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Meanwhile, they also created their own left-field band, the gleefully genre-bending R&B/rock hybrid act N.E.R.D. And their 2006 pairing with Clipse on Hell Hath No Fury remains a high-water mark for lyrical hip-hop production. They helped Britney Spears reinvent herself as a deliciously bad girl on “I’m a Slave 4 U.” Snoop Dogg, Gwen Stefani, Usher-for each artist, they brought productions steeped in hormonal immediacy. They produced for JAY Z (“I Just Wanna Love U”) and Mystikal (the spacious “Shake Ya Ass”). From that point on, they took over the airwaves. Their aesthetic can be heard, in embryonic form, on Mase’s 1998 track “Lookin’ at Me” it stormed into the mainstream a year later with bangers like Ol’ Dirty Bastard’s “Got Your Money” (the perfect setting for the rapper’s off-kilter flow) and Kelis’ album Kaleidoscope. By the late ’90s, the duo had crafted a uniquely spacious, rhythmically complex sound that drew on their marching-band past, frequently oriented around a single, stabbing melodic line and futuristic, off-the-wall flashes of flourish. They first used the name “The Neptunes” at a talent show sponsored by R&B impresario Teddy Riley, who signed them upon graduation from school. Chad Hugo and Pharrell Williams met at band camp in Virginia in 1990 (Williams drummed, Hugo played sax). The Neptunes are one of the most influential production duos of the 21st century, both madly prolific and startlingly original-and as capable of topping the charts as of pleasing the snootiest underground hip-hop heads.
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