Although Pharrell Williams only just blew up on the pop scene in 2013, he is a music industry veteran. He has been leaving his musical mark for many years now, as both a singer and a producer. Blending elements of soul, funk and hip-hop into his vocal and instrumental productions, Pharrell has consistently kept pop sounding fresh and innovative. With producer credits on Justin Timberlake’s “Justified” (2002) and more recently Kendrick Lamar’s “good kid, m.A.A.d city”(2012), Pharrell has molded some of the past decade’s most influential music.
Last year, though, Williams undoubtedly had his moment the spotlight, with his name on Daft Punk’s “Get Lucky” (2013) and Robin Thicke’s “Blurred Lines” (2013) as well as his own “Happy” (2013) from the soundtrack of “Despicable Me 2” (2013). This is not to mention the multiple Grammy awards he received and his Oscar nomination for “Happy.” Because of this recent string of high-profile successes, there is a certain amount of expectation that comes along with “G I R L,” his second solo album. Pharrell right away lives up to the hype.
With its 40-second orchestral symphony, the first track “Marilyn Monroe” is the perfect introduction to the album’s high-octane beginning. In an homage to women throughout history, Williams quickly establishes the female-centric theme of the appropriately titled album.
In “Brand New,” Pharrell and Timberlake sing about the way they feel around women. There are occasions in the song where the listener can’t really distinguish the voices of the two singers, but this is not really an issue as it gives the song a smooth, even sound.
The next two songs, “Hunter” and “Gush” are yin and yang in terms of style, but similar in their themes. In the former, Williams woos the listener with a twanging, southern feel, while in the latter he switches to a smooth, romantic tone. “Happy” speaks for itself: it is the ultimate pick-me-up song. The album then returns to the raunchiness of the third and fourth tracks with “Come Get It Bae,” featuring uncredited vocals from Miley Cyrus, which are a bit hard to stomach after the uplifting predecessor.
However, any uncertainty about the album is swept away in the seventh track, “Gust of Wind.” With its funky and orchestral backing, “Gust of Wind” is undeniably produced by everyone’s favorite French robots. Much like in “Get Lucky,” Daft Punk’s and Williams’ styles meld perfectly together. In line with its title, this track will sweep the listeners off of their feet.
Following this is the eight-minute “Lost Queen,” which is divided into two halves. Both experimental and earnest, the track doesn’t energize listeners. Rather it attempts to sooth their souls. The penultimate song, “Who You Are,” features Alicia Keys. Though it doesn’t quite have the impact of some of the other songs, it still adds a nice touch with Keys’ beautiful vocals. The final track, “It Girl,” manages to meld smoothness with funky energy, in many ways summarizing the different parts of the album.
With its all-star lineup of featured artists — Timberlake, Cyrus, Daft Punk and Keys — the album retains its pop appeal while deviating significantly from the sounds of mainstream music. As Williams is responsible for production and the majority of the vocals, the album possesses a sound that is uniquely his own. After “Blurred Lines,” Williams’ controversial collaboration with Thicke, some may fear that “G I R L” will also explore similar — and potentially contentious — themes and messages. However, though the album is often very open about its sexual subject matter, it tends to come off as open and earnest rather than misogynistic. Instead of lamenting the “blurred lines” in physical relationships, Williams invites the listener to celebrate the happiness of intimacy.
“G I R L” is a great album, which is thoroughly deserving of all the success and attention it has received. The majority of the songs are fresh and fun, and any missteps — like overuse of an idea, excessively graphic lyrics or unexpectedly low energy — are infrequent. “G I R L” brings a lot to the table while appealing to a wide variety of listeners. Smooth, celebratory and uplifting, it’s emotionally pleasing. Rather than delve into the complications that often plague romantic relationships, Williams exalts the wonders and joys of love and physical attraction.
Ultimately, “G I R L” is exactly what it should be: a top notch album in vocals and instrumentals. Lyrically, it is a breath of fresh air — though occasionally the overt sexual themes can be a bit jarring — and from a production point of view, it skillfully blends musical elements from the past five decades and a myriad of musical styles. Rather than trying to adopt an artifical sound two decades younger than he is, Pharrell gracefully incorporates musical elements befitting someone born in the early ‘70s. The effect is both genuine and effective.
