11 July, 2011@5:40 pm
Heads might not realize that LMFAO’s origins begin in indie hip-hop. Red Foo along with current Party Rock Crew member, Dre Kroon, first stepped onto the scene around 1997 with their “Life Is A Game Of Chess” and “The Freshest” singles. Collaborating with DJ Revolution and Evidence, it was clear that these guys hearts were in the right place, despite never blowing up. Things would manifest themselves differently, however, as Red Foo and cousin Sky Blu would go on to form LMFAO, exploding onto the club-scene with electro-hop singles “I’m In Miami Bitch” and “Shots”, respectively. With their current smash, “Party Rock Anthem”, LMFAO have caught the eye of the mainstream, and are officially household names.
LMFAO are very good at identifying what club-goers want and providing exactly that, as their breakthrough single “Shots” exemplified. With their second album, their formula pretty much builds upon a blueprint built by Rob Base & DJ EZ Rock, adding in whatever the current trends in party music are, whether it be electro house, dutch breakdowns, dubstep, autotune, or lollipop metaphors. This is hip-hop, house, and pop music all rolled into one, or what DJ’s like to refer to as “the open format”.
By no means is this rocket science, nor will you gain any introspection beyond the leopard pants and lensless glasses, this Vegas party music through-and-through. The album’s follow-up single, “Champagne Showers” capitalizes on the 2011 version of “making it rain”, over up-tempo, progressive house stabs and the group’s trademark sense of humor. This runs rampant throughout most of the album, as tracks like “Sorry For Party Rocking”, “Put That Ass To Work”, and “Take It To The Hole” (feat. Busta Rhymes) remove the braggadocios element of today’s rap and focus more on just having fun. The main difference between these guys and commercial hip-hop’s usual ballers is the fact that they don’t take themselves seriously at all. LMFAO are laughing all the way to the bank, and you can’t help laugh with them. How else could one explain songs like “Sexy and I Know It” or “Hot Dog”?
While much of the album is spent reiterating the same themes over and over again, the other half attempts to tap into the more “mature” house music crowd, with heavy influence from artists like Kaskade, Daft Punk, and Calvin Harris. As a matter of fact, “Reminds Me Of You” is a vocal reworking of Calvin’s own “Awooga”, yet many will argue that the song was fine in it’s instrumental form. Songs like “One Day” and “We Came Here To Party” succeed in achieving the soulful, melodic sound of house music, yet there are also some failed attempts, like the watered down “All Night Long” and “Best Night” with will.i.am and “Take Over Control” vocalist, Eva Simons.
It’s clear that both purists of house music and hip-hop music will despise this record, because of it’s shameless jacking of whatever styles are “hot” in the respective genres, but at the end of the day it falls into neither category; Party Rock music is a genre unto itself.
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