Wale - Inhibitions (Let It Loose) [feat. Pharrell]

Neptunian production in full muthaphukin eff-izz-ect! From the forthcoming Wale LP Attention Deficit.

I’m not really feeling any of the so-called hipster rappers of the current generation. But Wale so far seems to be the exception to the rule (especially when he’s on his hip hop sh!t). The kid can actually rhyme well and he puts some style into it. That and he f*cks with The Roots, The Neptunes and 9th Wonder. Much respek. Am looking forward to the album.

Edit: Upon numerous listens, I am really digging this track. Wale is charming as usual and sounds fantastic while effortlessly flowing over a Neps beat. As for the beat: the electronic noises and synths are all there, but the chill tempo and grimey, rumbling bass sounds more like a dirty HHNF-era Clipse beat which is a great thing; hungry and totally ill with a futuristic edge to it. As a bonus, Pharrell actually sings pretty good here (surprisingly) in his trademark falsetto voice and the hook is equal parts catchy, stylish and hilarious (with the chuckling and the double entendres and what not). I admit I was rather excited when I heard awhile back that Wale was working with The Neptunes on a joint on his new LP. And the hype has certainly been met with this track. I love it. So press play and let it loose!

Brand Nubian - Take It To The Head (Don’t Let It Go To Your Head Remix) [Prod. The Neptunes]

Just felt like completing the Neptunes audio post trifecta with one of my favourite Neps remixes of a joint from the solid 1998 Brand-Nu LP Foundation. And to those who were following my Planet Neptunes countdown early on in the summer, this joint just missed the elite 8 cut…along with those 3 extra tracks that I posted during the countdown. So in essence, this joint even missed the honourable mention cut; it shouldn’t have…but it did because I couldn’t find this mp3 on my old laptop until very recently (try to track this down online in unexpired downloadable form; it’s rather elusive nowadays). Anyways, now it’s finally posted and everything is right again. Take it to the head.

Jay-Z - So Ambitious (feat. Pharrell) [Prod. The Neptunes]

From the forthcoming Blueprint III LP. This joint sounds like it belongs on Reasonable Doubt (which still stands as Jigga’s best album IMO).

“Y’all gotta hear this shit.” (c) Skateboard P

*waiting patiently for the BP3 instrumentals to surface*

Toni Braxton - Hit The Freeway (feat. Loon & Pharrell) [Prod. The Neptunes]

Underrated Toni Braxton single laced with vintage Neps production from the glory years (2000-2002). Watch out for the…BRIDGE!

So hit the freeway and have a nice weekend, yo.

1. 702 - I Still Love You

BOOM!

From the opening, immense explosiveness of the ceremonial drum, you know you’re in for something special, something rhythmic, and something lovely. Unlike with the #2 entry Beautiful, there is no lengthy background story with this track. It made it to number one on sheer epic musical quality alone. From the rather decent and ultimately slept-on 2003 album Star comes this equally slept-on soulful offering by Sin City R&B lady trio 702 and a sheer Neptunes masterpiece of production.

I originally posted this song here. And amazingly, it has received 580+ plays as of this writing (which is surprising because I’m certain my readership is NOT that huge). So peeps out there are apparently playing the sh!t out of it. Or if you’re the one that’s played it 500 times, you no doubt love the song more than I do and should be the one writing this post (haha). But honestly, I can’t blame them (or you). I Still Love You is all things lovely, grandiose and just plain epic sounding. And it’s also one hell of an overlooked Neptunes gem that rarely gets mentioned when discussing the best beats that them VA boys have created. So hopefully my placing it at number one gives it a miniscule push out of obscurity. Or maybe not. Either way, on to the beat…

The 3 vintage Neptunes staples are all present and punctual here. Better still, each component is turned up to 11. The aforementioned drums (slammed with mallets for drum sticks, I’m sure) announce their presence with thunderous glory (turn it up and you can feel it in your soul 4 real). The instrumentation here is simply majestic with pure and thick synths that are incredibly pronounced. And of course the hand claps. Like a necessary slap in the face to wake you up, the very crisp claps echo with style and purpose; it almost feels like the ‘Tunes are in the room with you, clapping hard ‘til their hands turn beet red. As for the bridge, with a beat like this you don’t really need an elaborate bridge and that’s what we get: subtle tonal changes in the instrumentation and even some xylophone/cowbell style percussion scattered all around to give some twinkle to the production. Finally, the way that it all comes together is like a sweet and tender kiss on the lips…not those ones, you dirty devil (c) Ali G.

