Let’s call it apropos that Pharrell Williams, Chad Hugo and Shay Haley, the eclectic rap trio N.E.R.D. entitled their fourth studio album with a November 2nd release, Nothing. The group has proven that in no one ever really dies that hip hop, soul and R & B can find life in the most bizarre of musical corners. Thrash metal, elegant rhythm and blues and electro rap wrapped in songwriting structures and production qualities that recall John Lennon and Phil Spector’s wall of sound amongst a plethora of classic influences. When successful, we get tracks that advance the cause of musical fusion from their first top singles “Lap Dance” and “Rock Star” to the amazing pop ballad “Maybe,” and extending to most current top tracks “Everybody Nose” and punk hop smackdown “Spaz.” In ten years of recording the pairing have never had a number one pop hit. However, without their daring sonic explorations, the work of artists like the Black Eyed Peas, Lil Wayne and a laundry list more would have no true birthplace. N.E.R.D. may be hitmakers for everyone else, but in making music for themselves ascribe to a higher plane of talent, one which finally on this album may yield a break through the glass ceiling of their own success to number one.
This may be the first time that a hip hop album pays tribute to the Beatles, Beach Boys, Crosby, Stills, Nash and Young and the Moody Blues without directly sampling “Help!,” “Sloop John B,” “Chicago” and “Go Now” respectively. The trio are music fanatics and clearly have a more than fair grasp and appreciation for radio friendly pop of any generation. Unlike other producers who lazily take from the original source, N.E.R.D. decided to replicate iconic bands in the thematic sense, a bold move that shows the musical maturation of the three individuals involved. This is not a 60s concept album. The album kicks off with “Party People” and “Hypnotize You,” tracks aimed at their hipster leaning but hip hop appreciating core fanbase. The tracks have the funk swing of Chromeo, but done with a far less ironic flair. There are no electro overtones, just classic disco funk, something out of the Gap Band library, swinging, sexy and completely accessible. T.I. on the Michael Jackson “Wanna Be Startin’ Something” riff stealing “Party People” showcases a faster cadence than his usual trap storytelling ATL drawl which works here, but the opening of this album feels perfunctory and expected, and by comparison to a large portion of the middle, is a let down.
There are a plethora of bizarre highlights to this album. Chad Hugo aping Robby Krieger’s Doors guitar lines on “Help Me,” the Beatles’ esque song and track structure of the ebullient “Victory,” “Life as a Fish” coming straight out of the 70s AM rock canon of “Horse With No Name” hitmakers America, the Screaming Jay Hawkins styled funky protest rock of “It’s In the Air,” and the punch in the throat of “God Bless Us All” which is clearly tailored to be for Pusha T and Malice, but, things being things, the track is more than adequately handled by the underrated flow of “Skateboard P.” Sexy and bassline driven lead radio single “Hot and Fun” is a competitor but two levels above an absolute yawner when reflected against the brilliant exploration of the rest of this record. Fortunately for them, their success is not borne in mainstream acceptance in iTunes downloads or album sales. Their success is in being iconic style leaders and appreciated live performers, and in having production credits on hit songs from 1992’s “Rump Shaker” which Pharrell is credited as a writer to the Swedish House Mafia’s international hit dance single “One” in 2010, the N.E.R.D. project is more a way for the uber creative trio to exorcise creative demons.
In final, this is an excellent album. Far from perfect it is truly experimental in that it allows Pharrell, Shay and Chad the ability to explore some untapped musical areas of interest. Luckily, it is done at a level of success we have had yet to see in hip hop. This album cements the permanent status of N.E.R.D. as perpetual hip hop outsiders. However, as the most successful true outsiders in the history of the genre, wherever they lead, hip hop tends to follow, always successfully.
4.5 OUT OF FIVE STARS
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