Black Eyed Peas Albums (5)
'The E.N.D. (Energy Never Dies)'
Release Date 1/1/2009
Tracks 15
Label Interscope
See Album Tracklist and Review
What The Critics Say
The Black Eyed Peas make effective pop/crossover music, but they aren't content to be disposable pop stars; they also want to write anthemic, vital songs that speak for a new generation. And so comes The E.N.D. (Energy Never Dies). For every hyper-sexualized, by-the-numbers track like the hit single "Boom Boom Pow," there are message songs like "Now Generation," which begins, in cheerleader fashion, with the lines: "We are the now generation! We are the generation now!/This is the now generation! This is the generation now!" Led by will.i.am's production, which is continually the best thing about the album, the Black Eyed Peas move even farther away from hip-hop into the type of inspirational dance-pop that has become ripe for advertisements and marketing opportunities, including "I Gotta Feeling" ("I gotta feeling that tonight's gonna be a good night") and "Party All Night" ("If we could party all night and sleep all day, and throw all of our problems away, my life would be ea-say"). Granted, there's nothing here as embarrassing as "My Humps," and the production is a shade better than previous material from the group or Fergie solo (although still not as good as will.i.am solo ventures), but The E.N.D. (Energy Never Dies) becomes a mess of pop/dance/rap crossover. ~ John Bush, All Music Guide
What The Critics Say
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. 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 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 a little strained here. ~ John Bush, All Music Guide
What The Critics Say
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"). ~ John Bush, All Music Guide
What The Critics Say
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. ~ Dean Carlson, All Music Guide
What The Critics Say
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. ~ Matt Conaway, All Music Guide