I’ve always liked 702 better than most other girl groups of the time (plus I had a little crush on Irish). It’s a shame that their popularity never reached the impressive levels of some of their musical peers (like Destiny’s Child, for one), because as far as voices and harmonizing go, they were quite good for a 3 person R&B girl group. Unfortunately, their 3rd album Star (the title track of which was also produced by the ‘Tunes and featuring the Clipse) ended up being their final album before the group disbanded. Even worse, a few years later, the sister of two of the band members (whom she herself was one of the founding members of 702) passed away due to kidney failure at the tender age of 27. Yes, a damn shame, indeed.

“See it don’t take a rocket scientist to” realize that the lyrics are nothing complicated. It’s the love movement, plain and simple. Despite everything we’ve been through, both good and bad, “I decided I still love you.” Awwww. Yep, this isn’t rocket science OR brain surgery and doesn’t need to be. Plus you got Pharrell on the hook doing what he does worst (singing) but doing it with passion and soul. And that’s what counts. As for P and Hugo, even though I’m not really feeling any of the beats that you dudes have so far given the Clipse for their upcoming 3rd (aka 4th) album. And even though you guys often produce individually under the Neptunes banner and continue to confuse your fans as to who’s really behind the boards. And even though the rumours of your supposed break up continue to annoyingly show up and disappear. Despite all that, I still love you, Neptunes!

True (not Hollywood) story: very early on in my nephew’s life (when he couldn’t yet crawl), I would carry him around the house and dance with him to some of my favourite tunes (trying my best to instill some rhythm into him). Much to my delight, he responded to the booming bass of this joint in particular. And even though he was tough at times to take care of (hey, I’m no professional father, I’m just an amateur uncle), I would sing along to the hook, declaring that my inexperience and resulting impatience in conjunction with him being a handful was all just part of the learning process of life. “I still love you!”, I crooned to the little guy, who then smiled at me (probably because I was out of tune).

This is my favourite Neptunes beat (Ichiban numba won!). Maybe one day I’ll waste even more of my (and your) time and compose a list of my Top 8 Neptunes beats which they produced for themselves (because really, that’s a whole ‘nother musical monster as their discography is that huge). But this current countdown is proof that Pharrell and Chad show their ass when crafting and selling their music to their clientele; whether high profile or up-and-coming, they don’t discriminate (as they shouldn’t).

*relaxed breath* So as my latest self-imposed writing exercise comes to a close, this Planet Neptunes list is simply a small offering of the kind of music that reminds me of the summertime. So on this July weekend, whether you’re still sobering up from your 4th of July festivities. Or if you’re Canadian (like me) and haven’t stopped drinking or partying since Canada Day this past Wednesday (yeah baby!), take a listen to these 8 joints and 3 deleted selections in order if you haven’t already (on a booming sound system preferably or a pair of ear-incasing headphones) and chill out to your remaining buzz. But more importantly, thoroughly enjoy these summer days playing whatever music takes you to that special place and makes you happy enough to lose your inhibitions and get up and dance. Finally, if you, the reader, actually read each verbose selection in this countdown and enjoyed the accompanying music. Then you’ll believe me when I say: I STILL LOVE YOU!!! Happy summer!

