|
|
|
You are here:
Home Page
|
|
|
There is an error:
|
| 1. |
|
Afraid |
| 2. |
|
Say It Right |
| 3. |
|
Do It |
| 4. |
|
Wait For You |
| 5. |
|
Showtime |
| 6. |
|
All Good Things (Come To An End) |
| 7. |
|
I'm Like A Bird |
| 8. |
|
Glow |
| 9. |
|
No Hay Igual |
| 10. |
|
Promiscuous |
| 11. |
|
Maneater |
If sample does not play, download Windows Media Player 9.
When Nelly Furtado first emerged on the scene, with 2000's surprise smash Whoa Nelly, she appeared as some sort of coffeehouse rebel: a folkie at heart who'd grown bored with one-guitar open mic nights. The mix was brassy but personal, combining elements of neo-soul -- and even some indie hip-hop swagger and rhythm -- into songs that were, essentially, defiant readings from a journal.
The Nelly that emerged on 2006's Loose was a different animal -- we'll call it a bird -- entirely. As though attempting to prove that motherhood hadn't made her soft, Furtado came out harder than she'd been before it. Suddenly, we had Fergie-esque mega-pop. Rap's organic grooves had been traded for its big club beats. Resilience had been amped up to straight coquettishness. The lady wasn't cool -- she was sexy.
This had to be a terrible idea, but somehow it wasn't. Whatever you thought of this branch of pop, it was hard to find someone doing it better, and Nelly's hooks were so sticky they could bring disbelievers around. And make no mistake: new live CD Loose: The Concert, which focuses mainly on Nelly 2.0 (but does include a stellar, tripped out rendition of "I'm Like A Bird"), is a flat-out blast of pop. Nelly may still speak to her fans' angst, but the rabid crowd sounds far more invested in their dancing feet.
The smartest move the set makes is giving those feet plenty of time to move. This isn't a mere album copy put on a stage. Tracks are routinely stretched into delirious plus-sized jams. Give them a bridge and Nelly's crack backing crew will milk it. "Do It" is modern pop-hop by way of Stevie Wonder, an utterly addictive blend of sultry vocal hooks and funked out keyboards. "Say It Right" is spacey and modern, an anthem masquerading as a seductress (or is it the other way around?). And this version of "Promiscuous" is simply great bang for the buck. Clocking in at nearly seven minutes, it mines that song's rich seams of driving rhythm and give-and-take melody. Unlike so many of her colleagues, Furtado seems to realize that even glossy pop should be given some space to stretch. What's the point of building such tasty beats if you don't ride them a little?
By Jake Blaine
| Artist: | Nelly Furtado |
| Edited: | No |
| Format: | CD |
| Enhanced: | No |
| Number of Discs: | 1 |
| Release Date: | 12/04/2007 |
| Shipping Weight (in pounds): | 0.2 |
| Product in Inches (L x W x H): | 4.95 x 0.4 x 5.62 |
| Assembled in Country of Origin: | United States |
| Origin of Components: | United States |
Wal-Mart No.: |
000000000 |
| UPC: | 0060251751692 |
Singer⁄songwriter Nelly Furtado heavily credits her ethnic background and creative childhood for spawning her career, which took flight after the success of 2001's "I'm Like a Bird." Born and raised in the Canadian city of Victoria, Furtado received a strong work ethic from her working-class parents, both of whom were of Portuguese descent. Although she learned multiple instruments as a young child, Furtado also spent eight summers working as a chambermaid alongside her housekeeping mother, quickly realizing what it meant to work for a living.
Furtado first turned to music for enjoyment, learning to play the trombone and ukulele while also taking part in various choir performances. Mainstream R&B acts like Mariah Carey, TLC, Jodeci, Salt-N-Pepa, and Bell Biv DeVoe formed the bedrock of her musical tastes. Later, she delved into her older brother's collection and discovered Radiohead, Pulp, Oasis, Portishead, the Verve, and U2. The contrast pushed Furtado to fully embrace a number of different musical genres, specifically Brazilian music, hip-hop, and material by Nusrat Fateh Ali Khan and Amalia Rodrigues. Following high school, she left Victoria and relocated to Toronto, where she worked at an alarm company during the day and explored the local music scene at night.
Nelly Furtado soon joined a hip-hop duo, Nelstar, which encouraged her to write her own melodies and freestyle rhymes. Her musical prospects quickly grew, as musicians Brian West and Gerald Eaton -- both from the Canadian funk-pop group the Philosopher Kings -- asked to produce the young singer's demo. Although the left Toronto after the recording sessions, the demo sparked enough label interest to land Furtado a spot on the DreamWorks roster. She returned to the city to cut her debut album, 2000's Whoa, Nelly!, whose release was followed by a headlining U.S. tour in early 2001 and a subsequent spot on Moby's Area:One tour that same summer. Furtado's multi-cultural pop sound proved to be intensely popular, with singles like "I'm Like a Bird" and "Turn Off the Light" pushing the album toward multi-platinum sales. One year later, Furtado was the lucky recipient of four Grammy nominations, with "I'm Like a Bird" going on to win "Song of the Year."
The sophomore effort Folklore appeared in November 2003, nearly two months after Furtado gave birth to a daughter named Nevis. The record was generally seen as a disappointment, failing to capitalize on the success (and failing to replicate the freewheeling energy) of her previous work. Appropriately, Furtado didn't return to the limelight until the summer of 2006, when she released the dance-influenced album Loose. Produced almost entirely by Timbaland and boasting an appealing, timely mix of pop, R&B, and club-worthy hip-hop, the album catapulted Furtado's career back onto the fast track. "Promiscuous" became a quick hit, earning Furtado the number one spot on the Billboard Hot 100 chart, while the album itself debuted atop the charts upon its release in June. ~ Andrew Leahey & MacKenzie Wilson, All Music Guide