FEATURE:
Groovelines
Missy "Misdemeanor" Elliott – Get Ur Freak On
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LAST month…
PHOTO CREDIT: The Gap via Getty Images/Getty Images
Rolling Stone published their list of the two-hundred-and-fifty best songs of this century so far. It is an interesting list, but I wanted to spend time with the song that topped that feature. It is Missy “Misdemeanour” Elliott’s Get Ur Freak On. You can see what they had to say about the song here:
“Missy Elliott dropped “Get Ur Freak On” just in time to rule the radio in the long, hot summer of 2001 — and nothing was ever the same. It was more than just the latest mind-bending Missy smash — it was a challenge, a dare, the sound of Miss E and Timbaland defying everyone else to keep up with the future or get left behind. The dynamic duo from Portsmouth, Virginia, were music’s most radically innovative team, ever since they flipped hip-hop upside down with their 1997 debut hit, “The Rain (Supa Dupa Fly).”
But “Get Ur Freak On” was one step beyond, riding a crazed space-bhangra beat. Timbaland warps a tabla hook into head-spinning Dirty South avant-funk, playing the six-note motif on the tumbi, a one-string Punjabi guitar, while the party people go off in Japanese and Hindi. Missy yells her epic “Hollaaaaa!,” commands all freaks to the dance floor, hocks a loogie, and boasts, “I know you dig the way I sw-sw-switch my style!” It was a nonstop freak manifesto that made the musical future sound limitless. And after more than two decades, “Get Ur Freak On” still sounds like the future — everything vibrant and inventive and cool about 21st-century pop is in here somewhere. Holla, forever. —R.S.”.
Released on 13th March, 2001, this classic was written and produced by Elliott and Timbaland for her acclaimed third studio album, Miss E... So Addictive (2001). What makes Get Ur Freak On so different and timeless is that the song utilises Bhangra elements. This is a music and dance form from the region of Punjab, India. Get Ur Freak On is this mix of Hip-Hop and Bhangra. Something that was not common at the time, it was a bit of revolution. Last year, the BBC published an article that looked inside the making of a game-changing song. It definitely changed the career of Missy "Misdemeanour" Elliott:
“Switching things up had definitely been Elliott's intention. By then in her late 20s, she was already a savvy businesswoman, had founded her own offshoot (The Goldmind) from major label Elektra, and was conscious of the industry pressure surrounding her next move. There was also a sense that while Timbaland's distinctive productions were proving widely influential, they weren't yet getting their mainstream due.
In a 2001 Vibe feature (written by Marc Weingarten), Elliott explained that: "I wanted to do what everybody else is scared to do." She and Timbaland had actually created Get Ur Freak On as an impromptu late addition for what would be her third album Miss E… So Addictive; first, though, she intended to let the track "marinate in the clubs for a while, get a street buzz going". This buzz would blossom into a crossover storm; Get Ur Freak On channelled serious hip-hop caché, worldly flavours, and an instant, all-encompassing pop appeal, as Elliott insisted: "It could be about dancing, the bedroom, whatever. You're cleaning your house? Get your freak on!"
It's also impossible to separate the vivid music from its eye-popping visuals. Elliott had already established a reputation for outlandish videos directed by Hype Williams; the '90s had proved a creatively febrile, increasingly big-budget period for US hip-hop and R&B, but Elliott presented alternative, fuller-figured and fearlessly surreal statements. For Get Ur Freak On, she turned to a new collaborator, video director Dave Meyers, and together they conjured a murky-glamorous world that projected the avant-garde into the prime-time. Meyers told Fortune in 2019 about his initial connection with Elliott: "She reached out to take me to dinner and then took me to see Crouching Tiger Hidden Dragon. We just vibed about perspectives of the world and weird stuff and developed a trust… There are no limits with Missy. The crazier, the better. She tends to respond to interesting movement."
Reaching the mainstream
Get Ur Freak On's urgent dance moves were created by another of Elliott's regular collaborators, visionary choreographer Nadine "Hi-Hat" Ruffin. Elliott's dancers throw shapes in some kind of industrial underworld – crouched on concrete blocks, hanging upside down like bats. The video also spotlights an array of Elliott's established and emerging peers: Timbaland, Busta Rhymes, Eve, LL Cool J, Jah Rule, Nicole Wray. Elliott herself is both queenly and cartoonish: craning her head from her body; swinging from a chandelier; and in one memorably trippy, Matrix-like effect, spitting long-distance into a male dancer's mouth.