Babyface - There She Goes (The Neptunes Remix)

Before I reveal Number One on my list (which won’t be today…sorry), here’s one last Neptunes joint that missed the cut; another deleted scene if you will. Also, this was another beat that was originally intended for MJ. Take a listen for yourself: the break-neck tempo (ideal for a sick dance number), the background breathing noises (reminiscent of The King’s trademark gasping ad-libs), the elaborate bridge-like hook (which MJ would’ve ate up and made all his own). It ain’t hard to tell that the ‘Tunes had Michael in mind when they created this composition. And I personally think The King would’ve killed this joint (but alas, he wasn’t trying to hear that). Although to be fair, Babyface does a fine job with the track. There she goes. C’mon…dance!

2. Snoop Dogg - Beautiful (feat. Pharrell, Uncle Charlie Wilson)

About 6 years ago during the spring/summer of 2003, a new alternative rock radio station opened up to the airways in Ottawa. And to celebrate the occasion, the station declared that they would play music non-stop, all day, all night with no commercials for the first few weeks. Also, despite being an alternative rock station, the programmers would also play just a little bit of hip hop here and there. Snoop Dogg’s Paid Tha Cost To Be Da Bo$$ just came out the previous winter. And the highlight track from said album was on HEAVY rotation. Like to the tune of 10-15 times a day or at least once every couple of hours. Back then, I admit I kinda got sick of it (and how could you not?). Then, once said station started playing commercials, I stopped listening (I’m so fickle). And that’s the end of my history with radio.

Fast forward to a year later and by chance I happened to catch a certain reality TV based “documentary” on TMN, brought to us by the producers of MTV’s The Real World. Yes, I’m talking about one of the worst rated movies of all-time and one of my greatest guilty pleasures ever: The Real Cancun. I’m not really sure why everyone hated this flick, because it delivered exactly what was advertised: all the good stuff from The Real World TV series over the backdrop of Cancun, Mexico (a location that The Real World has made a glorious return to in the current season). All crammed into a 96 minute feature length film. Oh and the music selection was fantastic (highlights included The Roots, Gorillaz, N*E*R*D and James Brown). Speaking of the music, there is a scene right near the middle, following the infamous wet t-shirt contest (because you gotta have one of those), where the producers bring out the special musical guest to entertain the drunken Cancun crowd. And that guest would be none other than the one man who is undefeated on grass (a little tennis/weed humour there), Snoop (Doggy) Dogg, performing the latest single to his then new album. The live joint, of course, was none other than Bea-u-ti-ful.

Now, I don’t know if it was the tropical sights, the copious amounts of alcohol being waved around or the countless number of hotties in bikini tops bouncing to the beat (or a devilish combination of all the above). But hearing Snoop’s previously played out Neptunes joint performed live over those hedonistic visuals awakened something in me (“What happen in Cancun…stay down there.” (c) Yeezy). And from that day forward, I absolutely loved the track. It is quite possibly the one song I’ve listened to the most times within the past 5 years (I’ve scrobbled it 100 times in the past 2.5 years alone). And for that reason, it should be the number one track on this list (but Numero Uno will have a little something to say about that). Still, this and the yet-to-be-revealed number one entry could easily be switched out for one another (and by all means, do so if you wish). But on this evening, at this time, Beautiful stands as my 2nd favourite Neptunes-produced joint. Now, onto the track in question.

From the opening “uh-uh-uh-ohh-ohhhhh” by Pharrell, it instantly feels like summertime no matter what season it is (thankfully, as I type this, the capital region is soaked in humid summery weather with some fresh Canada Day fireworks smoke to boot). And thanks to The Real Cancun, I also immediately think about tropical getaways, Spring Break and lots of drinking. So good thoughts all around. And really, isn’t that what music is all about? Instantly changing our moods for the better and taking us to a special place, 3-5 minutes at a time? The premium production definitely helps in both conveying and creating those wonderful visuals.

