040 --> 00:08:34,000 Speaker 3: freak on. That was one where people said, Okay, it's 188 00:08:34,040 --> 00:08:36,440 Speaker 3: going to happen. Let's see what they have this year 189 00:08:37,040 --> 00:08:41,400 Speaker 3: and get your freak on. Such a even by Missy's 190 00:08:41,440 --> 00:08:46,720 Speaker 3: previous standards, such an outlandish, outrageous, almost daring you to say, Okay, 191 00:08:46,760 --> 00:08:48,880 Speaker 3: you're going a little far this time. We really don't 192 00:08:48,880 --> 00:08:52,559 Speaker 3: need all this stuff in one song. And it's so excessive, 193 00:08:52,600 --> 00:08:55,040 Speaker 3: but it doesn't feel excessive. It's got a real minimal 194 00:08:55,080 --> 00:08:58,000 Speaker 3: aspect with just you know, that throb all the way through, 195 00:08:58,120 --> 00:09:01,239 Speaker 3: the bongera sound that it uses, which was so innovative. 196 00:09:01,320 --> 00:09:04,240 Speaker 3: This is before it really took off in two thousandspop. 197 00:09:04,280 --> 00:09:09,640 Speaker 3: But that Punjabi sound where there's the tombe hook that 198 00:09:11,280 --> 00:09:14,720 Speaker 3: and then the tabla rhythm and that for the most part, 199 00:09:14,800 --> 00:09:17,319 Speaker 3: those are the instruments you hear, and there's all these 200 00:09:17,720 --> 00:09:20,840 Speaker 3: crazy ideas and tricks and effects that they throw on 201 00:09:20,840 --> 00:09:23,120 Speaker 3: top of it, but that is the pulse of the 202 00:09:23,160 --> 00:09:25,120 Speaker 3: song all the way through, and so it feels really 203 00:09:25,440 --> 00:09:27,520 Speaker 3: minimal yet super expansive. 204 00:09:27,720 --> 00:09:30,360 Speaker 1: Yeah, I mean, I feel like the way that Missy 205 00:09:30,400 --> 00:09:34,360 Speaker 1: and Tim in particular very much like loop their beats 206 00:09:34,360 --> 00:09:37,360 Speaker 1: and samples into things. Is like it really gets under 207 00:09:37,360 --> 00:09:39,800 Speaker 1: your skin in the best way possible, Like it's in 208 00:09:39,960 --> 00:09:42,080 Speaker 1: such like specific and get your freak on thinking about 209 00:09:42,160 --> 00:09:43,920 Speaker 1: just like the way that they do the reverse part 210 00:09:44,000 --> 00:09:46,160 Speaker 1: and work it, which was my vote actually for the 211 00:09:46,200 --> 00:09:48,760 Speaker 1: list I had work on my ballot. You know, it's 212 00:09:48,760 --> 00:09:52,000 Speaker 1: just kind of is like that super addictive, kind of 213 00:09:52,480 --> 00:09:56,320 Speaker 1: perfect dancy thing that they really accomplish in it. That's 214 00:09:56,360 --> 00:09:59,720 Speaker 1: like so just like so far superior and so far advanced, 215 00:10:00,559 --> 00:10:02,280 Speaker 1: and what they did with that in particular. 216 00:10:02,920 --> 00:10:05,160 Speaker 3: Yeah, I remember when We Get Your preak On came 217 00:10:05,160 --> 00:10:07,960 Speaker 3: out in very early summer two thousand and one, and 218 00:10:08,000 --> 00:10:10,320 Speaker 3: I was writing about it in a Rolling Stone, and I 219 00:10:10,400 --> 00:10:12,840 Speaker 3: was bluntly saying, like, what did we do for fun 220 00:10:12,880 --> 00:10:16,280 Speaker 3: in the summer before these two came along? And it's 221 00:10:16,360 --> 00:10:19,600 Speaker 3: really wild the rain super Dupa Fly. That's a huge 222 00:10:19,640 --> 00:10:22,400 Speaker 3: sentimental fave for me. We can argue all day about 223 00:10:22,440 --> 00:10:25,840 Speaker 3: what their absolute peak moment of genius and inventiveness is, 224 00:10:26,280 --> 00:10:29,600 Speaker 3: but I was in Virginia at that time, and it 225 00:10:29,679 --> 00:10:34,000 Speaker 3: was wild that everybody I interviewed for the next few 226 00:10:34,080 --> 00:10:35,760 Speaker 3: years as soon as like I mentioned that I was 227 00:10:35,760 --> 00:10:38,520 Speaker 3: from Virginia. All they wanted to talk about was Missy 228 00:10:38,559 --> 00:10:42,400 Speaker 3: and Timbaland. I remember I was interviewing Massive Attack around 229 00:10:42,400 --> 00:10:44,920 Speaker 3: the time that their mezzanine cowp album came out. They're 230 00:10:44,960 --> 00:10:48,480 Speaker 3: classic from early ninety eight, and the guy's in Massive 231 00:10:48,520 --> 00:10:52,079 Speaker 3: Attack very wary with journalists, always very guarded. When I 232 00:10:52,160 --> 00:10:54,880 Speaker 3: mentioned that I was from Virginia, they had all these questions, 233 00:10:54,920 --> 