Albums

The Beginning

The Beginning is an evolution of that sound, this time harnessing a more seductive electro vibe in addition to big house grooves. The song, "The Time (Dirty Bit)," is the first single from The Beginning, and it features an interpolation of the theme song from the 1987 film, Dirty Dancing. It went straight to #1 on iTunes in 11 countries within the first 24 hours. "That song is a celebration of this amazing time in our lives," says vocalist Fergie. We've been on tour all over the world, and looking out at stadiums full of people who came out to see us that's as big as it gets. After the shows, we go out to the clubs and meet the fans; those are moments that we have to remember. "Plus the fact that we get to experience it with each other," adds vocalist apl.de.ap, that's the best feeling ever. "The Beginning is symbolic of adopting new technologies, such as augmented reality, 3D and 360 video," explains will.i.am. "It's also about being experimental, taking songs we've liked from the past and playing around with sick, crazy beats. It's an amazing time to be creative right now and I think people are open to that."

The E.N.D

"The E.N.D.," the group's fifth studio album and the third since the singer Stacy Ferguson (better known as Fergie) joined and took it from the earnest hip-hop underground to the glamorous, necessarily compromised pop mainstream, is more accomplished and more confounding than any of the foursome's previous efforts. It's likely to dominate radio and the Internet this summer, its sharp flavors simultaneously driving listeners nuts and drawing them back. - LA Times

will.i.am - Songs About Girls

After conquering the pop charts with the Black Eyed Peas and crafting hits for Justin Timberlake, John Legend, Ciara, and NAS, will.i.am saved some of his platinum touch for his third solo work, Songs About Girls. Will is in storytelling mode with a not-so-typical boy-meets-girl/boy-loses-girl semi-autobiographical narrative, soaking in emotions of pride, pleasure, and releases. "I Got It From My Mama" and "The Donque Song" are two new club destroyers to add to will.i.am's growing pile. If BEP's "My Humps" took up short-term memory space, Songs About Girls is will.i.am's bid to overtake our long-term memory too.

Bucky Jonson - The Band Behind The Front

Live organ funk and chunky hip hop grooves from Bucky Jonson -- a 4 piece crew who have a steady day job as the instrumental backbone of the Black Eyed Peas -- and if this debut for BBE is any indication, they'll do just as well repping folks with an ear for underground hip hop & funk! BJ split the difference between blacksploition inspired instrumental grooves and contemporary organ funk -- with guest MCs and singers that really help to make it a solid beginning-to-end album. Lots of Rhodes, Moog and Vox behind the inspired vocals -- with some horn, flute, guitar when duty calls. with live drums"The Break In", "Bust This Over Yo Head" feat T-Irie Dred, "I Like It Like That" feat Taboo, "Do It" feat Golden Nic Nac & 777, "Vapors" feat Fergie, "Neil Diamond", "Oh No!" feat Keith Gamble, H20 & Skoob, "No Panties", "Ladies Love It", "The Escape" and more.

Lost Change

BBE have chosen this year, not one that will be remembered for its hip-hop classics, to launch their would-be-definitive Beatmasters series. BBE collections carry a good deal of critical weight behind them and the label had hoped to make the same mark in this area that they have done with their rare groove, dance and jazz releases. Reaction has been positive, but hardly ecstatic, although the criticisms raised have been more to do with the genre itself than the individual producers that have been showcased. This is the third release under the banner (Jay Dee and Pete Rock kicked the project off, a Marley Marl is out now and DJ Spinna, Jazzy Jeff and King Britt are all to follow). The general concept was to give each producer greater freedom than is usual and to concentrate on the beats more than the rhymes. Each artist has interpreted the brief differently. The problem has been that the standard of rapping has not always impressed, yet take the lyricists away and the purely instrumental work (Pete Rock's particularly) has been judged to be somewhat dull. As Will.i.am's set is a mixture of vocal and non-vocal cuts it is probably the most balanced in the series and serves as a pretty good gauge of the strengths and weakness of hip-hop 2001 style. Of the above mentioned producers, Will.i.am's is probably the least well known and certainly his contribution to rap history hardly matches those of the others involved. For the record, he is the "beat master" behind Black Eyed Peas, that likeable but fairly lightweight California outfit. However, he shows himself more than up to the task and delivers a more boundary-crossing set than might have been expected. Plenty of different forms are represented, including jazz, funk, ragga and electronica, while the lyrical approaches range from fairly hardcore to some old school chant-alongs. There is an emphasis on live instrumentation, the album's trump card, and had the quality of the rapping been up to that of the playing this would have been a very distinguished venture. Even as it stands, the better tracks are forceful enough to suggest that those who are suggesting that hip-hop is a spent force creatively may be seriously misguided. Perhaps it tries to cover too many bases, but over-stretching is surely more laudable than sticking to a narrow format, something recent material has tended to do. A breezy opener, "Ev Rehbahdee", featuring current favourites Planet Asia suggests a party, hands-in-the-air session, that is as enjoyable as it is misleading. This has real bounce (although the lyrics are a little tired). Then there is the moody "Lay Me Down" with a vocodered Terry Dexter and a neo-soul feel -- the most complete track on offer and one that should get a wider hearing. The next two are a bit hit and miss. An all too brief cod, rasta-reggae track "Possessions" and a trip-hop instrumental (sitar and rock guitar) give some idea of the wide spectrum of sounds Will.i.am wants to explore but are hardly mind-blowing. Next up, Mike Myers gives "If You Didn't Know" plenty of gangsta attitude and is as dull as that implies. It leads into a catchy, uptempo number, "Money", which is a would be deep message rap that doesn't completely come off. The arrangement, however, is exemplary, with a particularly haunting female chorus and a great horn section. The use of trumpet and sax is a highlight throughout the album. The title track is a good example, having an almost mariachi feel to it but laid over a spacey, electronic groove. Will.i.am shows himself to be a pretty useful Hammond and general keyboard practitioner. It is at this point that you start to realise that this would have been better as an all instrumental project, with maybe the odd backing vocal. Will.i.am himself, Medusa and Madd Dogg take control of the rhymes for the remaining tracks, with adequate but uninspiring results. Increasingly the words seem to get in the way of some adept playing -- this is a good band. The non-vocal cuts -- "Lost Change" in D and then E Minor, "Yadda Yadda" and the lovely, jazz-drenched "Control Tower" -- all work so well, the redundancy of the rap artists becomes embarrassing. It may be that I have just lost interest in the shouting that makes up most contemporary hardcore rap -- certainly a more laid back set of guests would have helped. Whatever the reason, it is Michael Angelo (bass), George Pijon (guitar)and Printz Board (trumpet) who are the names I'll be checking for in the future and not the MCs. Ears less troubled by current mike styles will enjoy the CD as a whole. Will.i.am himself is a revelation as arranger and producer. Lost Change certainly is no disgrace to the series, either in its aims or its execution. I just wish there had been at least one outstanding example of the rhymer's art. Still, those who questioned Will.i.am's worthiness to take part in this prestigious and important series will be surprised at the enterprise and craftsmanship he demonstrates. Even though it is flawed, it stands as rebuttal to the argument that hip-hop has lost interest in sounds and structure and is totally about image. There is an exploratory, if somewhat ambling, for-its-own-sakedness on show here. This is something that has characterised this series and, it has to be said, precious few rap offerings in the last 12 months. Persuasive and patchy in about equal proportions, it still makes most mainstream output look crass and opportunistic.

Airpushers - Themes for the Ordinarily Strange

You need Airpushers. From the name alone you know this group is pushing something so elemental, you can't live without it. What they're pushing is their essential debut 'Themes for the Ordinarily Strange,' a landmark album that invites every genre to the party: hip-hop, jazz, swing, reggae and funk. 'Themes for the Ordinarily Strange' is a rare hybrid of an album, combining a select group of guest vocalists along with searing instrumental tracks. Next-comer MoZella's hauntingly angelic voice tussles between spoken word and song on "Music Fight." "Hold the Onions" bridges the classic stylings of legendary Motown machine songwriter Lamont Dozier with an impulsive beatscape. Superfriends pairs one of Printz's favorite artists of all time, soul singer Sy Smith, over heroic horns. The rousing Push That Air is all balls and bounce. On the instrumentals, Tim and Printz let the music speak for itself. On Pollo Masala Disco Express the opening flurry of clarinets and horns are as tasty as the track itself; go ahead take a bite. "Who Goes to Hooters on Easter" is as naughty and sanctified as it sounds. On "Birds of Terror," a breathy, but adhesive voice warns you to "be extra careful," but the eerie, ethereal soundscape subversively pulls you deeper into its laidback layers. At the close of the album, you're almost exhausted by Tim and Printz's resourcefulness. To craft their canvas of moods, Airpushers use any and all instruments at their disposal - baritone saxophones, flutes, clarinets, electric guitar and even the didgeridoo. They describe the songs has having "anthem vibes," and there's one for every disposition. With every mood represented, from the frenetic to the sedate, Airpushers make each track starkly different but entirely relatable. "I think it is a very common thing for ordinary people to have their own theme songs in their heads," Tim says. In a time when people wonder where is the love in today's music, for Airpushers, 'Themes for the Ordinarily Strange' is a project of pure passion. Love takes time, so this opus is the result of over two years of caressing sounds and romancing rhythms. Printz says, "Most of these songs were pieced together from hotel rooms to home studios to the first hours of a major session when everyone was late, you name it." "We have become masters of guerilla commando recording," Tim laughs. Themes for the Ordinarily Strange has the eloquence you only hear when musical soul mates collaborate. Tim remarks, "From the day Printz and I met, we had some spooky unspoken bond as musicians and friends."

Fergie - The Dutchess

Going solo paid off for both Gwen and Beyonce, and now Black Eyed Peas leading lady Fergie aims to prove that she's pop royalty with her debut, 'The Dutchess.' (Get it? Like Sarah "Fergie" Ferguson, the Duchess of York?) The album, due Sept. 19, will be the first release on fellow Pea Will.i.am's A&M records imprint, Will I Am Music. Word about the album has created a buzz that is sure to grow when the first single, 'London Bridge,' hits radio on July 4. The song was produced by Polow the Don -- famous for his work on Ludacris' 'Pimpin All Over the World' -- but the album will feature several producers, including Will.i.a.m, who will also leave his mark on the long-awaited Justin Timberlake album, which will come out the same month.

Monkey Business

Grammy Award winners The Black Eyed Peas return with the release of their eagerly anticipated fourth album, 'Monkey Business' on 6th June through A&M Records. 'Monkey Business' is a madcap musical journey, mixing fat basslines with Latin rhythms, witty rhymes and hip-hop beats. It is the follow-up album to the 4 x platinum selling (1.4 million UK sales) 2003 release 'Elephunk'. The first single to be taken from the album is 'Don't Phunk With My Heart' - released on May 16th - which has a distinct BEPS funkafied, hip hop meets Bollywood sound. Look out for the video, directed by The Malloys, which sees Will, Apl and Taboo trying their luck as dating show contestants, battling for a date with Fergie. Producer Will.i.am says of the album, 'I like it better than Elephunk. We recorded the majority of it in London, also in Brazil and in the US on airplanes, in hotel rooms, bus lobbies, museums and bathrooms'. Guest collaborations include; Justin Timberlake (My Style), James Brown (They Don't Want Music), Jack Johnson (Gone Going Gone) and Sting (Union).

Elephunk

When I first heard "Where is the Love" last summer, I couldn't stand it. I dismissed the Black Eyed Peas as one hit wonders and waited for their moment to pass. Then I heard "Shut Up" and was surprised I liked it. It wasn't until I heard "Hey Mama" that I fell in love with them. This CD is by far the best hip hop album right now because each song, even "Where is the Love", sounds good when you listen to the entire album. In my opinion, they are just as good, if not better, than that other visionary hip hop group, Outkast. Each song sounds like a radio smash, and it's not surprising this group has moved past the one hit wonder tag.

Bridging the Gap

Once upon a time, hip-hop was about having a good time and (brace yourselves) getting down! The Black Eyed Peas are bringing that mentality back to the future. They reinvigorated blase dance floors and seduced discriminating heads with their debut, Behind the Front, and they do it again on Bridging the Gap. In the open-minded old-school tradition of producers like Afrika Bambaataa, the album is diverse and delicious, a grab bag of influences from reggae to drum & bass and beyond. Songs like "BEP Empire," produced by Gang Starr's notorious DJ Premier, give the Peas a harder-edged beat to roll with, which they rock rapturously. Then "Weekends," featuring Toronto down-tempo diva Esthero, is a fun dance floor number. And these two tracks are just the tip of the iceberg. Bridging the Gaps is a listen-all-the-way-through album. Every drum roll is vivacious, rollicking, and the judicious sample choices meld beautifully with the organic beats. Similarly open-minded, talented guests such as Macy Gray, De La Soul, and Mos Def also stop by to bless the mic. As James Brown would say, "Get up off of that thing, and dance 'til you feel better."

Behind the Front

The Black Eyed Peas' debut, Behind the Front, may sound thoroughly familiar: like A Tribe Called Quest, they sprout positive, deftly delivered lyrics out of their light jazz, R&B, and funk tracks; like the Roots, this multi-ethnic outfit's three MCs drop science in front of a live band that builds its grooves organically; and at their best, such as on the pop and reggae-flavored "Karma," the group can out-Fugee the Fugees. For some reason, though, the mostly mild, largely scratchless and sample-free record can--at times--be downright tepid. But for the most part, it works--sometimes brilliantly--and as a break from the mostly belligerent voices in hip-hop's mainstream, we can definitely use more of what the Peas have to offer. --Roni Sarig Amazon.com ...Behind the Front offers an organic mixture of sampled melodies and live instruments aimed at those of us seeking a little enlightenment with our well-oiled boogie. --Rolling Stone

THE TIME (the dirty bit)