From the gentle yet fast-paced keyboard/bell-like stabs (which pose as little angelic footsteps twinkling throughout the composition), to the contrasting heavy drums and sharp snares which are arranged in a simple and very accessible manner (but pump nice and hard; so beautiful), to Pharrell’s infamous falsetto voice which is everywhere from the background vocals (some of which are also supplied by long-time soulful Neptunes collaborator Uncle Charlie Wilson) to the hook to the breakdown. Beautiful is just that; it exudes a pure and care-free attitude indicative of the summer months where love and high temperatures go hand in hand (and lips to lips).

But the best part is when the trademark ‘Tunes hand claps slowly crawl in to join the party, just as all other sounds (save for the “really special” background vocals) are fazed out at an equal pace until everything is eventually silent. “Oh yeah, there’s something about you.” (c) P. Bam! Drums. Keys. Everyone comes back for the brief finale. Oh yeah, there’s something about that breakdown, alright. The perfect ending before we fade out on the perfect summer jam and one of the most perfect Neptunes compositions ever. Perfect (which is the name of the track that would actually end up being the sequel to Beautiful, from Snoop’s follow-up Rhythm & Gangsta album).

A little about Paid Tha Cost…despite it’s exorbitant length and, as a result, sections of filler, it has grown to become my personal favourite Snoop album…not including Doggystyle, of course (a standard statement that one must make when rating Snoop’s albums). Actually, I’m tired of fans comparing every new Snoop album to the gangsta rap perfection that was Doggystyle. That early 90’s time capsule will NEVER be made again. Dre and Snoop are both in VERY different places in their lives and could never surpass an album the calibre of Doggystyle EVER (hell, they would probably be amongst the first to say that). So get over it. And if you can get past that, you might be able to appreciate the fact that Snoop has been coming with it for some time since then and hasn’t fallen off for very long. Although IMO, the best career move he made was hiring the Neptunes in 2002 to resurrect his career. And it worked like a charm as it’s been a successful (and head-nodding) partnership ever since. Everytime that Snoop, Pharrell and Chad (and to a lesser degree, Uncle Charlie Wilson) get together, it is musical magic and I for one appreciate each and every one of the Snoop/’Tunes collabos as well as look forward to the future ones.

This song is my sh!t *patting chest* MY SH!T. I never get tired of this near 5-minute masterpiece and never will again (for the numerous reasons listed above).

Planet Neptunes track selection #2 is now in the books. And then there was one…

Stay (Nep)tuned.

Pharrell - Like I Love You (Demo Version) (feat. Clipse)

As I take my time to prepare the penultimate Neptunes selection on the list (actually, I haven’t even started writing the #2 entry, so I’m really just buying myself more time here), feel free to listen to another joint that, along with the Sade remix, just missed the countdown cut. T’is a single that everyone and their Mom, dog and bowl of fish know quite well. In particular, what I have uploaded is the original incarnation (“It’s a demo!” - Kool G Rap) of what would ultimately become the very successful lead single from Timberpond’s 2002 solo debut Justified. There are 2 main reasons why this is a notable mention (other than the fact that I’ve always loved the acoustic-laden beat).

1. For better or for worse (and for the record, I’ve never been a fan), this is the song that technically launched Justin’s solo career (if you remember, this was the first single from Justified and it blew the F*CK up!). Side note: the next single, also a Neptunes banger, was Rock Your Body, a beat which I tend to enjoy as well. So historically, the ‘Tunes (who handled 7 of the 13 joints on Justified) had a large hand in helping to create arguably the most popular pop music megastar of the current generation (hey, I’ll give credit where credit is due…even if I do despise the guy).
2. I’ve heard/read that this beat (as well as a few other Neptunes beats from Justified) were initially offered to the late (still can’t believe it), supremely great Michael Jackson for his 2001 Invincible LP. Well, for one ill-advised reason or another, The King passed on everything that Pharrell and Chad had to offer. Invincible was then released and was considered a sub-par if not slightly underrated MJ album (but not something worthy of being The King’s final album, which it has now become). As for the unused beats, they were re-gifted and given to N’Sync member #1. And the rest is history. Oh Mike, why didn’t you ever work with The Neptunes? I feel that you guys would’ve made some sick music together. But now we’ll never know.