00:10:56,920 Speaker 3: and they were asking me things like what did people 234 00:10:57,000 --> 00:11:00,240 Speaker 3: eat there, and like what's the weather? Like we had 235 00:11:00,240 --> 00:11:02,760 Speaker 3: all these specific questions because they were so obsessed with 236 00:11:02,800 --> 00:11:06,640 Speaker 3: the idea. Everybody around the world was obsessed with Portsmouth, Virginia. Yeah, 237 00:11:06,679 --> 00:11:09,920 Speaker 3: and it was really kind of incredible to have the 238 00:11:09,920 --> 00:11:12,840 Speaker 3: two most visionary artists in pop music come from the 239 00:11:12,880 --> 00:11:16,160 Speaker 3: same town. They find each other, and they create the 240 00:11:16,200 --> 00:11:18,360 Speaker 3: sound that completely radicalizes pop music. 241 00:11:18,520 --> 00:11:21,640 Speaker 1: Yeah, yeah, I mean it's it's crazy how much you 242 00:11:21,679 --> 00:11:24,240 Speaker 1: can make a case for even I mean not even 243 00:11:24,400 --> 00:11:27,319 Speaker 1: just for the three messy songs that end up making 244 00:11:27,320 --> 00:11:30,160 Speaker 1: the list, but for really any Missy Sinkhole that like 245 00:11:30,240 --> 00:11:32,280 Speaker 1: even from even from so Addictive. I'm like one minute 246 00:11:32,280 --> 00:11:34,400 Speaker 1: mat it's such like a perfect song too, like such 247 00:11:34,400 --> 00:11:38,200 Speaker 1: a great just like again, like very weird kind of 248 00:11:38,240 --> 00:11:41,120 Speaker 1: like mid tempo rap song from them, Like it's just 249 00:11:41,200 --> 00:11:41,800 Speaker 1: really great. 250 00:11:41,840 --> 00:11:42,800 Speaker 2: I love that song so much. 251 00:11:42,800 --> 00:11:45,240 Speaker 1: I'm like, you can make a case for almost any 252 00:11:45,880 --> 00:11:49,840 Speaker 1: Missy Missy tim collaboration to kind of to be in 253 00:11:49,880 --> 00:11:52,120 Speaker 1: the top ten of this type of list, or to 254 00:11:52,200 --> 00:11:54,120 Speaker 1: even make the list at all. But I feel like 255 00:11:54,200 --> 00:11:57,719 Speaker 1: any of those three could have very much made the 256 00:11:58,000 --> 00:11:58,560 Speaker 1: top ten. 257 00:11:58,440 --> 00:12:01,240 Speaker 3: Of this list absolutely well. And you mentioned that Work 258 00:12:01,280 --> 00:12:01,560 Speaker 3: it is. 259 00:12:01,559 --> 00:12:03,120 Speaker 2: Your favorite, Yeah, I love Work. 260 00:12:03,240 --> 00:12:05,760 Speaker 1: I think it has some of my favorite Missy lines 261 00:12:05,800 --> 00:12:08,040 Speaker 1: on there. I mean, like the halle Berry poster line 262 00:12:08,080 --> 00:12:10,360 Speaker 1: is one that always comes to mind, the reverse part. 263 00:12:10,440 --> 00:12:12,839 Speaker 1: I mean, I think it's just like some of her 264 00:12:12,880 --> 00:12:15,640 Speaker 1: best lyricism in it, Like she always has such a 265 00:12:15,640 --> 00:12:17,320 Speaker 1: great flow, and she always has such a good, great 266 00:12:17,320 --> 00:12:21,280 Speaker 1: way of playing with words and sounds and like just 267 00:12:21,280 --> 00:12:24,480 Speaker 1: like saying kind of like kind of witty and like 268 00:12:24,679 --> 00:12:24,960 Speaker 1: kind of. 269 00:12:25,000 --> 00:12:26,360 Speaker 2: Ridiculous things and songs. 270 00:12:26,679 --> 00:12:28,640 Speaker 1: I feel like Work it is just like some of 271 00:12:28,679 --> 00:12:31,160 Speaker 1: her greatest bars that she's ever had. And I love 272 00:12:31,200 --> 00:12:33,520 Speaker 1: that so much of the most memorable lines. 273 00:12:33,480 --> 00:12:35,720 Speaker 3: Is under construction. Your favorite Missy album? 274 00:12:36,440 --> 00:12:42,360 Speaker 1: Honestly, No, I think it's probably it's probably stupid super Fly. 275 00:12:43,240 --> 00:12:45,280 Speaker 1: I think it's that one because I love socket to 276 00:12:45,360 --> 00:12:48,839 Speaker 1: me so much, and I do, I really do love 277 00:12:48,880 --> 00:12:50,559 Speaker 1: The Rain, And there's just like so much like young 278 00:12:50,640 --> 00:12:53,000 Speaker 1: hungriness in it that I or in that album that 279 00:12:53,040 --> 00:12:53,800 Speaker 1: I really love. 280 00:12:54,120 --> 00:12:57,080 Speaker 3: Yeah, Yeah, and the Rain. It's it's a song that 281 00:12:57,200 --> 00:13:00,000 Speaker 3: you know, we've all heard a million times and it's 282 00:13:00,080 --> 00:13:02,400 Speaker 3: still so shocking. There's so much open space in it, 283 00:13:02,840 --> 00:13:05,160 Speaker 3: