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This came in tandem with comparisons between 2007’s “Ayo Technology” and Crystal Castles’s “Courtship Dating,” which leave little room for the imagination.
Not that occasional traces of his past didn’t crop up.
Up until 1999, Timbaland was making purely fresh beats, crisp and innovative in their own right compared to the compressor carnage being wrought in the pop market during that time. Even Tim admits it in “As usual, I had this one beat that I just couldn’t get a grip on.
I’d been playing with a sample called “Khosara Khosara,” a beautiful Egyptian melody performed by a famous singer named Abdel Halim Hafez, who was like the Frank Sinatra of Arab music.
I opened up Timbaland’s autobiography, , thinking of rational ways to explain these gifts: a background in classical music or church gospel, or some sort of savant-ism whose obsessive tendencies center around audio frequencies.
That song is “Indian Flute,” a collaboration with longtime partner Magoo and Carnatic fusion singstress Raje Shwari.
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boss is unqualified to do his job, remember this: Timbaland, superstar producer and former architect-in-chief of American pop and R&B, can’t read sheet music.
That may sound like a potshot, but it’s actually praise.
He is instead focusing on parenting his own wunderkinder and, up until this year, has been serving as lead composer for another , this one featuring Taraji P. Curiously, though, despite two decades of digital fiddle-work, Tim’s Rome has not yet burned to the ground.