Anyways, this beat was so good that it probably did make lots of beatsmiths jealous (or “hurt so many people’s feelings” as P so confidently stated at the end of the demo), due to its broad commercial appeal and simultaneous ill-tastic quality (this elusive combo is The Neptunes M.O.). As you listen to the demo, the song is pretty much finished. Only P’s vocals were later re-done by Timberflake, and also the beat breakdown which showed up on the final version isn’t there yet. And it should also be said that, within the very short mic time that they were given, Pusha T and Malice drop some swift and efficient bars. To date, this is the only time that the Clipse have appeared in a song that made it into the TOP 40 countdown.

Whoa, I didn’t mean to write a semi-review, but it looks like I had quite a bit to say about a track that didn’t even make it onto my Planet Neptunes countdown, didn’t I? I feel it was justified, though ;) Happy Canada Day!

3. Natasha Ramos - In The Midnight Hour (Alternate Mix)

“I hope you read every line…to this [review]”, but seriously, it doesn’t bother me if you don’t read every word (I do tend to go on and on). Just listen to the track is all.

I am actually writing this “in the midnight hour” (or rather much later than that), trying to make my self-imposed early morning deadline. Will I finish this in time? Well, if you are in fact reading every line to this message, then clearly I did. But now, onto more pressing matters.

What you’re listening to is an alternate version of a Neptunes produced track from 2003, composed for the sweet but seemingly never-heard-from-again vocalist Natasha Ramos (incorrectly referred to or tagged as Tasha on some versions of this track). This was a majorly slept-on single to an album that was never released or might not have even been completed (don’t hold me to that though). But if anything, In The Midnight Hour is proof positve that whether the ‘Tunes are working with big multi-million dollar names or the little known fresh faces, they always give each client the best stuff that they can muster up. And as it would turn out, this little wonder ended up becoming one of the greatest Neptunes beats ever.

Crisp piano notes, solid but subtle drum programming, heavenly keyboard synths, some sparkling chimes, guitar strings with some moog (during the ill bridge) and Natasha’s pretty voice are all combined by Pharrell and Chad to create one beautiful and mellow nighttime soundscape. The lyrics themselves are on some puppy love/booty call steez (“Or in the midnight hour when you creep…to have a piece of me, my baby”). However, it’s all about the vibe which is a thing of beauty. The contrast of the piano and synths are what give this track its glowing personality. However it is all of those aforementioned elements which together form a sound that just makes you smile, right before you crash for the night. T’is a great tune to fall asleep to while thinking of that special someone (“I hope you dream of me…I hope you dream of me”).

As for this alternate mix (which I prefer a tad over the original, although I love them both), here are the differences I noticed:

• The beat comes in right away in this version (it slowly builds in the original).
• The bongos are gone if not subdued. In exchange, the guitar twangs are more pronounced.
• There’s also a brief guitar breakdown/beat drop right where Natasha says: “Y’all feel me?”
• And right at the end, Pharrell’s voice is inserted in there, from sound snippets taken from the actual studio session (more on that later).

Despite all that, the spirit of the original is fully intact. And that’s a good thing.

OH my God, check it out…check it out. - Skateboard P in studio.

Later: Now here’s the real treat of this review. I urge you, the reader, to click here in order to view one of my most favourite viral vids ever. It’s a near 10 minute video diary of The Neptunes in studio with Natasha back in 2K3, documenting the building of this track from the ground up. Pharrell is hard at work and full of inspiration here as you see him come up with the beat, then he literally arranges the lyrics and bars on the spot, and finally he walks Natasha through the arrangement prior to recording (which is not shown). Chad walks in with his guitar and jams a bit as this is all going on (just chillin’). It’s an amazing thing to see and I’ve watched this scene many, many times. I just wish there were more fly-on-the-wall vids like this one showcasing the ‘Tunes (or any of my other favourite producers for that matter) creative process to their craft. So very interesting!