the way you hear that swamp kind of sound, you 284 00:13:05,200 --> 00:13:08,560 Speaker 3: hear frogs and crickets. It's funny because I think of 285 00:13:09,200 --> 00:13:14,160 Speaker 3: Under Construction as her greatest full on album. Yeah, and 286 00:13:14,240 --> 00:13:17,640 Speaker 3: yet super Dupi Flies probably the one. It's one of 287 00:13:17,720 --> 00:13:20,800 Speaker 3: the albums I've listened to most in my life in 288 00:13:20,880 --> 00:13:25,080 Speaker 3: terms of sheer quantity of listens. It's one that I've 289 00:13:25,200 --> 00:13:28,120 Speaker 3: just listened to front to back, over and over and 290 00:13:28,160 --> 00:13:30,840 Speaker 3: over again. I never hear it without being shocked and 291 00:13:30,880 --> 00:13:34,439 Speaker 3: surprised by stuff in it. Yeah, but Get your Freak 292 00:13:34,520 --> 00:13:36,560 Speaker 3: On is a song like that that you can hear 293 00:13:36,600 --> 00:13:40,280 Speaker 3: it thousands of times over the years and you still wonder, 294 00:13:40,520 --> 00:13:41,680 Speaker 3: how did this even happen? 295 00:13:44,200 --> 00:13:45,920 Speaker 2: How does one even get here? 296 00:13:45,960 --> 00:13:48,120 Speaker 1: You know, like creatively, and it's perfect, you know, it's 297 00:13:48,120 --> 00:13:50,200 Speaker 1: like no one else can can do that and kind 298 00:13:50,200 --> 00:13:53,360 Speaker 1: of set off set a new bar of like what 299 00:13:54,120 --> 00:13:55,840 Speaker 1: pop music can be, what hip hop music can be. 300 00:13:56,080 --> 00:13:58,600 Speaker 3: It's funny. It's something that's such a weird. Factor of 301 00:13:58,640 --> 00:14:00,679 Speaker 3: where they came from, when they can came from, is 302 00:14:00,720 --> 00:14:04,959 Speaker 3: that hip hop was so focused on two cities all 303 00:14:05,000 --> 00:14:09,120 Speaker 3: through the nineties. There was New York and LA and 304 00:14:09,720 --> 00:14:13,040 Speaker 3: there was a real resistance, especially in New York but 305 00:14:13,080 --> 00:14:16,959 Speaker 3: also in LA to hip hop from anywhere else. And 306 00:14:17,120 --> 00:14:20,440 Speaker 3: so even like Outcast with songs like Elevator and everything, 307 00:14:20,480 --> 00:14:23,800 Speaker 3: they couldn't get any airplay in New York because that 308 00:14:23,880 --> 00:14:25,960 Speaker 3: was seen as a niche. You know, Southern stuff was 309 00:14:26,000 --> 00:14:29,280 Speaker 3: seen as a niche. So for Missy and Tim to 310 00:14:29,360 --> 00:14:31,800 Speaker 3: come out of a place that, even within the South 311 00:14:31,920 --> 00:14:35,880 Speaker 3: is a really isolated and overlooked place with a sound 312 00:14:35,960 --> 00:14:38,640 Speaker 3: that was so universal and almost anybody who heard it 313 00:14:38,680 --> 00:14:41,760 Speaker 3: got their minds blown. It really I think of as 314 00:14:41,960 --> 00:14:45,160 Speaker 3: that's what killed off the whole regional thing, the regional 315 00:14:45,160 --> 00:14:49,240 Speaker 3: biases that kept artists from Atlanta and Houston and other 316 00:14:49,320 --> 00:14:53,640 Speaker 3: places from being heard on that same universal level. And 317 00:14:54,200 --> 00:14:56,320 Speaker 3: it's really weird how much it sort of opened the 318 00:14:56,360 --> 00:14:58,760 Speaker 3: frontiers for pop music all over the board. It's a 319 00:14:58,760 --> 00:15:02,320 Speaker 3: all that whenever Missy goes back and makes new music, 320 00:15:02,880 --> 00:15:07,840 Speaker 3: it's always still brilliant. It's funny that she's never repeated 321 00:15:07,880 --> 00:15:10,560 Speaker 3: her old formulas, even when people would love that. Yeah, 322 00:15:10,640 --> 00:15:12,240 Speaker 3: you know, when she goes back to the studio, it's 323 00:15:12,320 --> 00:15:15,240 Speaker 3: not to do better versions of things she's done before 324 00:15:15,600 --> 00:15:18,720 Speaker 3: or different versions of things she's done before. So it's well, 325 00:15:18,880 --> 00:15:20,960 Speaker 3: even like the last ten years of being a Missy 326 00:15:21,000 --> 00:15:23,280 Speaker 3: fan have been such a trip. 327 00:15:23,640 --> 00:15:28,000 Speaker 1: Yeah, I mean, it feels also like everyone is very 328 00:15:28,080 --> 00:15:31,680 Speaker 1: much thinking about the ways to show greater appreciation for 329 00:15:32,240 --> 00:15:33,640 Speaker 1: the work that she's done, the work that her and 330 00:15:33,640 --> 00:15:37,360 Speaker 1: Timberland have done