Download Missy Elliott Miss E So Addictive Zip
I've figured it out, people. You two have glanced at the album cover above and have already decided that you could give a shit about the subject of today's post. In fact, you two may have dismissed it entirely based on the fact that today's subject is a woman, and absolutely nobody has requested that I write about any female artist in the past few years, aside from all of that bullshit about Iggy Azalea because people want to see me trash her work, which would actually require me to want to listen to her work, and I just don't have the time or the patience for that, folks.
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I have too much on my plate, I treasure my ears, I haven't really liked any of her other stuff so what's the point, Charli XCX is the only good thing about 'Fancy', blah blah blah, other excuses. But the subject of today's post isn't someone who's buying into the pop music world of today via three-dollar beats and the audio equivalent of blackface: no, instead, today I'm writing about a woman who legitimately changed the way pop music sounded in the 1990's and into the new milennium. And I mean she changed it multiple times: Melissa 'Missy 'Misdemeanor' Elliott and her partner in crime, producer-slash-sometimes-rapper Tim 'Timbaland' Mosely, are largely responsible for the risks taken on radio airwaves over the past eighteen or so years that you bastards merely take for granted today. Missy's third album,, which is admittedly a very fucking stupid title, caused cash registers from all over to chirp, moving over five million units worldwide.
It features multiple hit songs, although some of them clicked more overseas than they did in Missy's home country. It also landed her two Grammy awards, one of which was for an album track that was never even released as a single, so obviously someone was paying attention to Elliott's work. Riding off of a wave of goodwill generated from her first two albums and her multiple cameos and songwriting jags for other artists, Missy Elliott and Timbaland set off to change the aural landscape yet again, bending the will of hip hop and R&B to serve their merry whims. Timmy produces nearly the entire project, but this time around Elliott co-produced every track, using her pen to wrap her thoughts about love, sex, love and sex, fucking, love, and love of fucking around the beats within. Okay, so Missy Elliott may be a pretty good songwriter, but as an artist, she knows what she likes, and tends to stick with a limited amount of topics: you can't say some of your favorite rappers don't do the same. The instrumentals, while not quite as revolutionary as Timbaland's past and future work, still come across as the type of music Missy and Timbo wanted to hear at their favorite club, with a lot of catchy hooks and eclectic drum samples bouncing around the motherfucker. The guest list is primarily limited to Missy and Timbaland's extended family, which is the only reason Ginuwine appears on here, although in their short time within the industry they formed a lot of lasting friendships, so the outsiders that pop up on are mostly A-list material.
And also Da Brat. Timbaland lays down a funky-ass instrumental for his host, but the first (rapping) voice you hear on “Dog In Heat” belongs to Reggie Noble, whose flow is so elastic that he fits over any beat. This ode to the men who are dogs and the woman who loves them isn't great (Missy's first sung line is, “When you come home from work / I'ma make you do more work”, which I understand, but, um, huh?), but it's enjoyable enough, and the combined forces of Red and Meth elevate “Dog In Heat:, even though the pair don't actually share any screen time on the track. There are worse ways to kick things off, I suppose. Missy Elliott recorded three different versions of “One Minute Man”, two of which appear on. Why she decided that a song decrying premature ejaculation required so many different interpretations I have no clue, but it's still one of the best tracks on here.