You know, it’s probably ideal to play the vid first, then peep the final track to see how it all came together. But you’ve most likely played the entire song by now (did you like it?). So maybe I should have mentioned the vid at the beginning of this post. But then there wouldn’t be a surprise…and I love giving out surprises! You can see the bind I was in, can’t you?

Hey…hey…hey! How crazy is that? Wah-hooo! - Skateboard P hilariously expressing his joy upon discovering a new arrangement idea. Yes, new ideas are happiness, indeed.

We have now reached the end of the 3rd quarter (wah-hooo!). In these trying times, may you have a wonderful day.

4. Kelis - Young, Fresh N’ New

Do you know what straight f*ckin crazy bananas sounds like? I would wager that this 2001 Neptunes/Kelis collabo that leads off Kels’ overseas-only released sophomore LP Wanderland would fit the bill quite nicely. 1nce again, to really appreciate just how much is going on with the music, you need to put on a nice set of headphones or blast this in your whip. Just be careful when it’s finished, because your brain (which I just love) might start to ooze out of your ear. Braaaiiiiins!

Now, choosing a favourite Neptunes/Kelis beat is like choosing between your children. Straight up, these 3 cats were made for eachother. Kelis sounds completely natural on every single Neptunes joint and P and Chad always bring out the best in her stylishly angry personna. Compare Kaleidoscope and Wanderland (both albums entirely produced by the Neptunes) with Tasty (5 ‘Tunes tracks, one of them being from Wanderland, although Milkshake is what finally blew her up to the masses) and Kelis Was Here (which had zero Neptunes contributions). The quality graph frankly takes a nose dive. From the beginning all the way until the unexplained break up, this was a match made in electro-hip hop/r&b heaven. And now that Kelis is divorcing Nas and is apparently in some financial trouble. I think it would be the perfect time for her to get back with Pharrell and Chad and just yell at eachother in the studio for old times sake and produce another classic album (from the stories that I’ve heard, Kelis and Pharrell got into some serious heated arguments when making her first 2 albums…and the end results from that passionate struggle were nothing short of amazing).

The bassy synths are thick and buc nasty here; they sometimes sound like possessed electric guitars and are almost anarchistic in attitude (goes well with the “runaway from…home” hook). The bridge is ill as Neptunes bridges always are. And somewhere in there are subtle handclaps (another ‘Tunes trademark). But I can’t even begin to describe the electronic noise feedback going on in the background (Chad f*cking lost it on this one). It’s like fireworks went off in the studio and these noises are trying to give each little colourful explosion particle a distinct voice.

Technically, there is no real pronounced percussion present (it’s all synth bass and hand claps), but regardless the track bumps something serious due to the chaotic yet controlled sum of all noises. Edit: My bad, the drums are in there, but the synths are layered right on top of them in a very precise manner. You’d think after listening to the song 50 times, I would notice that. End edit. The skill of the Neptunes to channel all of these wild segments into a cohesive composition that was and still is way ahead of its time is something to be applauded. Like really, this track (released in 2001) could have easily come from some post-modern synth-pop era still 5-7 years in the future. It sounds so fresh yet futuristic; incredibly epic and a lot of fun to boot. Young, fresh and new, it most certainly is.

Let’s talk about Wanderland for a moment. This joint was never officially released in North America (it’s still categorized as an import today) which is a shame considering it’s the best thing Kelis has ever done (she deserves more shine than she’s received). Sonically, this album is very sound (pun intended). Plus it’s got an incredibly cohesive vibe from beginning to end. But most importantly, the ‘Tunes took some major creative risks on this album and, for the most part, they paid off. And 7.5 years later, it still sounds like it was produced sometime in the next decade. So I gotta do this. Here is a track-for-track review of Wanderland (a review within a review!) because more people need to listen to this joint. I’ll try my best to be brief (ha).