together. And I mean I think more 331 00:15:37,400 --> 00:15:39,240 Speaker 1: and more props will be given to Timberland as a 332 00:15:39,240 --> 00:15:41,800 Speaker 1: producer in the future, I hope, because I think there's 333 00:15:41,800 --> 00:15:43,840 Speaker 1: a lot of great pop production he's done that deserves 334 00:15:43,840 --> 00:15:46,480 Speaker 1: a lot of And also like having a protege like 335 00:15:46,560 --> 00:15:49,080 Speaker 1: Danger who worked on Blackout. I mean, that's like an 336 00:15:49,120 --> 00:15:52,400 Speaker 1: incredible thread that in pop music that we simply must 337 00:15:52,760 --> 00:15:56,480 Speaker 1: get into. But like, but I think, you know, I 338 00:15:56,480 --> 00:15:58,920 Speaker 1: think there's been a lot of you know, Missy finally 339 00:15:58,920 --> 00:16:03,120 Speaker 1: getting a video Vanguard at the VMA's which was well overdue. 340 00:16:03,160 --> 00:16:06,280 Speaker 1: I mean, she's someone who completely reinvented the wheel of 341 00:16:06,280 --> 00:16:09,240 Speaker 1: what a music video canon should be. And again not 342 00:16:09,280 --> 00:16:11,360 Speaker 1: afraid to get weird, not afraid to like, you know, 343 00:16:11,840 --> 00:16:14,440 Speaker 1: let just like that, get your freak on flag flat. 344 00:16:14,600 --> 00:16:17,160 Speaker 2: You know, she's open to it. 345 00:16:17,360 --> 00:16:21,080 Speaker 3: Honestly, everything about Missy she's clearly someone who doesn't have 346 00:16:21,720 --> 00:16:24,960 Speaker 3: any driving need to be a celebrity. She when she 347 00:16:25,480 --> 00:16:28,240 Speaker 3: wants to work, it's always as an artist. But she 348 00:16:28,280 --> 00:16:31,040 Speaker 3: doesn't do you know, she's not a red carpet, She's 349 00:16:31,080 --> 00:16:34,840 Speaker 3: not sort of selling herself as a brand. She's got 350 00:16:34,920 --> 00:16:38,160 Speaker 3: musical ideas, and when she has moved to make music, 351 00:16:38,640 --> 00:16:43,520 Speaker 3: it's always unmistakably her. But it's wild that she just 352 00:16:44,520 --> 00:16:47,120 Speaker 3: decided kind of early on that she didn't want to 353 00:16:47,120 --> 00:16:50,240 Speaker 3: be a mainstream celebrity type. She wanted to be just 354 00:16:50,600 --> 00:16:52,360 Speaker 3: that weird artist at all times. 355 00:16:52,480 --> 00:16:55,480 Speaker 1: And you could feel so much kind of respect and 356 00:16:55,640 --> 00:16:59,000 Speaker 1: awe that so many legends pay Missy. I mean, thinking 357 00:16:59,000 --> 00:17:02,080 Speaker 1: about the way that people like Jant Jackson and Maria 358 00:17:02,200 --> 00:17:06,560 Speaker 1: Carrie love Missy Elliott and love her music and constantly 359 00:17:06,560 --> 00:17:07,280 Speaker 1: speak about her. 360 00:17:07,720 --> 00:17:10,119 Speaker 3: Just to pick an obvious rock example, but you can't 361 00:17:10,119 --> 00:17:14,640 Speaker 3: imagine Radiohead's trajectory without the inspiration that they took from 362 00:17:14,640 --> 00:17:19,119 Speaker 3: Missy and from Timberland, but that they go from you know, 363 00:17:19,800 --> 00:17:23,199 Speaker 3: okay computer to kid a and amnesiac and hail to 364 00:17:23,240 --> 00:17:26,000 Speaker 3: the thief, that whole evolution that they did. You know, 365 00:17:26,080 --> 00:17:27,800 Speaker 3: like they'd be the first to say that Missy was 366 00:17:27,800 --> 00:17:31,000 Speaker 3: a huge inspiration to them. It's really wild to see 367 00:17:31,000 --> 00:17:34,000 Speaker 3: what a worldwide for she was in terms of artists 368 00:17:34,160 --> 00:17:37,280 Speaker 3: who didn't necessarily sound like her, but they just wanted 369 00:17:37,320 --> 00:17:40,840 Speaker 3: to be as cool and as free and as radically 370 00:17:40,840 --> 00:17:42,119 Speaker 3: open musically as she was. 371 00:17:42,320 --> 00:17:43,560 Speaker 2: Yeah, and we're all better for it. 372 00:17:43,600 --> 00:17:46,040 Speaker 1: And I feel we're going to keep hearing and seeing 373 00:17:46,080 --> 00:17:48,479 Speaker 1: that even more now that we have a bunch of 374 00:17:48,560 --> 00:17:50,920 Speaker 1: a bunch of kids who grew up on her making 375 00:17:51,000 --> 00:17:53,800 Speaker 1: music now and pop and wrapping all over. 376 00:17:54,840 --> 00:17:58,320 Speaker 3: We're all still catching up with like where Missy was 377 00:17:58,800 --> 00:18:03,480 Speaker 3: twenty twenty five years and up next we have Missy Elliott. 