A highlight from Pharrell Williams Part 1

Automatic TRANSCRIPT

I'm Mark ronson and this is the fader uncovered podcast. In this interview series, I'll be speaking with some of the most influential and groundbreaking musicians in the world. From genre defining stars to avant garde trailblazers about their lives and careers. Each episode will be rooted in these musicians iconic fader cover stories and institution that over the past two decades has told artist stories like no other. The podcast is a chance for us to talk about the past present and future, reflecting on their breakthroughs, diving into their lives when their coverage hit shelves and discussing what the future might hold now. And it's an opportunity for me to speak to some of the artists I most admire. This is the fader uncovered with Mark Bronson. Today, my guest is icon and genuine musical legend Pharrell Williams. For all appeared on the cover of fader 11 back in 2002 with his partner in music, Chad Hugo, and the two of them made up the neptunes, one of the greatest production forces of all time. It really is impossible to overstate the sonic disruption that the Neptune's cause when they first burst on the scene in 1998. I was DJing in clubs 5 nights a week and New York was smack dab in the middle of the shiny suit era. Do you remember that? Puffy and mace ruled the dance floors in the airwaves and yes, you had gang Starr and big pun and Jay-Z have volume two, but for the most part, we were in the jiggy era. So when queens MC noriega dropped his neptunes produced single super thug, it was truly like an alien spaceship had landed in the club. I mean, the fact that the song starts with this helicopter noise definitely contributed to that feeling, but the ominous synthesized clav melody. No, no, no, no, no, no, no, no. Followed by bone rattling drums in this brutally stiff pattern that still somehow made you want to dance. Nori's crazy staccato flow. And then to make it even more crazy Pharrell's reinterpretation of blondie's heart of glass in the bridge, which added this whole extra layer of New York, even though they were from Virginia, the whole thing was bananas. When you drop that song as a DJ, you didn't know if people were going to dance or start a goddamn mosh pit. The song soon hit number one on billboard's rap singles chart. They had taken one of queen's most beloved underground talents, noriega, made a very left field, but undeniable record and in doing so knocked Will Smith's just the two of us from the top spot. Think about that. Chad Hugo and Pharrell Williams AKA the neptunes had landed, and they would rule the dance floors the charts, and most of pop music well into the mid 2000s. Crafting career defining or sometimes career reviving hits for Jay-Z busta rhymes mystical Justin Timberlake Nelly, Brittany fabulous usher. Gwen Stefani Snoop Dogg. Usually the song would have an incredible beat an amazing undeniable hook from Pharrell. Sometimes sung in his Curtis Mayfield falsetto, sometimes spoken rapped in the most nonchalant way imaginable. And except for the unifying fact that it was groundbreaking. You really couldn't pigeonhole their sound. They could make the most sinister drug lord records, basically anything by their proteges clips. To the funkiest of the funky, hot and hair Nellie, shake it as mystical, and then to straight up bleach your bangers like holla back go. They were unique gifted they were on a ridiculous run and everyone fucked with it. It's often noted that in 2003, a staggering 43% of all the songs played on U.S. radio were produced by the neptunes. They also got their weirder sidearm with their group project NERD marrying live instrumentation in Iraqi air side of things, which led to true alt bangers like lap dance, rockstar. She wants to move. The Neptune's graced the cover of the fader in 2002. It's a beautiful cover. One of my favorites, and a lot of that had to do with Jonathan's idea to have Japanese style ocean waves hand painted behind them to accentuate the whole Neptune Ness of it all. An epic shot for an epic

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