• Intro: short and dreamy (and fully realized in the hidden track Star Wars)
• Young, Fresh N’ New: Whoa! Lead off batter knocks it outta the park, nuff said.
• Flash Back: More like flash FORWARD! Next sh!t. Was also included on Tasty since Wanderland never came out in the US.
• Popular Thug: The original version featuring Pusha T and not Kelis’ future husband/divorcee Nasty Nas.
• Daddy: Chilled-out sexiness featuring Malice and Pharrell (the entire Star Trak family is reppin’ hard on this LP). Insane bridge on here from the bridge masters.
• Scared Money: Getting sexier and sexier. Oh God, those drums. Sick, sick, sick. Definitely a mandatory headphone joint here.
• Shooting Stars: Zoning out to love. The keyboard work and snares are masterful here. P appears again to sing his heart out. Mini hidden track at the end.
• Digital World: Aptly-named track. All about the electronic noises here. Sounds like Flash Back Pt.2. Featuring Roscoe aka Kurupt’s brother.
• Perfect Day: Real electric guitar joint. Kels rocks out with the best of them. The breakdown is vintage Neps.
• Easy Come, Easy Go: Minimalist ‘Tunes with some silliness from Kelis. Fast paced beat that sounds low-key (how’d they do that?).
• Junkie: More Kelis goofiness here. It’s all about the strings (electronic, acoustic, bass, everything). I’m a junkie for this beat.
• Get Even: This is that joint. Totally unassuming but very sinister and brings some serious heat (Kels is straight up angry here as she plans on serving some revenge ice cold). Plus it contains one of the best bridges I’ve ever heard (I keep saying these guys are the bridge masters and they prove me right time and time again).
• Mr. U.F.O. Man: Great little dreamy intro that makes way for the bass and super thick snares. Drives home the whole spaced out, alien theme of the album. Featuring John Ostby on vocals.
• Little Suzie: Technically the album closer. And in that sense, it does the job well. Lovely, vulnerable and for the children. This also plays as the intro for 2 hidden tracks (depending on what copy of Wanderland you have acquired/DLed).
• Bonus - Star Wars: Spaced out, beautiful soundscape. One of the Neptunes best offerings. Which makes it even more amazing that it’s technically not part of the album. It’s also the full version of the Intro track (with new lyrics and a developed fade out section). Another composition as dreamy as the blue skies on the Wanderland album cover.
• Bonus - I Don’t Care Anymore: A pissed off remake of the Phil Collins song of the same name. Vintage ANGRY Kelis. The beat is equally irate. They both don’t care anymore. But if you’ve made it this far in the album (and in this previously single track review which has now been hijacked by a mini-album review), then you care very much so. Thank you. This is probably the track that Kelis played for Nas right before they split up (because that’s how musicians break up, right?). Hell of a workout song too.

4.5/5 IMO. So check this joint out (the song and the album). You won’t be disappointed…that is, if you enjoy off-the-wall Neptunes productions (and if you don’t, then why are you reading this?). Bar none, Wanderland is my favourite start-to-finish album that the ‘Tunes have produced for another artist. Kelis is just great throughout, playing the individualistic anti-diva to perfection. And, along with Hell Hath No Fury by the Clipse, it’s the only Neptunes produced LP to rival the quality of In Search Of…(the electronic euro version) production-wise. So yes, it’s that good, which blows my mind as to why it gets little to no shine or mention anywhere when discussing Neptunes productions (although the fact that it was never officially released in North America helped to keep it more obscure than it should have been). It’s the definition of a hidden gem and, as a result, so is its lead-off track and the main subject of this post: Young, Fresh N’ New.

Sade - By Your Side (Neptunes Remix)

Whilst we are still chilling at the halftime of my Planet Neptunes countdown, I thought I would post one of the tracks that just missed the lean cut. The ‘Tunes were masters of the remix, whether the style was upbeat, hip hop or slow jam. This track is on the silky smooth side of things. No in-depth review or anything. Simply listen and enjoy this lazy Sunday.