Stevie G: The Neptunes legacy remains important

It was the year 2000 and The Neptunes were starting to rule the clubs. Jay Z’s career had been on a massive upward trajectory and his “I Just want to love you” track was everywhere. The Curtis Mayfield styled chorus sung by Pharrell helped propel a track powered by the distinct production that he brought to the table with Neptunes partner Chad Hugo.

Jay Z, at the peak of his powers, spoke of his travels around the world, living a party lifestyle that included “Bubblin’ in Dublin”. I was a DJ who played weekly in Dublin at the time and this song was greeted rapturously, just like practically every other Neptunes’ hit of the era. Jay Z also referenced getting “bling like the Neptunes sound” which both acted as a nod to Chad Hugo’s distinct keyboard soundscapes and the undeniable fact that their beats guaranteed a hit in that era.

Jay Z, like many great artists, always knows which way the culture is shifting, and it’s no coincidence that he also worked closely with the other dominating hitmakers of the 2000s (Timbaland and Kanye West) in these years. The Neptunes and Timbaland would end up defining the 2000s, while Kanye West’s cultural impact was just beginning too. The case of The Neptunes remains really interesting 25 years on. A recent high profile lawsuit and very public fallout over royalties and production credits means that it is very unlikely Pharrell and Chad will ever make music together again.

Last week, Britney Spears finally released “My Big Secret”, a classy 2001 Neptunes’ production that inexplicably remained unreleased at the time. Britney was also at her peak in this era, but it was the Neptunes’ jams, “I’m a slave for you” and “Boys”, which hinted that she was much more than your regular bubblegum pop artist. The Neptunes made credible pop music for many other great stars in this era. N’Sync and their singer Justin Timberlake benefitted from their Michael Jackson inspired sonics that were originally intended for the King of Pop himself, while Gwen Stefani, Madonna, Janet Jackson, Robin Thicke and many more enlisted their services.

They helped shape the career of Kelis in those early years too. Her first few albums were driven sonically by The Neptunes, and indeed it was when she released “Caught out There” that I first started noticing their name. Alongside Noreaga’s “Superthug”, this track really made a distinct impression on me as a DJ in Sir Henry’s back bar. The production was astounding, and when ODB’s “Got Your Money” followed (with Kelis on the hook), The Neptunes were off. It was only later that I found out they also helped produce tracks that I had been playing by SWV, Blackstreet and indeed Wreckxs-n-Effect.

Mentored by New Jack Swing legend Teddy Riley, Pharrell and Chad also grew up in the same Virginia Beach scene that helped develop Timbaland, Missy Elliot and Magoo. It really was remarkable that so many musical icons grew up in the same scene, but I’ve always felt that despite changing the face of black music with his sound, Teddy Riley’s influence is somehow under-rated overall. Those early Kelis records remain under-rated too, and I feel that despite all the hits, they were at their best when they locked in with one artist for a full album.

They did this famously with Clipse, producing some of the best hip-hop music of the 2000s. A couple of years ago, Pharrell helped steer the Pusha T and Malice “Let God Sort them Out” project, which is also one of the modern era’s best. Kelis and The Neptunes also split acrimoniously, but their music remains iconic, and I DJ’d before Kelis once on a memorable night in Dublin back in the era when all was good in the camp. This music remains some of their best to me, but The Neptunes discography is imperious. They also visited Ireland a few times as part of their N.E.R.D. band, another great project, and I saw them here at Oxegen in their early days and more recently at Electric Picnic, where they were also very good.

The music industry politics and personal fall outs won’t damage The Neptunes’ legacy, but even though both Chad and Pharrell still produce a lot of music, there was magic in the air any time they got together.

The Neptunes sound helped me create something big in both Sir Henrys and the Savoy, and years later their songs are still played on radio and in clubs all over the world. The music still sounds current and futuristic, and their influence looms large over modern hip-hop, r&b, electronica and pop.