The Dutchess [Deluxe] [Clean] [PA]

Performer: Fergie (BEP)
Artist: Nelly; Soulja Boy Tell'em
Engineer: Jason Villaroman; Travis Daniels; Anthony Kilhoffer; Ethan Willoughby; Demacio Castellon; Jason Schuester; Keith Harris; Padraic Kerin; Anthony Terrabonne; I.Am Willi; Michael Eleopoulos; Jason Schweitzer; Josh Chervokas; Printz Board; Robb Boldt; Simeon Spiegel; Tal Herzberg
Producer: Polow Da Don; Keith Harris; John Legend; Printz Board; Robb Boldt; Sean Garrett
Distributor: Universal Distribution

Notes: Personnel: Fergie (background vocals); Jay Anderson (vocals, background vocals); Ron Fair (vocals); J. Curtis, Mike Hartnett (guitar); Simeon Spiegel (acoustic guitar); Anatoly Rosinsky, Helen Nightengale, Barbara Porter, Shoshana Claman, Becky Bunnell, Tiffany Hu, Lisa Sutton, Sid Page, Roberto Cani, Bruce Dukov, Julie Gigante, Natalie Leggett, Sarah Thornblade, Armen Anassian, Darius Campo, Liane Mautner, Josephina Vergara, Charlie Bisharat (violin); Matt Funes, Brian Dembow, Thomas Dienner, Andrew Duckles (viola); Printz Board (trumpet, Fender Rhodes piano, synthesizer, Moog synthesizer, drum programming); John Legend (piano); Keith Harris (keyboards, keyboard bass, drums, drum programming); I.Am Willi, Robb Boldt (keyboards, drum programming); Elvis Williams (keyboards); Gary Novak (drums); Chuck Prada (percussion); Polow da Don (drum programming, background vocals); Theresa Jones Bailey, Rita Marley, I-Threes (background vocals). Audio Mixers: Ethan Willoughby; Jack Joseph Puig; Allen Sides; Phil Tan; Serban Ghenea; Tony Maserati. Recording information: Chalice Recording Studios, Hollywood, CA; Chung King Recording Studios, New York, NY; El Cubano Studio, North Hollywood, CA; Hit Factory Criteria, Miami, FL; John Lennon Educational Tour Bus; Metropolis Recording Studios, London, England; Morning View Studios, Malibu, CA; Pacifique Recording, North Hollywood, CA; Signet Sound; The Dragon's Lair, Los Angeles, CA; the Record Plant, Hollywood, CA; Zac Recording, Atlanta, GA. Illustrator: Julian Peploe. Photographer: Ellen Von Unwerth. Arranger: I.Am Willi. The association that versatile pop chanteuse Fergie (aka Stacy Ferguson) struck up with the hip-hop crew Black Eyed Peas (she was central to their hugely successful 2003 release, ELEPHUNK) proved she was capable of playing in the big leagues, and it was only a matter of time before the singer dropped a solo effort. THE DUTCHESS arrived in 2006 and was packed, not surprisingly, with slick, commercially viable pop-rap. The first release on Black Eyed Pea will.i.am's record label, THE DUTCHESS seems intent on giving Beyonce, Kelis, and every female pop/R&B singer a run for her money. With production help from Polow the Don and will.i.am (who also contributes raps to a couple of songs), Fergie delivers a record that kicks out spare club tracks inspired by Missy Elliott and M.I.A. (such as the disc's lead-off single "London Bridge"), alongside sultry soul ballads ("Clumsy"). There aren't many surprises here, but THE DUTCHESS is a glossy, fun, and satisfying album, which is exactly what her fans are expecting. 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. The album 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. 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, along with "London Bridge" -- which is terrific, provided you can block out the lyrics or prevent yourself from trying to decipher its meaning. 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. ~ 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. ~ 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 album with 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. 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. "London Bridge" is terrific, provided you can block out the lyrics or prevent yourself from trying to decipher its meaning. 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. [The "Deluxe" edition of the album, released in 2008, adds four bonus tracks, and a clean version if it was made available.] ~ 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. [The "Deluxe" edition of the album, released in 2008, adds four bonus tracks, and a clean version if it was made available.] ~ Andy Kellman

Rolling Stone (p.69) - 3.5 stars out of 5 -- "[F]ull of Eighties-style electro bangers, mostly produced by the Peas' Will.i.am, though Atlanta mogul Polow Da Don steals the show on 'London Bridge'..." Entertainment Weekly (p.92) - "[She] retains the group's proven gift for indelible melodies....Here, she proves herself equally adept at well-deep reggae riddims, giddy dance-floor jams, and fervent ballads." -- Grade: B+

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