Baby Girl by Kathy Iandoli

Author:Kathy Iandoli
Language: eng
Format: epub
Publisher: Atria Books
Published: 2021-08-17T00:00:00+00:00

Timbaland repeats that line over and over in the opening of “We Need a Resolution.” The production uses a woozy Middle Eastern–style sample borrowed from John Ottman’s “Tricks of the Trade.” Art imitates life in the song, as the lyrics from both Timbaland and Aaliyah reflect a very obvious argument—which, like Timbaland says, they’re tired of. It becomes a volleying of bars: Aaliyah coyly asks if he slept on the wrong side of the bed, because she’s catching a bad vibe from him and is urging him to speak up. Meanwhile, Timbaland has had enough of the back-and-forth. Sure, the song was packaged as a lovers’ quarrel, but really it was them saying to each other “we need a resolution.” It was money; it was egos; it was fame. It was also Blackground, and Aaliyah was caught in the cross hairs of that war, as both an artist, part-owner, and family member.

But even through the storm, they worked together for one more go-round and made some hits.

In addition to “We Need a Resolution,” Timbaland produced bonus track “Don’t Know What to Tell Ya,” where he also utilizes a Middle Eastern–style sample (this time from “Batwanness Beek” from Algerian singer Warda Al-Jazairia). The song talks of Aaliyah refusing to be tied down by a controlling relationship, as she compares it to incarceration. The final Timbaland offering is the potent “More than a Woman,” which became Aaliyah’s battle cry even after her passing. Again, he uses a Middle Eastern sample, from Syrian artist Mayada El Hennawy’s song titled “Alouli Ansa.” That Middle Eastern sampling continued to appear in Timbaland’s catalog. He added a heavy Punjabi bhangra sound for Missy’s “Get Ur Freak On” in 2001 and collaborated with Indian hip-hop artist Rajé Shwari for his Under Construction II track “Indian Flute” with Magoo in 2003. Other artists followed suit with that new avenue for sampling. Even with their final collaborations, Timbaland and Aaliyah changed the game one last time.

Timbaland’s contributions to the Aaliyah project were important, and when placed alongside the rest of the work it made a well-rounded album. The crux of the project was changing Aaliyah’s narrative. For so much of her album work, there was a younger, flirtier vibe to her songs. The love songs were more about longing (and sometimes secrecy) than actually having a real relationship. With Aaliyah it was different. She was discussing themes that can happen in actual relationships outside the fantasy of it all, and working with a team who bonded so tightly after their trip to Australia made it all the more personal for everyone involved.

The aforementioned “Loose Rap” was futuristic meets melodic, as Aaliyah pushes back on her man offering lip service. Some even took it as a diss track against her haters. The same fluid style of Key Beats’ production also appears on the erotic “Rock the Boat,” “It’s Whatever,” and “Those Were the Days.” They adapted to a Timbaland style of production on tracks like “Extra Smooth,” “U Got Nerve,” and the hidden track “Messed Up.

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