“Loose” (Click to Enlarge)
This cover was posted by addicted, member of the BITS forum.
I am publishing this as a rumour since this hasn’t been officially announced, however it has been published as the cover on Nellys section on the Universal Japanese site here.
So that could be good proof that this is going to be the official cover! Notice Nelly isn’t lying down.. like her previous album covers…
“Whoa Nelly” / “Folklore” (Click to Enlarge)
Listen to “No Hay Igual”
Listen to “No Hay Igual (Instrumental)”
Loose is out 20th June 2006 in North America and 12th June 2006 the Rest of the World.
Hi everyone, this is the extended version of the “Maneater” possibly the one that will be on the album, the club mix feel starts to kick in at about 3:17.
Listen to “Maneater Extended Mix”
Credit: MissingOrigin
Loose is out 20th June 2006 in North America and 12th June 2006 the Rest of the World.
Chris Martin’s collaboration with Nelly Furtado has been mysteriously axed from her forthcoming album. The duet, ‘All Good Things’, was reportedly removed from the LP’s track-listing on the orders of the Coldplay frontman’s record company EMI.
A source told Britain’s Daily Star newspaper: “Three days ago the order came through to remove it from her album. I don’t know if Chris knows yet, but when he finds out he’ll be furious. It seems EMI have a problem rather than either of the artists.”
This is not the first time a duet involving the singer has been stopped by his record company. The Coldplay frontman, who is married to Hollywood actress Gwyneth Paltrow, recorded the original vocal to The Streets’ UK hit ‘Dry Your Eyes’. The group’s frontman, Mike Skinner, revealed: “I asked him to do it and he did, but I don’t think his record company liked it.” Rumours are now circulating that the track Chris recorded with rapper Kanye West may also never be released.
Sources: teentoday.co.uk, pr-inside.com
Afraid
Real solid opener, with a hi-hatty beat (think the intro hits to Strafe’s “Set It Off” stretched for three and a half minutes), an unexpectedly catchy hook, Bubba-esque guest verse (is that Tim?) and a CHILDREN’S CHORUS on the outro. You can’t lose with kids.
Maneater
Right to the sternum! This one is a banger, with a lot of neat sonic extras and breakdowns that weren’t on the leaked version from a month or two back. No sign of Weezy F Baby however.
Promiscuous
The best update of “Shoop” we never even knew we wanted in the first place. Still a little weird that Timbo is calling himself “Thomas Crown” though. (The Pierce Brosnan remake is seven years old, duder!) But there is a welcome Steve Nash shout out.
Glow
Boom clap boom, synths, etc.
Showtime
Our secret favourite of the record. A bittersweet, Britpoppy ballad in 3/4 time that wouldn’t be out of place ending 120 Minutes in the mid 90s.
No Hay Igual
Does this song even have a proper chorus? It’s just one long intro. Which happens to really, really knock.
Te Busque featuring Juanes (English and Spanish versions)
Subtract Timbo, add Juanes, and get a fairly unremarkable track (or two, actually.) Nelly spits a Def Poetry Jam interlude though.
Say It Right
OK we need to step our pop reference game up a little for this one. Going to go with “Like A Prayer”-era Madonna, but there’s probably a random Cindi Lauper joint that would have been more appropriate.
Do It
That roller rink shit! Irrisistably hooky, with little Latin freestyle vocal cuts (”Yeah-yea-ye-yeah..”) interspersed throughout.
In God’s Hands
Another snoozy, Timbo-less ballad. Skip.
Wait For You
Hot damn, double-time R&B. With tabla!
All Good Things featuring Chris Martin
Don’t hold Chris Martin against it - he gets his Coldplay on and is still decent on this track, which is in the vein of No Doubt’s quieter moments. And if nothing else, it helps prove that the powers that be shouldn’t have hedged their bets with outside pop production on the other slow jams.
Here is a snippet of whats to expect.. more urban beats.. when will Nelly get the guitar out again!?
Track And Field also worked once again with Furtado on her third album, “Loose,” due in the spring. “We did a couple of songs, but I think one of them that I’m pretty sure is going to be on the record is called ‘Let My Hair Down,’” says Eaton. “We did it in Toronto at Orange Studios. It’s sort of like a female ‘Drop It Like It’s Hot.’ It’s really sexy. It’s like an urban club track and she does this freestyle rapping/singing over it. It’s very very fresh.”
Thanks to NeLLy’s_BiGGesT_FaN for finding this.
This is a full transcript for the article that was published in “Cover” magazine:
On a coffee table in a downtown Toronto hotel suite, Celine Dion and David Foster stare out from the cover of a glossy magazine. The pair, smug and self-satisfied, are the epitome of safe, sanitised pop. As Nelly Furtado breezes into the room to discuss Loose, her daring new album produced largely by hip hop’s Timbaland (aka Tim Mosley), the contrast begs comment: she and Mosley are worlds away from the Las Vegas glitz of Dion and Foster. “No kidding, eh,” laughs Furtado, settling into a sofa for an extended interview. “Tim’s always done break-through music, pushing sonic boundaries. And I like to always surprise people and turn their heads 360 degrees, like an exorcist spinning around.” Presumably, without the projectile vomiting. “My music’s always changning,” she continues. ” I don’t know if I have a short attention span, or if it’s just that I like too many styles of music to focus only on one. I just go where the inspiration takes me.”
This time, inspiration took Furtado to Miami, where she and beats mastermind Timbaland (Missy Elliott, Jay-Z, Snoop Dogg) recorded most of the tracks. Unline her previous albums, which only hinted at urban sounds, Loose is a full-on mix of contemporary Latin, hip hop and R&B styles. “My last two records were a little cerebral,” admits Furtado, “where this one is much more of the body. It’s all feel-oriented, vibe-oriented.” Hedonistic numbers like “Maneater”, the tribal-thumping first single, and “Promiscious Girl”, a steamy rap duet with Mosley, certainly take the Canadian songstress into edgier - and sexier - territory. Rolling Stone even went so far as to call her rhymes on “Promisuous Girl” a celebration of her “inner slut”, which Furtado, a single mother of a toddler, denies. “I just like double entendres,” she insists. ” The album title actually refers to how we approached the record, which was to make it in a very unhinged, unpolished and unedited way.
Loosness is one of the album’s many charms, from the in-studio banter between Furtado and Mosley to the raw, improvised quality of tracks like “Maneater” and “All Good Things” a duet with Coldplay’s Chris Martin. If anything, Loose is a celebration of Furtad’s inner child, as reflected in the giggling laughter that closes “Fraid” and the youthful spirit that pervades such songs as “Do it”, “Glow” and “Say it Right”. Like Gwen Stefani’s Love.Angel.Music.Baby, Furtado’s Loose is an unabashed dance record bound to thrill club-centric audiences - maybe at the expense of core listeners. The multicultural pop queen, whose previous recordings won a Grammy and a slew of Juno Awards, seems resigned to alienating some fans. “I pissed off people when I made a folk album last time,” she says, “and now I’m going to piss off the acoustic types with this album.”