If you ask any artist doing any sort of innovation today, they can trace their inspiration back to Pharrell Williams—more specifically, his highly influential work with Chad Hugo and Shay Haley as N.E.R.D. The trio morphed the worlds of rock and hip-hop like never before by introducing electronic production elements with the band’s keen sense of infectious melodies and relatable songwriting. Of all their albums, from the electronic Spymob-assisted debut In Search Of… to their more recent work that incorporated pop tendencies with their self-titled release in 2017, none of their albums captured magic quite like Fly Or Die (released 3/23/04). The album captured such a specific moment of growth from a band that already seemed limitless.
On their aforementioned 2001 debut, the trio used other musicians like Spymob to perform their compositions, their second album was going to be different. The band began to learn the instruments themselves, lending to the heavier rock influence of their second LP. Their arrangements got more ambitious, their songwriting explored new topics and they delivered these thoughtful lyrics on a bed of bouncy rock arrangements that borrowed from punk as much as it borrowed from hip-hop. The new sonic landscape allowed their lofty ideas to become a reality on their terms and their terms alone. By learning the instruments themselves, they unlocked a level of freedom that became palpable throughout Fly or Die.
One could argue with little contention that N.E.R.D’s second album is their best. More so, of all the classic and iconic music Williams has had a hand in over the years, you’d be hard-pressed to find a more potent example of his genius. The album explores rebellion and anti-authority messages, all while displaying the band’s ability to set these anarchist tunes to undeniable musicianship. The band began recording the album in 2003 and you can almost hear them learning their instrument as you cycle through the 12 songs featured on the album. Jagged guitar chords act as a canvas for heaven-sent harmonies that go against the grain of their pop influence. They were able to create mosh-pit-worthy arrangements and whittle them down to the simplicity of early punk while keeping these songs present and in the moment.
Fly or Die is brimming with some of the strongest music Williams and company have ever touched. The vivid storytelling and whimsical tones of “Wonderful Place” explore the symptoms of a psychedelic trip while a moment like “Jump” spins a tale of a runaway teen. The band’s mastery of tone allowed their songwriting and vocals to unravel into colorful universes contained in the form of song. “She Wants to Move” earned the band chart positioning without sacrificing the sonic integrity of the album, a true testament to the fearless artistry and risks taken to make Fly or Die a timeless album.
There is no such thing as a perfect album, it is all subjective. Fly or Die is one of those albums that inched the needle closer to disproving this sentiment. Twelve songs were jam-packed with risks that paid off in a display of technicolored melodies and fusing genres like never before.
