Hip hop undergoes N.E.R.D. invasion

The two-man team of super-producers Pharrell and Chad is collectively known as the Neptunes.

Only five years into the game, they produced hits for chart topping artists such as Jay-Z (“Give It To Me”), Nelly (“Hot In Herre”), Britney Spears (“I’m a Slave 4 U”) and No Doubt (“Hella Good”) to name a few.

They’ve also started their own record label under Arista Records called Star Track Entertainment.

With this momentum, Pharrell and Chad teamed up with fellow Virginian Shay to form the group N.E.R.D.

The Neptunes’ distinctive sound shines through on this album but takes listeners to places far away from their popular tracks.

The synthesizers and the hi-hats, Pharrell’s whispered ad libs, the bounce, it’s all there – but somehow it’s different.

The music is inspired heavily by rock and the psychedelic sound of the ’60s and ’70s.

In Search Of… is a trip into the lives of N.E.R.D. within the past two years. To sum it up, it was a sex festival.

Stress and responsibility make an appearance on “Provider.” Love shows its face a few times with “Run to the Sun” and “Stay Together.” But there was definitely a lot of sex and love and even some love for sex laced through this album.

The album-opening “Lapdance” is a rock-influenced banger featuring Vita of Murder, Inc. Records and Star Track’s Lee Harvey.

Pharrell sings about feeling bold and daring people to get in his face, and Vita lends her vocals to the infectious hook. Her voice rides the line between sweetheart and sex kitten.

She chants “ooh baby you want me / well you can get this lapdance here for free.”

Harvey delivers well with his I’m-a-bad-ass-that-gets-all-the-chicks rap verse.

“Truth or Dare” is rap/rock fusion with guest vocals by Kelis and Pusha T (of the Clipse), both from the Star Track label. Everyone on the track sounds high as they get their orgy started with a game of truth or dare.

“Am I High” is a floaty track reminiscent of the Pharcyde in their Labcabincalifornia days. We get Pharrell’s side of a conversation with a woman about their relationship over a reggae-inspired tune.

Star Track artist Malice, of the Clipse, makes a split-second appearance on this cut. His verse really doesn’t add anything to the song.

“Rock Star” is another display of hip hop production with a rock edge.

Pharrell points fingers at “posers” trying to imitate his style. It’s the hook that keeps this track on fire, “you can’t be me I’m a rock star / I’m rhyming on the top of a cop car / I’m a rebel and my .44 pops far / It’s almost over now / It’s almost over now.”

“Bobby James” plays like a warped record. The audio as well as the vocals roll in like waves on the ocean. The vocals are extra-mellow, and Pharrell sounds high again.

That’s the point however, as he tells the story of an outcast kid that turns to drugs, runs away from home and is begging for money for his next hit.

Just when you think the song is over, a modern jazzy instrumental comes in from nowhere and plays for a little over a minute. It has nothing to do with the music that preceded it or the song following it. It’s a nice surprise from left field.

The Verdict

As previously stated, this album is different from most.

It goes a lot of wide-ranging places, and some are effective, like the retro-styled “Brain” and “Things Are Getting Better.” But channeling the ’60s the way they did on “Baby Doll” should have been excluded.

Some of the lyrics were on point while others were just too corny, but it’s real life, and real life is sometimes like that.