378 00:18:05,560 --> 00:18:08,760 Speaker 3: Thank you so much. This is Rob from Rolling Stone 379 00:18:08,800 --> 00:18:10,600 Speaker 3: and thanks for talking today. 380 00:18:10,880 --> 00:18:11,040 Speaker 2: Hi. 381 00:18:11,240 --> 00:18:11,480 Speaker 4: Rob. 382 00:18:13,320 --> 00:18:15,720 Speaker 3: It is such an honor and such a thrill to 383 00:18:15,760 --> 00:18:17,920 Speaker 3: talk to. You're one of my all time heroes. 384 00:18:18,200 --> 00:18:23,520 Speaker 4: Oh, thank you, thank you, I thank you. I appreciate it. 385 00:18:23,600 --> 00:18:27,240 Speaker 3: How did you and Timberland have this kind of music chemistry? 386 00:18:27,320 --> 00:18:30,119 Speaker 3: I mean, when did you two start making your music together. 387 00:18:30,359 --> 00:18:34,680 Speaker 4: Tim and I started making our music together when we 388 00:18:34,680 --> 00:18:38,080 Speaker 4: were in high school and he went to another high school. 389 00:18:38,320 --> 00:18:41,440 Speaker 4: I was at another high school and I met Magool, 390 00:18:41,640 --> 00:18:46,119 Speaker 4: which was tim rapping partner, and Magool introduced me. He said, 391 00:18:46,160 --> 00:18:47,960 Speaker 4: you know, I want you to meet my friend Tim. 392 00:18:48,080 --> 00:18:50,440 Speaker 4: And Tim at the time was a DJ. He wasn't 393 00:18:50,480 --> 00:18:53,480 Speaker 4: even a producer. We went to his house and he 394 00:18:53,520 --> 00:18:56,720 Speaker 4: would just he had like a little keyboard and he 395 00:18:56,760 --> 00:19:00,080 Speaker 4: would just play on it, like not even with producing 396 00:19:00,160 --> 00:19:03,119 Speaker 4: in mind. That's how you you know when God is 397 00:19:03,160 --> 00:19:07,119 Speaker 4: in effect and the lot the stars aligned because his 398 00:19:07,359 --> 00:19:10,640 Speaker 4: goal wasn't to be a producer at the time, and 399 00:19:10,720 --> 00:19:13,720 Speaker 4: so he would get on your keyboard and the cassio 400 00:19:13,880 --> 00:19:18,880 Speaker 4: used to have like a little sounds, animal sounds and stuff, 401 00:19:18,920 --> 00:19:21,639 Speaker 4: and I just remember thinking like, Wow, he's making this 402 00:19:21,800 --> 00:19:26,040 Speaker 4: sound hot with this little toy keyboard. And so he 403 00:19:26,080 --> 00:19:28,800 Speaker 4: would start he would do that, or because he was 404 00:19:28,840 --> 00:19:32,200 Speaker 4: a DJ, he would have like instrumental records and he 405 00:19:32,240 --> 00:19:35,520 Speaker 4: would play the instrumental and I just started like rapping 406 00:19:35,760 --> 00:19:37,919 Speaker 4: and singing, and then I just started going to his 407 00:19:37,960 --> 00:19:40,720 Speaker 4: house every other day, if not every day, until his 408 00:19:40,880 --> 00:19:43,320 Speaker 4: dad was like, look, I got to drive this bus 409 00:19:43,359 --> 00:19:47,200 Speaker 4: to work. His dad was like a long haul driver 410 00:19:47,400 --> 00:19:50,679 Speaker 4: or something, and we would be in there making so 411 00:19:50,880 --> 00:19:54,040 Speaker 4: much noise to the wee hours of the morning. He 412 00:19:54,040 --> 00:19:57,199 Speaker 4: would play instrumentals and then I would start writing, and 413 00:19:57,200 --> 00:19:59,560 Speaker 4: I was just like, you need to produce, like you 414 00:19:59,720 --> 00:20:03,320 Speaker 4: have something, and so he started doing beats. And you know, 415 00:20:03,359 --> 00:20:07,400 Speaker 4: back then, we didn't have the technology that we have now. 416 00:20:07,440 --> 00:20:10,080 Speaker 4: We used to record on a cassette tape and then 417 00:20:10,240 --> 00:20:13,960 Speaker 4: put another cassette in and bounce the vocals. It was 418 00:20:14,000 --> 00:20:16,560 Speaker 4: some weird way we used to do it. So by 419 00:20:16,600 --> 00:20:20,840 Speaker 4: the time you heard it, it sounded muffled, but you know, 420 00:20:20,920 --> 00:20:24,560 Speaker 4: because you didn't bounce these vocals from tape to tape. 421 00:20:24,640 --> 00:20:27,760 Speaker 4: So now it's it's sound muffled. But we would ride 422 00:20:27,760 --> 00:20:31,840 Speaker 4: around in a car and be grooving like, oh my god. 423 00:20:31,920 --> 00:20:34,960 Speaker 4: We thought it sound amazing, but it was a mess. 424 00:20:37,760 --> 00:20:40,720 Speaker 4: But it was enough to get people attention. Though, I 425 00:20:40,720 --> 00:20:41,960 Speaker 4: will say that amazing. 