ALBUM REVIEW: N.E.R.D. – Nothing

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.

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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

Cmonwealth’s TOP BILLIN’ takes hip hop to the U Street Music Hall’s Temple of Boom with AMAZING results…

Hip hop music made it’s initial foray into U Street Music Hall on Thursday evening as east coast clothing giant Cmonwealth sponsored one of their “Top Billin” events featuring the Missile Command duo of one-half of the Neptunes Chad Hugo, and Bmore’s own and Neptunes tour DJ Hip Hop Dan. Dan is one of the more notable historic DJs to the local underground dance scene, as during his time as an undergrad at the University of Maryland, his otherworldly talents and unique ear for blending disparate musical styles influences individuals like fellow Maryland student at the time Dave Nada to take their DJing craft much more seriously and pursue it further and deeper. It was quite apropos to have sets spun by Dan in the inaugural period of a hall that likely, on many levels wouldn’t exist without his historical influence.

Hip Hop Dan (via http://www.lifelounge.com)

However, the best laid plans often go awry, as was the case last night, as Chad Hugo missed his flight from Miami due to the extenuating circumstances of working with Pharrell on the upcoming Neptunes release. For the average event, this would be a terrible occurrence, but for this particular party, there was a forgotten ace up the sleeves of the event coordinators that turned the night into the most ridiculous event held in the venue’s brief history. Hip Hop Dan opened with a set that, as per usual, recalled DJ AM, as Dan’s seamless, all-star ability to blend top 40 cuts across genres was on display, Maroon 5 and Justin Timberlake seamlessly falling into Young Jeezy, the Clipse (more on them later) and the Neptunes, a cross cultural jaunt that for a VERY hip hop minded audience was the perfect opening set for what was to come.

Yep, that’s Harry Hotter with the Pied Piper of R & B, Robert Sylvester Kelly

Whether you know him as Harry Dixon or Harry Hotter, Harry Hotter is one of the finest DJs on the East coast. The only reason you’re likely unaware of him is that as soon as the underground became a raging maelstrom of party energy, Hotter disappeared from the scene for four years. He re-emerged as a top 40 and grown and sexy cut spinning bottle service club DJ instead of the ravey underground house and rap spinner he was before. His skills and talents on DC’s downtown scene has earned him favor amongst people like R. Kelly and The Clipse. Coincidentally the Newport News trap rappers’ Play Cloths line is sold at Cmonwealth, and due to Cmonwealth’s origin being intrinsically linked with the Star Trak family, it was quite the no brainer that when Hugo was unable to make the party, that Hotter get the call.

What separates Harry Hotter from pretty much every other DJ I know is his mental library of music and his ability to blend that with a note perfect ability to read a crowd. Yes, U Street Music Hall would appear to be the most indie of indie music venues, but Harry turned the Temple of Boom into Park at 14th for the night, throwing down a scintillating mix of mainstream classics including such little known jams as Frighty and Colonel Mite’s “Life is What You Make It,” a reggae toast that I’m fairly sure was a hit nowhere else but DC, where in the spring and summer of 1990, it was completely unavoidable, to club tracks like Cajmere’s “Percoloator” and DJ Class’ “I’m the Shit.” Weaving through Jagged Edge and the Wu Tang Clan and turning the peak hour of the party into a sweaty funk massacre of heaving bodies, Hotter, who spins Saturday night’s Bliss party U Hall debut did what he always does, hearkening back to the summer of 2009’s loft partties thrown by the AV Lifestyle Group, throw down the mix most appropriate to turn that crowd from a sea of Blackberry and murmuring conversation obsessed individuals into a crowd of partiers, Hotter being one of the cities chief ambassadors of a good time.

The clarity and depth of sound at the U Hall, which has been the all star for most of the sets spun at the venue so far, took a backseat last night to maestro selectors who, with the aid of a most excellent soundsystem can play unfettered, and to the utmost of their abilities. Noting that Sam “The Man” Burns, Jess Jubilee, Nick Catchdubs, DJ Ayres and the Trouble and Bass Crew, alongside the rising party smashers of Nouveau Riche are forthcoming to the venue only portents the sweatiest of sweaty nights to come. Yes, the U Hall is hot. Oppressively hot. Sure there’s air conditioning, but you can’t feel it. The star, above ALL else at the Temple of Boom is the music. And when in the hands of people like Hip Hop Dan and Harry Hotter last night, it’s going to be an optimal sonic experience.

Need some Harry Hotter mixes in your life to tide you over until Saturday night’s Bliss at the U Street Music Hall?

Here’s his minimix for Saturday Night’s Bliss event!

Ad if that’s not enough, check his Coolout mix from last summer, STILL one of the kingpin contributions to the local music collection of last year with some of the most creative blends and re-edits you’ll hear anywhere.

And here’s Hip Hop Dan’s latest from January, the “Sort of Like a Dream” mix, taking things in an aurally different direction, with some indie rock mixes that provide in his own words, “a more serene and balanced aural experience. The goal was to create a foggy, dream-like atmosphere, one with few peaks and valleys but instead spongey and shapeless. Sort of like a dream.”

