![]() ![]() Jay-Z, who has become the savior of many a pop anthem these past few months, delivers some nice flow over the guitar and literally saves the track from a syrupy death. In fact, it's rather derivative and it's unclear as to whether or not it's meant as homage to the glorious soul and funk of the '70s or if it's just a blatant rip off. But it doesn't bring anything new to the table. It's post-millennial R&B that is slick, slippery, and radio ready. P lets loose with a Curtis Mayfield falsetto and some Prince-styled choral arrangements. Pharrell jumps out from behind the boards for "Frontin'," which is rife in lite rhythm guitar and shuffling snares. It's intriguing, but sounds too similar to the other joints that preceded it. This time the beat is pulsed by weird whistle/flute blurts and twisted kazoo riffs. Ludacris pounds along to the chunky, clunky mechanical rave-up of "It Wasn't Us." The beat, while different, still resonates with the same feeling as the previous track. Still, this track is uncommonly infectious. In fact, that's often the biggest drawback of the bulk of the 'Tunes' tunes: they are wrapped in so much synth glory that they lack any of that ruff, rugged, and raw grit that is the essence of rap. Clipse ride the quirky rhythm fantastically, but it still sounds hollow and machine made. "Blaze of Glory," continues the minimalist rhythm expulsion, tossing in a few faux horn blasts and a burbletastic bass spasm. It's intriguing at first, but eventually drips into monotony. It's the simplest of quasi-Kraftwerkian rhythms bouncing and pinging underneath Busta's cartoon rumble. That's just the brief "Intro." The album really gets started with "Light Your Ass On Fire," a Busta Rhymes stream of consciousness ditty that reverberates with pong styled elastic electronic minimalism. The album starts out slinkily enough with squiggling synth ripples and disenfranchised voices muttering "One, two." over and over again while shifting from channel to channel. ![]() And that's what Clones is, 18 slices of futuro funk rendered into the confines of a single CD. What I'm sayin' is that I can get with the 'Tunes' vibe if I hear it on the odd hit single here and there, but trying to digest 18 nuggets of their electro machinations in one sitting is a bit tiring. And that’s what makes the Neptunes not only the most popular producers but also the best producers today.But the 'Tunes sound is one of those vibes that's best used by a variety of musicians and spread around like a giant slab of butter, rather than being concentrated into one cohesive compilation. After about the 3rd listen, you know you’re gonna love it. It doesn’t matter how crazy or stupid the beat may sound at first. The album doesn’t really break any more ground for rap music, because the Neptunes have already basically broken all the ground they possibly can. I don’t know what they are doing on this album, but it’s just crazy enough to work. Right after Snoop Dogg’s joint, here comes a song that could have easily fit onto any Weezer or Third Eye Blind disc. In the middle of the disc, tracks 10 and 11, there two modern rock tracks. Actually, none of the stuff on this disc measures up to NERD’s disc, “In Search Of”, but it at no time tries. It includes one of her older tracks, “Popular Thug”, on a remix with Nas. Another highlight of the disc is the terribly under rated Kelis, who never really made it in the US. The album also allows some newcomers signed to the Star Trak label to showcase their talents- though the Vanessa Marquez and Fam-Lay songs are ultimately forgettable. It’s as close as we get to NERD’s “In Search Of…” on this disc, with their classic laid-back vibe to it. But one of the true highlights of the disc is Pharrell’s own tune, “Frontin’”. Ludacris and Nelly fail to disappoint, both bringing their trademark styles to the table. The first real track on the album (also the 3rd single), Busta Rhyme’s “Light Your A** on Fire” has that type of minimalist beat reminiscent of Ms. And not only is Clones a solid rap album, but it pushes the boundaries of what a rap album can be. The whole lineup’s here, folks: Snoop Dogg, Clipse, Ludacris, Nelly, and yes, even a new track from NERD. Well now that the Neptunes (Pharrell Williams and Chad Yugo) are now the biggest producers… ever, it only seems right that they release a showcase of tunes from rap’s hot list of all stars to make one killer album. ![]()
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