426 00:20:42,160 --> 00:20:44,920 Speaker 3: And yet what you were doing then people are still 427 00:20:44,920 --> 00:20:46,960 Speaker 3: trying to catch up now, is what you were doing 428 00:20:46,960 --> 00:20:47,600 Speaker 3: two years ago. 429 00:20:47,840 --> 00:20:51,399 Speaker 4: A lot of the tracks that we did were always 430 00:20:51,440 --> 00:20:54,239 Speaker 4: say hypnotic when I think get your freak on just 431 00:20:54,240 --> 00:20:58,800 Speaker 4: ad no, no, no, no, no, it is this hypnotic 432 00:20:59,040 --> 00:21:04,719 Speaker 4: is like, yeah, those records were very special, and people 433 00:21:04,800 --> 00:21:07,800 Speaker 4: always say we want to hear a record like and 434 00:21:07,840 --> 00:21:10,800 Speaker 4: they'll name something from back then. But what you have 435 00:21:10,920 --> 00:21:13,520 Speaker 4: to understand is that it was a time and a 436 00:21:13,560 --> 00:21:17,320 Speaker 4: space that we were in and those moments I don't 437 00:21:17,320 --> 00:21:20,240 Speaker 4: feel like can be recreated. Like I said, they were 438 00:21:20,240 --> 00:21:23,000 Speaker 4: my fun times and I don't have fun times anymore, 439 00:21:23,560 --> 00:21:26,879 Speaker 4: but I wouldn't trade it for nothing in the world. 440 00:21:27,080 --> 00:21:31,800 Speaker 4: Tim has always been a genius that he didn't even know. 441 00:21:32,160 --> 00:21:33,120 Speaker 2: Some people like. 442 00:21:33,280 --> 00:21:36,400 Speaker 4: To deal with people who go to school for this 443 00:21:36,840 --> 00:21:38,119 Speaker 4: very technical. 444 00:21:37,640 --> 00:21:38,720 Speaker 2: About what they do. 445 00:21:39,359 --> 00:21:43,640 Speaker 4: But sometimes it's great to be raw because you're going 446 00:21:43,680 --> 00:21:47,879 Speaker 4: off of this feels right instead of technically. 447 00:21:47,480 --> 00:21:48,080 Speaker 2: What is right. 448 00:21:48,600 --> 00:21:52,800 Speaker 4: And so it's funny to hear because we were, you know, 449 00:21:52,960 --> 00:21:55,800 Speaker 4: one of those ones that were doing the I don't 450 00:21:55,840 --> 00:21:57,800 Speaker 4: know how you can describe it, but it's like a 451 00:21:57,920 --> 00:22:02,119 Speaker 4: jump style rap the beats to where the catenance. You 452 00:22:02,200 --> 00:22:04,880 Speaker 4: hadn't heard the catenance like Kaki kat Ki cat cat 453 00:22:05,000 --> 00:22:09,320 Speaker 4: a kick do that multiple, you know, multiple hits back 454 00:22:09,359 --> 00:22:12,960 Speaker 4: to back like that, you know or hearing sound effects 455 00:22:13,119 --> 00:22:16,879 Speaker 4: and in the music that that hadn't been done and 456 00:22:17,400 --> 00:22:21,000 Speaker 4: before we even allowed the world when we came out 457 00:22:21,040 --> 00:22:23,600 Speaker 4: and I was just like, hey, Tim, like let's give them, 458 00:22:23,640 --> 00:22:25,600 Speaker 4: especially when we will work on the list stuff. I 459 00:22:25,640 --> 00:22:28,360 Speaker 4: was like, let's give let's do give the world what 460 00:22:28,400 --> 00:22:31,000 Speaker 4: we've been doing, because we've been doing this kind of 461 00:22:31,119 --> 00:22:34,359 Speaker 4: music for years. It's just that the world hadn't heard it. 462 00:22:34,440 --> 00:22:38,200 Speaker 4: And I'm just like, why sit on you know sounds 463 00:22:38,240 --> 00:22:42,040 Speaker 4: where I watched him make a snare out of a 464 00:22:42,080 --> 00:22:44,440 Speaker 4: ceiling fan and it's like, yo, let's give them this, 465 00:22:44,440 --> 00:22:46,480 Speaker 4: it's gonna sound different, and it did. 466 00:22:46,680 --> 00:22:49,159 Speaker 3: They basically they had to beg you to make a 467 00:22:49,240 --> 00:22:50,000 Speaker 3: Missy record. 468 00:22:50,560 --> 00:22:55,199 Speaker 4: Yes, yes, I totally just wanted to have a label. 469 00:22:55,560 --> 00:22:59,879 Speaker 4: And that's how super Dupi fly cas because they said, okay, 470 00:23:00,040 --> 00:23:02,360 Speaker 4: well you will give you a label if you give 471 00:23:02,440 --> 00:23:03,600 Speaker 4: us one album. 472 00:23:03,720 --> 00:23:06,200 Speaker 2: And that went on and on and. 473 00:23:06,119 --> 00:23:09,159 Speaker 3: On amazing And you said you made this album in 474 00:23:09,240 --> 00:23:09,879 Speaker 3: two weeks. 475 00:23:10,200 --> 00:23:12,359 Speaker 4: In two weeks? Yes, yeah, how. 476 00:23:12,520 --> 00:23:14,400 Speaker 3: How is that even possible? 