Unforgettable, Vol. 10: N.E.R.D. – In Search Of…

The “Unforgettable” project takes a look at the key and important albums that have come to define the alternative experience. With the deluge of music in the present era, these “unforgettable” and ultra-important gems are lost in the undertow.

“No one ever really dies… You believe that? Well, if not – for you – it’s almost over now.” Where we left off with Justice’s French futuristic opera, we pick up with the album that almost was an electronic eh – but instead became a funk-infused flashback that found more in searching than most others did in attaining. Pharrell “the Imperial Skateboard P” Williams, Chad Hugo, and Shay Haley, better known as N.E.R.D., while on the brink of The Neptunes’ next-level stranglehold on Western radio, retreated to Europe to release their highly anticipated debut album as a trio. Then, as modern lore has it, they recorded the original as an electronic album, decided it was trash (read: American Top 40 Treasure), went back in the studio to record the album with live instruments, and shipped it as a proper international release. In 2010, in the spirit of moving on to the next one: I say we all embark on a similar search (yes, that means you Ke$ha – whatever you mustered up in the studio the first time, no matter what Diddy tells you, doesn’t sound half as great to sober ears: trust).

In search of a senior capstone they took it back to freshman year. In Search Of… is like a high school year book: sex, drugs, rock and roll (where most others had fast-forwarded to the speed, pseudo-synth, and birth control place) – but in a grade nine talent showcase kind of way. From “Provider: “Woke up I had the same clothes on, I had on last night – I must’ve passed out,” to “Baby Doll:” “Roses are red, yellow, and white; where have you been all my life. Violets are blue and I’ll be too, if you leave cuz I just met you,” the album reads like the loose-leaf margins of a Creative Writing class notebook.

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In search of Hip-Hop they went Funk-Alt-Rock. “You can’t be me I’m a rockstar, I’m rhyming on the top of a cop car;” lyrically that could be a Hov/Ice T mash-up, rhythmically it sounded like Limp Bizkit (dbag status notwithstanding) with a bit of Korn thrown in, and a splash of step-up-your-cookies reputability. While Kelis “One with the Brightest Hair” and Pusha “One half of Yeuch!” T played truth or dare, Malice kept em “high like Kurt Cobain: listen.” The standout “Lapdance” is one of the more urban-centric tracks on the album. Heavy on the rap flow and content – the track is a collision course of nwas, and public enemies: “It’s so real, how I feel; it’s this society, that makes a nigga wanna kill. I’m just straight ill, ridin’ my motorcycle down the streets; while the government is soundin’ like strippers to me. They keep sayin’ but I don’t wanna hear it,” and pwt: “When you think of Harvey, think of a Harley; blue denim, spiked wrists and crombie. You can find me drunk, whip it it might crash; or find me chillin with crackers, who like Clash. Find me in court smokin’ that nice grass; burnin’ the flag, all in the name of white trash.” That’s that Benetton-gone-badass kind of harmony you can only find on TruTV, Juvies, high school parking lots – or right here in loud, living, lo-fi sound.

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In search of a studio masterpiece they went live. Williams and Hugo met in high school where P was a drummer and Hugo was a composer – when you can play real instruments: why not? What The Neptunes did magnificently on drum machines and samplers, they were also the rare breed of super-producers who could replicate – and manifest – that sound with acoustics and amplifiers. 808s are great, but compared to the beat of a real drum set – anything else is heartbreak. “You were the heart I owned, the beat just like a metronome; now what the fuck just happened?” “Stay Together,” whether it’s a lady friend or the track you just laid down, if it’s not working: rewind and bring it back.

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In search of the future they went backwards. Why rush the inevitable, it’s coming anyway so enjoy the ride there. When you are the future, you don’t have to concede to the assumed perception. The Neptunes signature sound is sci-fi 2001: A Space Odyssey, why try to top your own cool? N.E.R.D. often plays as the production duo’s alter-ego – for better or worse. N.E.R.D. didn’t go completely anti-electronic, they just eased off the dependency a bit. On tracks like “Tape You” and “Run to the Sun” they effortlessly intertwine synth, samples, and strings to reflect a simplistic but satisfying SoCal state of sound – no more, no less.

In search of nothing at all they stumbled across exactly what the album needed to be. Yes, it was flawed but, even still, it was heads and shoulders above the contemporary sound. Like Hype Williams’ videos, the sound here – the atmosphere – is the sentiment – the concept. The lyrics went a bit underwhelming in the metaphorical social commentary place, and a bit too over-the-top in the heartsleeve department. Lest we forget “Bobby James,” though; because for every track leading up to the close it was just another rap-and-romance piece. From premier to penultimate the album is solid, but the final cut was what sits in the back of your head as a reminder of the future possibilities of a group with said capabilities, “I’m so high… and so tired” – like Mean Girls to Lindsay Lohan. In Search Of… didn’t set out to find anything, and with no end in sight it surpassed the bulk of pseudo-self-awareness-PSAs-touted-as-albums for the decade. At the end of the day, no one ever really dies, and In Search Of… is a freshman living life on re-record; besides, they’re nerds: I just love their brain.