N*E*R*D
In Search Of. . .
»
N*E*R*D
In Search Of. . .
Virgin, 2002
RiYL: Kelis, Digital Underground, Lenny Kravitz, Rush, Jamiroquai |
Pharrell, Neptunes partner Chad Hugo, and rapper Shay are behind N*E*R*D, a hip-hop/'70s-soul/funk-rock collective. The three grew up in Virginia Beach, and in many ways, have never left. Pharrell continues to reside there when he's not producing artists like Jay-Z and Britney Spears, or mugging in videos with Sean "P-Diddy" Combs and Busta Rhymes. The majority of this album was recorded in Virginia, and on In Search Of. . ., the group stays true to their geeky roots in the town where they all met as members of the high school band.
The acronym N*E*R*D is supposed to stand for No one Ever Really Dies, but on this album, the more obvious meaning of the word is the one that applies. The disc is largely composed either of ass-wiggling tunes with thumping bass lines, or dark tales of smut that seem composed for girls named "Ki-Ki," "Desire," and "Star," to dance to at your friendly neighborhood Gentleman's Club. The hands-in-the-air, treat-a-'ho-like-7-up, never-have-and-never-will attitude that an initial perusal of the lyrics conveys will no doubt have white frat boys going crazy at every meat-market club in town. But that is not the point of this record, as anyone who has ever been a member of the "social second string" could explain to you.
Also-rans become rock stars, but never stray from the basic tenets of their personality. In the opening track, "Lapdance," Pharrell is being entertained by some ladies, whose faked desire to please reminds him of some of our modern day political leaders. Even though the boys are kings of the club, they admit that in many cases you'll normally find them "chillin with crackers who like thrash." "Brain" portrays a woman controlled by whispered sweet nothings, all the while actually being used for sexual favors. On one level you want to laugh at how arcane the whole thing is, but pay more attention, and you'll notice the nudge-nudge, wink-wink that goes out to all fellow nerds who have learned to use their brain to a manipulative advantage.
The geek-turned-baller theme continues throughout most of In Search Of. . .. Williams sings about videotaping two girls pleasing each other. The ladies become unsure of the situation, and he urges them to "relax. . sip some of my slurpee." The singer begs his girl not to leave, on the track "Baby Doll": "You're my pop rocks, You're my cotton candy." Now this is all very entertaining, but what really impresses is that the critical elements that go along with all of this mugging are present. The production is almost flawless, with each song taking on its own distinct personality, and at the same time combining with Williams' airy, often filtered vocals to be incredibly catchy.
There is also a crucial moment of real vulnerability on "Am I High," which seems to crack a window blind on one of those "talks" that every man and woman with a long history seem destined to have from time to time. True weakness shown by our nerdy superhero to a popular girl he's loved since his high school days is the twist the album needed to become something more than a caricature. She is having trouble coming to grips with the persona his new-found fame has brought, and he tries to explain that this is how he felt when she was the popular one, and he wasn't good enough.
Appearances need to be kept up, however, and brilliantly, the next track is "Rock Star," the crowning moment where every nerd is elevated to a spot of social power: "You can't be me I'm a rockstar / I'm rhyming on the top of a cop car." Immediately after showing us some heart, the "big dick" tactics are back in full effect.
In Search Of. . . also shows the consequences of forgetting your basic spirit and personality. "Bobby James" puts a melodramatic loser-turned-drug-addict story line over a weak, synth-laden track. In fact, the one problem here is that the listener is left with two final tracks that are easily the worst on the album, and are far too abrupt an ending to the ride.
Kudos to N*E*R*D though, for being themselves, staying true to what they once were and what they have become at the same time. It's great to love an album on the surface just for the hooks, and also realize that underneath there is some true thought going into the concept. Clearly, N*E*R*D gives the Neptunes a chance to stretch out, explore a sound that is more uniquely theirs, and not merely concentrate on production framework for a high-profile client. It just proves that artists still can simultaneously maintain their originality, and work within the constraints of the industry.
Kind of like being part geek and part rock star. . . . .
WILL MONROE |