477 00:23:14,680 --> 00:23:17,600 Speaker 4: The way man Tom was able to make an album 478 00:23:17,680 --> 00:23:20,840 Speaker 4: in two weeks because, like I said, we before then 479 00:23:21,320 --> 00:23:26,240 Speaker 4: we were used to doing five six records a day, Basically, 480 00:23:26,240 --> 00:23:28,360 Speaker 4: we were doing what we were used to doing and 481 00:23:28,400 --> 00:23:32,040 Speaker 4: we didn't know anything was to come of it from that. 482 00:23:32,280 --> 00:23:35,359 Speaker 2: We just okay, let's go in and knock this out. 483 00:23:35,560 --> 00:23:37,720 Speaker 4: So we were just doing what we do five six 484 00:23:37,800 --> 00:23:40,120 Speaker 4: records and for you know it, it was, it was 485 00:23:40,200 --> 00:23:42,720 Speaker 4: done and amount of time. 486 00:23:42,760 --> 00:23:49,000 Speaker 3: You made everybody else sound lazy. So thankful to you 487 00:23:49,119 --> 00:23:52,679 Speaker 3: for making this great album, an album that really just 488 00:23:53,040 --> 00:23:56,679 Speaker 3: reinvented music for the nineties. Nobody had heard anything like 489 00:23:56,720 --> 00:23:57,360 Speaker 3: this before. 490 00:23:57,480 --> 00:23:59,879 Speaker 4: First of all, we didn't listen to the radio, and 491 00:24:00,040 --> 00:24:03,960 Speaker 4: we didn't watch TV, and which played a big part 492 00:24:04,119 --> 00:24:07,480 Speaker 4: of the sounds that we have because because we were 493 00:24:07,880 --> 00:24:11,919 Speaker 4: TV watches and at the time, we didn't hear, and 494 00:24:12,000 --> 00:24:15,359 Speaker 4: so by us not hearing, we didn't mimic what was out. 495 00:24:15,600 --> 00:24:18,480 Speaker 4: So when we came we didn't know what was hot 496 00:24:18,560 --> 00:24:20,880 Speaker 4: because we have been just listening to what we had 497 00:24:20,920 --> 00:24:25,240 Speaker 4: been doing. And so that made us unafraid and unapologetic 498 00:24:25,280 --> 00:24:29,159 Speaker 4: because we just didn't know that, okay, y'all doing something different. 499 00:24:29,160 --> 00:24:31,800 Speaker 4: Everybody else is doing this and you know, and making 500 00:24:31,920 --> 00:24:34,639 Speaker 4: us fear that hey, this what we're doing might be 501 00:24:34,680 --> 00:24:36,600 Speaker 4: too left. We didn't have that thought because we didn't 502 00:24:36,640 --> 00:24:37,280 Speaker 4: hear nor see. 503 00:24:37,680 --> 00:24:39,919 Speaker 3: Well, it's like you moved everybody else to the left 504 00:24:40,000 --> 00:24:42,520 Speaker 3: because you were so ahead of everybody else. 505 00:24:42,920 --> 00:24:51,920 Speaker 4: Oh man, yeah, we were on some futuristic stuff for sure, Yes, yes, yes, yes, amazing. 506 00:24:51,520 --> 00:24:54,440 Speaker 3: And all these years later it doesn't sound dated. So 507 00:24:54,560 --> 00:24:57,359 Speaker 3: much stuff from the nineties now it sounds dated. It 508 00:24:57,840 --> 00:25:00,680 Speaker 3: sounds good, but it sounds old, right. 509 00:25:01,200 --> 00:25:05,320 Speaker 4: Yeah. Man, It's like I said, it was special, and 510 00:25:05,359 --> 00:25:07,840 Speaker 4: I think it was special because it was coming from 511 00:25:07,840 --> 00:25:12,560 Speaker 4: a pure place. There was no expectation on that album. 512 00:25:12,840 --> 00:25:13,680 Speaker 2: It was very. 513 00:25:13,560 --> 00:25:17,080 Speaker 4: Natural because it was what we were accustomed to doing anyway, 514 00:25:17,320 --> 00:25:20,960 Speaker 4: and because there wasn't an album before that that we 515 00:25:20,960 --> 00:25:23,480 Speaker 4: were trying to compete with. It came from a pure 516 00:25:23,560 --> 00:25:26,760 Speaker 4: place where it's innocent. It's like, hey, let's just do music. 517 00:25:26,800 --> 00:25:27,440 Speaker 2: We love music. 518 00:25:27,520 --> 00:25:30,760 Speaker 4: The second album is what became hard because the first 519 00:25:30,800 --> 00:25:33,680 Speaker 4: album was so much of a big success. Then it 520 00:25:33,880 --> 00:25:37,000 Speaker 4: was like, okay, what do we do now, Like how 521 00:25:37,040 --> 00:25:40,120 Speaker 4: we're gonna beat out these records? But the first album, 522 00:25:40,640 --> 00:25:42,560 Speaker 4: you're not comparing it to anything else. 523 00:25:42,640 --> 00:25:46,120 Speaker 3: It was like nobody heard anything like it before. I mean, 524 00:25:46,200 --> 00:25:48,879 Speaker 3: I love that second album. I think that's a classic too. 525 00:25:49,000 --> 00:25:51,600 Speaker 4: The funny thing with the second album that was the 526 00:25:51,680 --> 00:25:56,240 Speaker 4: hardest