Fergie
The Dutchess

THE REVIEW

The 2006 includes, among billions of other things, the release of Fergie's debut solo album: how many anticipated and awaited it? The anticipation was more fervent for those who, like me, do not particularly love the Black Eyed Peas, and consider the role of this singer to be rather marginal within them.

Here we/I am fulfilled by this 'the Dutchess', a debut that concentrates rap and pop together. In the album, we find collaborations with will.i.am, Ludacris, B-Real, and Rita Marley, Bob's daughter. Stacy wrote all the lyrics while most of the sampling is entrusted to will.i.am.

'Fergalicious', the first track, reveals Fergie's imprint, with haughty and somewhat arrogant lyrics as per usual; 'Clumsy' is slower and more measured in lyrics, here sentimental, 'All that I Got' is equally passionate, thus revealing the sensitive side of the singer, which, however, disappears in 'London Bridge', also a single, with an evident 'slutty' attitude. 'Pedestal' slows down the rhythm to make room for excellent vocal interpretation, which varies from a childlike white voice to a deeper one. 'Voodoo doll', starts with whispers, a trumpet sound, as well as aggressive rhymes with small harmonic intervals, which also highlight Fergie's range, similar, to say, to Aguilera; who, however, does not have a tone of equal effect on the lower notes, which Fergie performs excellently in the following rhymes; and it is precisely this vocal seesaw that makes this track interesting, along with the restless and unruly lyrics and the always good hip-hop samples.

'Glamorous', as suggested by the title, is the usual script on the very expensive lifestyle so dear to rap, which Fergie still interprets very well, with a beautiful final change of rhythm that contrasts with a more moral theme. 'Here I Come' is another of my favorites, for the very sensual rhymes alternated with others 'slutty' beyond belief, which Fergie interprets excellently in the lower register, followed by B-Real's superfluous intervention.

'Velvet' is a pop song, the slowest one, with the noise of the 34 RPM record in the background. 'Big Girls Don't Cry', also slow, another single, is yet another glimpse into the singer's inner character. 'Mary Jane Shoes' refers to "No Woman, No Cry" by Bob Marley. The remaining songs neither add nor detract, as they are divided between very sweet melodies and other groovy ones.

In conclusion, an excellent debut for the singer who has infused much of her own essence into the lyrics, far from being trivial, and for the rest, well-assisted by sector producers.