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Black Eyed Peas

 

Biography by Wade Kergan

 

Positive messages and breakdancing are integral parts of hip-hop culture, but by 1990 those elements had been temporarily eclipsed by the tough gangsta image and bleak but compelling lyrics of West Coast groups like N.W.A. However, despite sharing a zip code, Black Eyed Peas' vision goes beyond the cracked-sidewalk vignettes and sampled gunfire of Los Angeles' gangsta style. The socially conscious group's earliest connections go back to high school, when will.i.am and apl.de.ap were part of Tribal Nation, a breakdancing crew. Eventually the pair focused more on music — hip-hop, specifically — and split off into their own as Atban Klann, their esoteric name an acronym for A Tribe Beyond a Nation. Eazy-E's Ruthless Records signed the group in 1992, but many in the Ruthless camp were puzzled by the group and the enthusiasm of Eazy, who had no problem reconciling his own gangsta style with the peace-minded breakdancing of Atban. Although an album was recorded, Ruthless shelved it, unsure how to market a group whose style wasn't dependent on violent braggadocio like N.W.A.

 

The death of Eazy-E in 1995 signaled the end of any further deals with Ruthless. Undaunted by the experience, will and apl recruited another dancer/MC, Taboo, and reappeared as Black Eyed Peas. BEP began playing shows around L.A., impressing hip-hop fans with their mike skills and dazzling them with their footwork as well. In 1998 their debut, Behind the Front, was released to critical acclaim — not only for the trio of MCs, but for their live band and backing vocalist Kim Hill as well. Featuring guest appearances from Jurassic 5's Chali 2na, De La Soul, and Macy Gray, BEP's sophomore effort, Bridging the Gap, was released in 2000. The group's third album, 2003's Elephunk, featured a new member (Fergie, who replaced Kim Hill) and became their biggest hit yet, storming the Top 40 with three singles ("Where Is the Love?," "Hey Mama," "Let's Get It Started"). Two years later, the quartet returned with a heavily crossover date, Monkey Business, which pushed them into the stratosphere courtesy of the hit single "My Humps."

 

 

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Behind the Front (Jun 30, 1998)

4 Stars

 

Review by Matt Conaway

 

Black Eyed Peas bring some positivity and fun back into hip-hop. Musically there is almost no realm this group does not touch — right from the jump, the stylistic innocence of "Fallen Up," complete with striking guitar licks, sums up what BEP is all about. They attack the so-called hardcore MCs playing the role of dress-up: "I see you try to dis our function by stating that we can't rap/Is it cuz we don't wear Tommy Hilfiger or baseball caps?/We don't use dollars to represent/We just use our innocence and talent." The wonderfully crafted, old-school-influenced first single, "Joints and Jam," is perfect for the summertime frame of mind. With "Karma" they explore the notion of reaping what you sow. "Love Won't Wait" is a simultaneous infusion of R&B and hip-hop, as the group deals with a deteriorating romance. But the undisputed champ of this recording is "Positivity" — you can't help but reminisce about yesteryear's MCs kicking conscious lyrics to educate the hip-hop masses. "Nowadays it's hard to make a living/But easy to make a killing/Cuz people walk around with just one inch of feeling/I feeling nauseated from your evil drug dealing/Blood spilling, the definition of top billing." In all honesty, the MCs who make up BEP — Taboo, Will, and A8 — are not going to be confused as being super-lyrical by any means. But their chemistry and insightful, original topic matter is used with enough efficiency to mask that slight blemish.

 

 

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Bridging the Gap (Sep 2000)

4 Stars

 

Review by Dean Carlson

 

Is this the real thing or a substitute? In 1998, Black Eyed Peas released their debut, Behind the Front, and by most accounts, it snugly filled a hole left behind by the absent, optimistic talents of A Tribe Called Quest and De La Soul. So in the same year that Jurassic 5 complete their first proper release and De La Soul finally return, is there any room for a group like BEP anymore? Well, maybe. While the album fails in its titular intention of bringing together the two exclusionary worlds of rap and rock, it still diligently follows in the footsteps of its predecessor's highs. Maybe one might have to look toward Kim Hill — the group's backing vocalist — who seems to have a larger impact this time. Hill hovers over terrific sun-streaked ditties like "Tell Your Mama Come" and the irrepressible "Hot" without a hitch. The other collaborations follow her lead too. From Macy Gray to Les Nubians to Mos Def to, yes, even Jurassic 5 and De La Soul, none of these guest artists feel out of place or contrived. Undoubtedly, this second release finally proves that BEP get to mark their own territory in the history of old-school, soulful — and playful — hip-hop. Because Bridging the Gaps is a terrific follow-up full of warmth. Unlike what the advertisements might say, this is a multi-ethnic, multi-faceted substitute that should be accepted immediately.

 

 

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Elephunk (Jun 24, 2003)

4 Stars

 

Review by John Bush

 

Nominally a rap group, in truth Black Eyed Peas call on so many forms of songwriting and production that slotting them into hip-hop is like slotting Prince into R&B — technically true, but very limiting. Elephunk, the group's third straight winning LP, doesn't have top-notch rapping, but as driven by frontman Will.I.Am, it does possess some of the most boundary-pushing productions in contemporary, (mostly) uncommercial hip-hop — right up at the level occupied by Common and OutKast. The smart, brassy opening club thump "Hands Up" hits another level with a sly bridge flaunting some heavy metallic slide guitar, while the highly pressurized love jam "Shut Up" features great interplay between Taboo and new member Fergie. Space doesn't allow for description of each track, but suffice to say any Will.I.Am track is going to feature loads of ideas and fresh sounds, not to mention plenty of stylistic change-ups — from the digital-step ragga of "Hey Mama" (featuring Tippa Irie) to the Latinized, loved-up "Latin Girls." Like a latter-day Digital Underground, Black Eyed Peas know how to get a party track moving, and add a crazy stupid rhyme or two ("bop your head like epilepsy" from the suitably titled "Let's Get Retarded").

