Supa Dupa Fly [Clean] [Edited]

Performer: Missy Elliott
Artist: Busta Rhymes; Lil' Kim; Adina Howard; Ginuwine; Da Brat; Space; Aaliyah; Nicole; 702; Timbaland; Space & Nicole
Engineer: Jimmy Douglas
Producer: Timbaland
Distributor: WEA (Distributor)

Notes: Personnel: Missy "Misdemeanor" Elliott (vocals); Busta Rhymes (rap vocals); Bill Pettaway (guitar, bass); Lil' Kim, Adina Howard, Da Brat, Aaliyah, Space, Nicole, Timbaland, Ginuwine, Magoo. Recorded at Master Sound Studios, Virginia Beach, Virginia. "The Rain (Supa Dupa Fly)" was nominated for a 1988 Grammy Award for Best Rap Solo Performance. SUPA DUPA FLY was nominated for a 1998 Grammy Award for Best Rap Album. Personnel: Missy "Misdemeanor" Elliott (vocals); Magoo, Busta Rhymes (rap vocals); Bill Pettaway (guitar, bass); Lil' Kim, Adina Howard, Da Brat, Aaliyah, 702, Ginuwine, Timbaland, Space & Nicole. Recorded at Master Sound Studios, Virginia Beach, Virginia. "The Rain (Supa Dupa Fly)" was nominated for a 1988 Grammy Award for Best Rap Solo Performance. SUPA DUPA FLY was nominated for a 1998 Grammy Award for Best Rap Album. Personnel: Missy Elliott (vocals, rap vocals); Busta Rhymes (rap vocals); Bill Pettaway (guitar). Audio Mixers: Jimmy Douglas; Timbaland. Recording information: Master Sound Studios, Virginia Beach VA. Photographer: Kwaku Alston. Arguably the most influential album ever released by a female hip-hop artist, Missy "Misdemeanor" Elliott's debut album, Supa Dupa Fly, is a boundary-shattering postmodern masterpiece. It had a tremendous impact on hip-hop, and an even bigger one on R&B, as its futuristic, nearly experimental style became the de facto sound of urban radio at the close of the millennium. A substantial share of the credit has to go to producer Timbaland, whose lean, digital grooves are packed with unpredictable arrangements and stuttering rhythms that often resemble slowed-down drum'n'bass breakbeats. The results are not only unique, they're nothing short of revolutionary, making Timbaland a hip name to drop in electronica circles as well. For her part, Elliott impresses with her versatility -- she's a singer, a rapper, and an equal songwriting partner, and it's clear from the album's accompanying videos that the space-age aesthetic of the music doesn't just belong to her producer. She's no technical master on the mic; her raps are fairly simple, delivered in the slow purr of a heavy-lidded stoner. Yet they're also full of hilariously surreal free associations that fit the off-kilter sensibility of the music to a tee. Actually, Elliott sings more on Supa Dupa Fly than she does on her subsequent albums, making it her most R&B-oriented effort; she's more unique as a rapper than she is as a singer, but she has a smooth voice and harmonizes well. Guest rappers Busta Rhymes, Lil' Kim, and da Brat all appear on the first three tracks, which almost pulls focus away from Elliott until she unequivocally takes over with the brilliant single "The Rain (Supa Dupa Fly)"; elsewhere, "Sock It 2 Me," "Beep Me 911," and the weeded-out "Izzy Izzy Ahh" nearly match its genius. Elliott and Timbaland would continue to refine and expand this blueprint, sometimes with even greater success, but Supa Dupa Fly contains the roots of everything that followed. ~ Steve Huey As a member of the R&B group Sista, Missy Elliott went almost unnoticed. It wasn't until years later, when she placed her trademark "hee-hee-hee-hee-ha" lyrics on a Gina Thompson remix that she achieved recognition. Missy's songwriting credits include a number of R&B hits (SWV's "Can We" and Aaliyah's "4 Page Letter"), and her familiar vocal style has been featured on some of the year's hottest remixes, including Li'l Kim's "Not Tonight". Produced by Timbaland (Ginuwine, Aaliyah), SUPA DUPA FLY showcases the studio whiz's unique recording techniques. The tempos here are much slower than on the average hip-hop release, with rhythms akin to dancehall music. Missy doesn't limit herself to rap, either. Many of the songs on SUPA DUPA FLY fall easily into the R&B bag, especially when Missy swaps her hard-core hip-hop lyrics for a smooth laid-back approach. Arguably the most influential album ever released by a female hip-hop artist, Missy "Misdemeanor" Elliott's debut album, Supa Dupa Fly, is a boundary-shattering postmodern masterpiece. It had a tremendous impact on hip-hop, and an even bigger one on R&B, as its futuristic, nearly experimental style became the de facto sound of urban radio at the close of the millennium. A substantial share of the credit has to go to producer Timbaland, whose lean, digital grooves are packed with unpredictable arrangements and stuttering rhythms that often resemble slowed-down drum'n'bass breakbeats. The results are not only unique, they're nothing short of revolutionary, making Timbaland a hip name to drop in electronica circles as well. For her part, Elliott impresses with her versatility -- she's a singer, a rapper, and an equal songwriting partner, and it's clear from the album's accompanying videos that the space-age aesthetic of the music doesn't just belong to her producer. She's no technical master on the mic; her raps are fairly simple, delivered in the slow purr of a heavy-lidded stoner. Yet they're also full of hilariously surreal free associations that fit the off-kilter sensibility of the music to a tee. Actually, Elliott sings more on Supa Dupa Fly than she does on her subsequent albums, making it her most R&B-oriented effort; she's more unique as a rapper than she is as a singer, but she has a smooth voice and harmonizes well. Guest rappers Busta Rhymes, Lil' Kim, and da Brat all appear on the first three tracks, which almost pulls focus away from Elliott until she unequivocally takes over with the brilliant single "The Rain (Supa Dupa Fly)"; elsewhere, "Sock It 2 Me," "Beep Me 911," and the weeded-out "Izzy Izzy Ahh" nearly match its genius. Elliott and Timbaland would continue to refine and expand this blueprint, sometimes with even greater success, but Supa Dupa Fly contains the roots of everything that followed. [Supa Dupa Fly was also released in a "clean" edition, containing no profanities or vulgarities.] ~ Steve Huey

Rolling Stone (5/13/99, p.79) - Included in Rolling Stone's "Essential Recordings of the 90's." Rolling Stone (9/4/97, p.70) - 3.5 Stars (out of 5) - "When Missy 'Misdemeanor' Elliott weds hip-hop and R&B, she not only avoids the pitfalls tripping up so many of her colleagues, she also finds new inspiration in the union..." Spin (9/99, p.153) - Ranked #66 in Spin Magazine's "90 Greatest Albums of the '90s." Spin (1/98, p.86) - Ranked #9 on Spin's list of the "Top 20 Albums Of The Year." Spin (10/97, p.136) - 8 (out of 10) - "...SUPA DUPA FLY is distinctive, cohesive, and innovative enough to wind up as the most influential pop record since Dr. Dre's THE CHRONIC. Elliot's proficiency with a hook is unerring; everything here has `hit' stamped all over it..." Entertainment Weekly (8/8/97, p.78) - "...She's a wickedly innovative singer-rapper who favors expansive song structures and trip-hoppy textures. In the process, she creates an evocative space-age soul all her own." - Rating: A- Q (12/99, p.92) - Included in Q Magazine's "90 Best Albums Of The 1990s." Vibe (9/97, pp.229-230) - "...Not since our beloved Biggie has there been a rap artist whose cameos more consistently equaled hits....Missy represents myriad exciting possibilities for sistas in the rap and R&B game...SUPA's sound and feel are what one might call futuristic..." The Source (9/97, p.233) - "And the winner of the most innovative female rapper of the year is...Missy Elliott....The combination of her boy Timbaland's ill beats and Missy's knack for crazy phrasing make SUPA DUPA FLY a solid project..." Melody Maker (10/25/97, p.53) - "...Ranging from sparse clinical beats to theatrical blaxplotation wah-wah grooves, it's agressive, mellow, and more mellow...rootless, refreshingly unique, and unbridaled." Rap Pages (9/97, p.95) - "...Missy's SUPA DUPA FLY manages to stir up some summer fun....Missy clearly shines when she is able to combine her catchy grunts and quick-moving lyrics on R&B..." Village Voice (2/24/98) - Ranked #6 in the Village Voice's 1997 Pazz & Jop Critics' Poll. NME (Magazine) (12/20-27/97, pp.78-79) - Ranked #38 in NME's 1997 Critics' Poll.

Missy Elliott is a multi-faceted career woman. Not only a ground-breaking producer whose work spans the pop market (Mariah Carey, Janet Jackson, TLC, Da Brat), Elliott is also a skilled MC. Her 1997 debut trademarked Elliott's cartoon-styled videos and stop-start beats (aided by partner Timbaland). Elliott also runs her own label/production company, the Gold Mind, which nurtured R&B singer Nicole into a gold-selling debut. Through the late '90s into the next millennium, Elliott continued turning out skillfully produced, sexually charged albums, winning Grammys left and right. While she remained in Timbaland's orbit, she expanded to work with other producers as well, continuing to broaden her sound.

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