N.E.R.D. Goes In Search Of . . . a New Groove
Well, I think it's funny. But I'm jumping ahead. All great jokes have a strong setup, and the history of N.E.R.D. is no exception.
The first thing you need to know to appreciate the irony of In Search Of . . . is that N.E.R.D. (No one Ever Really Dies) is the performing name of megahot producing team the Neptunes. If you don't know the Neptunes, then you must have been avoiding hip-hop and R&B for the past two years. Hailing from the same part of southeastern Virginia that birthed Missy Elliot and Timbaland (the Virginia Beach/Norfolk area), the Neptunes--Pharrell, Shay, and Chad--have produced recent hits for Ol' Dirty Bastard, Jay-Z, Mystikal, and Kelis. Right now, BET and MTV are playing videos for Neptunes-produced singles by Babyface, Ray J, and the Liks. The trio's harsh, staccato beat-programming and tongue-in-cheek backing vocals are its trademarks--the sound du jour for urban music. It was only a matter of time before the collective did what all hot production teams do these days: make its own record.
In theory, this is a bad idea. Hip-hop DJ/producer-centered albums usually consist of said producer providing beats, then a hodgepodge of MCs and singers performing over those beats, with uneven, forgettable results. There are exceptions, such as Pete Rock's sublime 1998 debut, Soul Survivor. Prince Paul's 1999 A Prince Among Thieves was a triumph, but it had the distinction of being the first hip-hop opera. The odds of the Neptunes album being even remotely good were dim, especially since their signature sound is heading for overexposure.
As it turns out, In Search Of . . . is a good album; time may reveal it to be great. Instead of proving monotonous, Pharrell, Shay, and Chad's old-school 808 programming is a unifying sonic theme. Each cut on the record builds on the next until reaching a multisong crescendo every third track or so. The trio also throws in surprisingly subtle strings and guitar riffs in unexpected places, such as the interlude on "Truth or Dare." Most of the deceptively simple songs are catchy, and they get better when heard one after another. The N.E.R.D.s' persona--one part hip-hop trickster à la Kool Keith, one part righteously indignant former, well, nerd--shines through on each track, and they come across as young men you'd want to spend almost an hour with musically. But here's the kicker--it's not a hip-hop album.
Oh, it has some rhyming, including on the first single, "Lapdance." And there lies the second facet of the setup. With its characteristic staccato beat-programming, stereotypical misogynistic hip-hop subject, and that catchy, horny hook of "You can get this lapdance here for free," "Lapdance" offers no hint that In Search Of . . . will be anything but an album full of party tunes. The only hint you get that there's more going on here is a quick snatch of lyric--"politicians sound like"--that makes the whole song a metaphor about politics and, in the process, more interesting than just another booty-shaking song. And it provides a brief clue that if you're looking for more stuff like Mystikal you're in the wrong place. Eleven of the album's 13 tracks feature straight-up singing, with frontman Shay belting his heart out.
Now that it's been established that In Search Of . . . doesn't sound much like the Neptunes . . . what does it sound like? That's the fun part: isolating and tagging the beast. What is this thing called N.E.R.D.--a ghetto 3 Feet High and Rising? AC/DC as filtered through Run-DMC? A really angry P.M. Dawn? I think it sounds like the album Dirk Diggler, the young XXX icon in Boogie Nights, would have done if he got his demo back from the producer: charmingly cheesy rock music performed by vocally challenged '80s porn stars subliminally influenced by "King of Rock" as it played on the radio in the background. And I mean that in a good way.
N.E.R.D. has taken the inherent aggression of hip-hop and rock and synthesized them into a hybrid that leans more toward the latter, but with a peculiar Bizarro World urban slant that contrasts with the typical rap-metal hybrids. While, say, Everlast has a rapper's cadence and attitude (cool and nonplussed) but deploys it over rock music, the N.E.R.D.s have that classic rock-star, I-don't-give-a-fuck-if-I-can't-carry-a-tune-I'm-doing-it-anyway-because-it's-about-the-emotion-man attitude, and they're singing over 21st-century hip-hop beats.
Shay doesn't sing very well, but he's so earnest that you can't help but be charmed. When he courts a girl on "Run to the Sun," his voice cracks over the bubbly synthesizer lick, and you sense that this is his very last chance to get the girl to go out with him, and he knows it. His voice trails off at the end of each verse but comes back strong at the beginning of the next one, just like a man who's convinced that if he just keeps trying, he'll wear her down. On "Provider," his voice conveys the desperate weariness of a drug dealer's life, making for a much more believable song than the similarly themed Wyclef Jean hit "Gone Till November." The singer slips from aggressive ("Rock Star Poser") to cautionary ("Bobby James") to deadly earnest ("Run to the Sun") to downright goofy ("Stay Together") without missing a step.
All this without invoking, or relying on, their high-profile production style. Yeah, it would be great to be that fly on the wall when unsuspecting hip-hop fans pick up In Search Of . . . looking for more tunes like that Ray J single--or, for that matter, like "Lapdance." It won't be what they expect, but hell, it might be good for them. And if you planned on skipping it because you don't like what the Neptunes have done to date, you might want to give it a listen too.
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