 

 

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Monkey Business (Jun 7, 2005)

2.5 Stars

 

Review by John Bush

 

Hip-hop artists with commercial aspirations need never appear pandering to their audience, since a tough, defiant stance — aka keeping it real — is exactly what will draw in most crossover listeners anyway. Nevertheless, the Black Eyed Peas quickly embraced the pop world after the surprising success of third album Elephunk, and only continued their repositioning as a mainstream act with 2005's Monkey Business. That focus is immediately clear on the opener, "Pump It Up," where they gladly welcome listeners on a track whose sample — Dick Dale's "Misirlou," already ubiquitous before it appeared in Pulp Fiction — has to replace "Walk This Way" or "I'll Be Missing You" (more on Sting later) as the most conspicuous case of an unmissable rock riff being used on a rap track. With the Wal-Mart audience safely in tow, the group moves on to motivate its hip-hop base by reaching for every trick in the grab bag of contemporary urban music. These attempts are either serviceable or wildly unsuccessful. "Disco Club" is one of the few serviceable tracks, an apt re-creation of Cassidy's "Hotel." Wildly unsuccessful is the group's utilization of its newest member, Fergie, to function as an imitator of the hyper-sexual Kelis/Ciara archetype on "My Humps," which makes for one of the most embarrassing rap performances of the new millennium (sample lyric: "My hump (9x)/My lovely little lumps"). Unlike Elephunk, the Justin Timberlake feature here ("My Style") is placed early in the program, and it's bolstered by a Timbaland production, which eases the strain of an otherwise featherweight jam. Most of the songs on Monkey Business are the same type of party rap singalong that Black Eyed Peas made their name with on Elephunk. But other than "Disco Club," the only one that works as anything but background party music is "Feel It," a rare production by the group's apl.de.ap (will.i.am handles most of the rest). At the very tail end of the disc, there's one brief glance at Black Eyed Peas' history as a socially conscious group — "Union," featuring Sting and Branford Marsalis, which floats the usual bromides about peace and equality (and swipes the sound and speak of Bob Marley in the process). Monkey Business could easily sell just as well, or better, than Elephunk, but what the group made sound effortless in the past sounds strained and canned here.

 

 

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Fergie

 

Biography by Andy Kellman

 

Like Martika, Jennifer Love Hewitt, and Rahsaan Patterson, Stacy "Fergie" Ferguson got her first major break as a youngster on the television program Kids Incorporated. Born in 1975, she did voice work for The Charlie Brown and Snoopy Show, as well as commercials, prior to becoming a Kids Incorporated regular from 1984 through 1989. Along with Stefanie Ridel and fellow Kids Incorporated alum Renee Ilene Sandstrom, Ferguson formed Wild Orchid, a teen pop group that released a pair of albums during the late '90s. A few years after the group's split, Ferguson joined the Black Eyed Peas in time to record 2003's Elephunk. She became central to the group's mainstream success ("Let's Get It Started," "My Humps") and released her first solo album, The Dutchess, during September 2006.

 

 

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The Dutchess (Sep 19, 2006)

2 Stars

 

Review by Andy Kellman

 

Through all the twists and turns taken by Stacy "Fergie" Ferguson during her 20-year career as an entertainer — including a stint on Kids Incorporated, background vocals for Martika, two albums with adult contemporary/dance-pop group Wild Orchid, and superstardom with Black Eyed Peas — she has always sounded as if she is trying really, really hard. That has been the lone consistent characteristic of her output, and it remains in effect throughout The Dutchess. An endurance test like few other pop albums issued during the early 2000s, The Dutchess has all the characteristics of a release fronted by someone who has been itching to go solo and prove herself, once and for all, as a versatile force all her own. Fergie does cartwheels and handstands, juggles three objects at once, balances books on her head, hangs upside down, rides a unicycle with her hands in the air — all these things while wearing different outfits. The whole process, produced mostly by fellow Pea will.i.am, is mildly entertaining but tremendously taxing. There's throwback hip-hop ("Fergalicious," done to the tune of J.J. Fad's "Supersonic"), throwback soul ("Here I Come," done to the tune of the Temptations' "Get Ready"), reggae ("Mary Jane Shoes"), ska-punk ("Mary Jane Shoes"), scat ("Mary Jane Shoes"), vaguely torchy midtempo fluff ("Velvet"), and a classy string-drenched ballad (the appropriately titled "Finally"), among several other passable switch-ups, but none of them has any lasting (or even immediate) value, with the possible exception of the inexplicably asinine "London Bridge" — which is terrific, provided you can block out the lyrics or prevent yourself from trying to decipher its meaning. Somewhat ironically, one of the more convincing songs on the album, "Big Girls Don't Cry," sounds exactly like a 2006 version of Wild Orchid, with Fergie's Taylor Dayne kid-sister act in full effect.