Throwback: Pharrell Reflects on His Work on Jay Z’s ‘The Black Album’ [WATCH]
At first, after hearing “Can I Live” on 1996’s Reasonable Doubt, Skateboard P saw the prospect of working with Hov out of his reach. Pharrell, alongside his Neptunes partner Chad Hugo, eventually picked up two credits on The Black Album (after previously producing on the 2000s The Dynasty: Roc La Familia), and it was a match made in heaven.
“Once [me and Jay] met, we just creatively admired the different aspects in the ways that we work,” he said. “And I think that we’re artists’ artists; we admire other peoples’ processes, and take interest in the things that inspire each other. It wasn’t just what he was saying, it was what he was inspired by. Or it wasn’t just how the way our music sounded, he wanted to know where it was coming from. That’s where our friendship developed.”
In addition to the Top 10 single, “Change Clothes,” The Neptunes also produced the album’s penultimate track, “Allure” (which, in an unrelated studio video, Pharrell compared to the ending of the 1993 film Carlito’s Way). Here, he explained how he wanted to give Jay an “emotional” record in the same vein as “Dead Presidents.”
“With ‘Allure,’ I just wanted to hear him rhyme over something emotional, because he killed ‘Dead Presidents’… one and two,” he said, referencing the two versions of the Jay single. “He’s crazy with a crazy sick night club record, but when he goes emotional, it’s unbelievable. It’s like he connects with a couple past lives.”
When comparing “Allure” to “Oceans,” a cut he co-produced with Timbaland on Hov’s Magna Carta… Holy Grail in 2013, Pharrell broke down how he consciously used “darker colors” to enable the Brooklyn MC’s rhymes to “come through like lightning.”
As far Jay’s storied writing technique, in which he apparently constructs whole verses in his head, without the use of pen and paper, Skateboard compares it to the Oracle of Delphi.
Watch JAY-Z Perform “Allure” at Terminal 5 in NYC: