As a female, the moment you sing too passionately in English you are kind of labeled as an angry singer. In Spanish that doesn't happen. You can be dramatic as you want and it's accepted. So it's liberating. CNN: There are a lot of Spanish-speaking artists who want to cross over into the English-language market. How does it feel to be doing the reverse? Furtado: I think I'm capitalizing a little bit on the inroads I have already made in the Latin world through working with other established Latin acts.
I dabbled in Spanish on my third album. I had two records on there in Spanish and I really enjoyed writing them and playing them live. I'm just going where my heart's at and following the passions. Furtado: It's interesting because when I got off the road from touring with my third album, "Loose," I was exhausted.
I tried to write some songs in English and no inspiration really came to me. Then I started writing songs in Spanish and it started flowing, so this album has been like a medicine of sorts.
I'm so excited about music now. I can't wait to put out another project in English and further Spanish albums as well as Portuguese. The list is never-ending. Share this on:. Story Highlights Nelly Furtado's new album is sung completely in Spanish The singer worked with noted Latin artists on the project Furtado, whose parents are Portuguese, finds performing in Spanish "liberating" First single made history on Billboard's Hot Latin Songs chart.
Two years later, Timbaland sampled her vocalization for the chorus of rapper Ms. I put crickets in songs and I put crazy things in records. Timbaland, West, and Eaton all note that Furtado is an exceptional songwriter. West says that before he, Eaton, and Furtado recorded Whoa, Nelly! Today, Furtado is a very private person.
A new extended edition of Whoa, Nelly! Timbaland, West, and Eaton all say that if there were an opportunity to work with her again, they would be on board. A lot of people have told me the song gave them hope or helped them through a difficult situation. This is true - there are many witnesses who were there: When we recorded Maneater a speaker caught fire. It started smoking and a flame shot out of the speaker, which nobody at the Hit Factory in Miami had ever seen before in the 40 years the studio has been there.
We put that beat on, and it was so rumbling and rapturous and pagan that it incited a fire! We actually were scared of the beat. We felt like it had the devil in it, or something. We put it away for a few weeks, until we had the courage to play it again. It was life-threatening! Someone almost got first-degree burns. Say It Right. I had no idea what a giant song it would become. The thing that still perplexes me about the song is that I still can't put into words what it's about.
I think it's maybe about personal, visceral abandon. Throwing yourself into something without inhibitions. It has a mystery to it - which is something I always wanted to do with a pop song.
Songs that are definitely pop songs, but that draw you into certain abstract states of mind. And I think Say It Right has that quality. It's quite haunting. We wrote it really late at night. It was four in the morning and it just kind of came out of nowhere. We'd been watching Pink Floyd's The Wall on a huge screen all day long on mute - so I think it was playing into our subconscious a little bit. When we were recording Loose, we really liked the sounds we were creating in the studio.
My whole life, I had grown up making beats in my friends' basements and loving the rawness of this direct sound, before you fix what is broken. For major records, you smooth down and master the sound but on Loose we did the opposite.
We wanted it raw, we wanted it visceral, we wanted the speakers to buzz. We fought for that. The label asked us to do better, smoother mixes and we refused. I said, "no, it needs to sound this way". Sonics are everything. A lot of the beats and the sound on Loose are louder.
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