album for me, and I didn't I didn't appreciate 527 00:25:56,280 --> 00:25:59,320 Speaker 4: it at first. Now when I look back, I'm like, 528 00:25:59,600 --> 00:26:04,680 Speaker 4: this is probably one of the most artsy album because 529 00:26:05,000 --> 00:26:09,280 Speaker 4: it was so theatrical, three violins and horns and all 530 00:26:09,400 --> 00:26:12,000 Speaker 4: that stuff, totally different and on a kind of like 531 00:26:12,080 --> 00:26:15,200 Speaker 4: dark edged kind of sound, which was totally different from 532 00:26:15,200 --> 00:26:18,680 Speaker 4: the first album. But yeah, that second album was stressful 533 00:26:18,800 --> 00:26:21,639 Speaker 4: because of that first album, No mind You, I was 534 00:26:21,760 --> 00:26:22,439 Speaker 4: never supposed to. 535 00:26:22,400 --> 00:26:24,000 Speaker 2: Even get to a second out. 536 00:26:26,200 --> 00:26:29,840 Speaker 4: But hey, you know, I thank God. I most definitely 537 00:26:30,600 --> 00:26:34,679 Speaker 4: don't want to be regretful, because I'm not. I am 538 00:26:34,720 --> 00:26:38,320 Speaker 4: so thankful. I always believe that if it happens for you, 539 00:26:38,440 --> 00:26:41,199 Speaker 4: that means it was supposed to. You know, God blessed 540 00:26:41,200 --> 00:26:44,359 Speaker 4: me with the talent and that's why it continued to 541 00:26:44,880 --> 00:26:45,919 Speaker 4: go on and on. 542 00:26:46,080 --> 00:26:48,520 Speaker 3: Well, I want to thank you for what you did 543 00:26:48,520 --> 00:26:51,080 Speaker 3: with that talent and what you did with your genius, 544 00:26:51,240 --> 00:26:54,399 Speaker 3: because that super Dupa Flyings Out an album that changed 545 00:26:54,440 --> 00:26:57,680 Speaker 3: my life and it changed the way music has sounded 546 00:26:57,720 --> 00:26:58,240 Speaker 3: ever since. 547 00:26:59,000 --> 00:27:03,159 Speaker 4: Thank you. I'm I'm always humbly grateful to you know, 548 00:27:03,240 --> 00:27:06,200 Speaker 4: to hear that, because I know somebody asked me earlier 549 00:27:06,240 --> 00:27:08,520 Speaker 4: this year. I can't remember they they I remember them 550 00:27:08,520 --> 00:27:11,560 Speaker 4: saying like, when did you feel like you had made 551 00:27:11,600 --> 00:27:16,680 Speaker 4: it or people had accepted your whole sound, look and video? 552 00:27:17,000 --> 00:27:20,200 Speaker 4: And I said, to be honest, just now, wow taking 553 00:27:20,200 --> 00:27:22,360 Speaker 4: a chance to well, I never. 554 00:27:22,240 --> 00:27:24,520 Speaker 2: Took the chance to think about it. 555 00:27:24,680 --> 00:27:27,680 Speaker 4: We never took the time to think, oh, they get 556 00:27:27,680 --> 00:27:31,280 Speaker 4: it now, love me now like or any of those things. 557 00:27:31,560 --> 00:27:35,280 Speaker 4: And now it's probably last year, and this year is 558 00:27:36,200 --> 00:27:38,040 Speaker 4: now I feel like I made it. 559 00:27:38,359 --> 00:27:42,199 Speaker 3: Wow. Yeah, I'm glad. I'm glad you can hear the 560 00:27:42,240 --> 00:27:46,560 Speaker 3: world like accepting that now. Because boy, even at the 561 00:27:46,560 --> 00:27:49,600 Speaker 3: time when Super Dupe but Reply came out, people were 562 00:27:49,680 --> 00:27:53,119 Speaker 3: starved for something like you and for a performer like you. 563 00:27:53,320 --> 00:27:56,480 Speaker 3: I want to thank you for talking today about this album, 564 00:27:56,520 --> 00:27:59,440 Speaker 3: but I gotta thank you just for making the album. 565 00:28:00,640 --> 00:28:01,119 Speaker 4: Thank you. 566 00:28:01,720 --> 00:28:06,280 Speaker 3: That was the completely amazing Missy Elliott being her genius self, 567 00:28:06,680 --> 00:28:08,879 Speaker 3: We are very blessed to have her as part of 568 00:28:08,920 --> 00:28:11,200 Speaker 3: our conversation about her genius work. 569 00:28:11,800 --> 00:28:14,280 Speaker 1: Thanks so much for listening to Rolling Stone's five hundred 570 00:28:14,280 --> 00:28:17,440 Speaker 1: Greatest Songs. This podcast is brought to you by Rolling 571 00:28:17,480 --> 00:28:21,560 Speaker 1: Stone and iHeartMedia. Written hosted by me, Britney Spanos and 572 00:28:21,680 --> 00:28:26,040 Speaker 1: Rob Sheffield Executive produced by Jason Fine, Alex Dale and 573 00:28:26,160 --> 00:28:29,680 Speaker 1: Christian Horde, and produced by Jesse Cannon, with music supervision 574 00:28:29,840 --> 00:28:32,479 Speaker 1: by Eric Zeiler. Thanks for watching and thanks for listening.