The track received international airplay, scoring Platinum success on both sides of the Atlantic. In the UK, Elliott was emerging as a cover star across publications that had rarely afforded such attention to hip-hop – although she had already been a mainstay in acclaimed street culture and music magazine Touch. "Get Ur Freak On was the song that really took Missy to the mainstream, although R&B fans already knew her from her earlier band Sista, and had the two albums prior to this," says Lawrence Lartey, former contributing editor of Touch, now creative director at Ravensbourne University. "I liked the track, though I did think that everyone was playing catch-up; they'd finally seen how good she is. And it immediately sounded and looked different in the national charts; this wasn't Oasis or S Club 7! It was the age of bling, but also a time where the mainstream was opening up to the offbeat in other acts like Outkast. It was also a precursor to the UK really projecting its own identity in hip-hop and R&B”.
Music Radar published a detailed feature about Get Ur Freak On. It is a song that almost didn’t happen. However, twenty-four years after it was released, it is has gone down as this groundbreaking work of genius. The Bhangra-sampling song is an enduring moment in music history. Small wonder that it was crowned the best song of this century by Rolling Stone. You can feel its influence in music that followed.
“Though instruments like these may not be unfamiliar to today’s listeners, when Timbaland dropped these into a mainstream, major-label hit, it was a groundbreaking decision, opening up the charts to a kaleidoscope of international sounds. “It felt like a watershed moment where, sonically, you feel like the world would never be the same again," DJ and broadcaster Nihal Arthanayake told the BBC last year.
"Certain sections of the press had leaned towards an esoteric orientalism when it came to Asian music," Arthanayake continues. "Then this guy [Timbaland] was African-American, and one of the biggest producers in the world, along with one of the most exciting rappers on the planet, and they incorporated the beats in a way that was commercially viable, not just exotic. It kind of gave Asian producers, and people who used Asian beats, a validation.”
Though the tumbi and tabla hail from Northern India, that’s not where Timbaland discovered Get Ur Freak On’s boundary-pushing sounds. According to WhoSampled, these were lifted from a slightly more pedestrian source: Spices of India, a sample pack from British company Zero-G.
Released in 1995, the library features a “selection of Bhangra rhythms, instruments and vocals”, among them Classic Tumbi Loop 03 and Tomi Tablas 07, two samples that Timbo chopped up, rearranged and pitch-shifted in Get Ur Freak On’s pioneering production.
It wasn’t only Get Ur Freak On’s instrumentation that pushed the envelope, but its melody, too. The song makes use of the Phrygian scale, a musical mode with roots in Ancient Greek music. Though it’s central to Middle Eastern, Indian classical and even flamenco music, the Phrygian mode doesn’t make frequent appearances in Western pop. (When it does, its colourful intervals are often employed to convey a vague sense of darkness or mystery.)
While Get Ur Freak On ultimately became by far the most popular cut from Miss E… So Addictive, the song very nearly didn’t happen. In a recent interview with Rolling Stone, Elliott revealed that the track arrived at the very end of the recording sessions for the project, when Timbaland believed they already had everything they needed. “I had completed my album, but I kept saying I didn’t feel like it was all the way complete. I felt like a song was missing,” Elliott recalled. “But Timbaland, he kept saying: ‘no, your album is dope. We’re done!’”
Visibly tired and ready to head home at the tail end of a studio session, Timbaland started “bamming” the keyboard, just “hitting anything”, Elliott says. “He was ready to go, and he felt like the album was done, but he hit something and I was like: ‘that’s it, right there.’ He was like, ‘what? What you talking ‘bout?’ I was like, ‘whatever that sound is that you just played’. He just went down the keyboard again and then he finally hit it. I was like: ‘that! That right there!”
Timbaland continued to protest, Elliott says, but eventually she persuaded him to pursue the idea. “He was like: ‘I don’t know why you’re saying this, because your album is done. Your album is hot.’ But I was like, ‘no, let’s work on that’,” she says.
Timbaland eventually relented, looping the tumbi melody with a basic kick pattern for Elliott to record some scratch vocals over. “He just put a kick and the sound in there, and I just went in the booth and did the record," she recalls. "Then he added all the other stuff later when the song was done.”
While we might have Timbaland to thank for Get Ur Freak On’s forward-looking production, it was Elliott’s ear for a hook – and her dogged determination – that brought the song into being. And whether or not you agree with Rolling Stone that Get Ur Freak On is the best piece of music that the past 25 years has produced, there’s no doubt that it’s a landmark release”.
Written and produced with Timbaland, Get Ur Freak On is the standout from the phenomenal Miss E... So Addictive. A chart success around the world, in the year s since it was released, it has been named as one of the best songs ever. Multiple publications have hailed this song as the work of greatness that it is. I hope that this feature gives you more of an insight into Get Ur Freak On. A genius cut from Missy “Misdemeanour” Elliott. I remember when it came out in 2001. It was like nothing I had heard to that point. In the years since, I have lost none of my affection for the song. Rolling Stone naming it the century’s best song is…
FULLY deserved.