Fergie’s on the comeback trail with the support of DJ Mustard and YG. The beat tho.

Fergie’s Mustard produced hit gets a new remix with some added male bravado from YG.

Fergie back. Who can name that bassline?

From the soundtrack to The Great Gatsby. Mixer not hooked up to anything at 3:28 mark.

From The Great Gatsby soundtrack, members of A Tribe Called Quest, Black Eyed Peas, and the Party Rock Crew unite.

Guetta continues to pump out hits from his One Love LP, the latest being a remix of “Gettin’ Over You” with Fergie, LMFAO, and “Love Is Gone” crooner Chris Willis. We’re putting money on a Guetta produced Chris Willis album in the next 12 months.

The single that’s been drumming up heavy buzz since it’s debut at WMC this weekend finally sees the light of day, transforming from a sequel to “Love Is Gone”, to a full-fledged posse cut. Guetta taps Fergie to balance out Chris Willis’ vocals, interpolating her cat-scratch fever from “Boom Boom Pow”, while LMFAO provide hype. Kinda disappointing, but lends some new flavor to the already solid cut.

LISTEN: David Guetta + LMFAO + Fergie + Chris Willis – “Gettin Over You”

People ask us why we post LMFAO stuff on HipHopSite, as it crosses over into house and pop music territories. Reason is, we’ve been doing it since 1997. Red Foo is a pioneer of the indie hip-hop 12″ movement that was birthed the same time as HHS itself, when he teamed up with Evidence and DJ Revolution for “The Freshest” in the pre-LMFAO era, back then part of a duo called Red Foo & Dre Kroon. So we got love for Foo. In the above clip, he breaks down his recent collaboration with David Guetta & Fergie, “Gettin’ Over You” that we showed you over the weekend. And plus, his sense of humor is brilliant.

Grammy Award winning DJ/Producer David Guetta will premiere his latest single “Gettin’ Over You” with Chris Willis featuring Fergie and LMFAO live this Friday during his set At Ultra at Winter Music Conference with a special live performance with Chris Willis and LMFAO. The new single is an updated production of the album track “Gettin’ Over” featuring Chris Willis and has been revamped for the global dance floors and airwaves with addition vocals from Fergie and LMFAO. It will be released digitally on April 13th by its inclusion on the digital versions of Guetta’s Grammy nominated album ‘One Love.’ The new mix will impact Top 40 Radio late April. “Gettin’ Over You” is the follow up to Guetta’s global smash “Sexy Bitch” featuring Akon which hit #3 at Top 40 radio and has sold over 2.4 million digital downloads to date.

“I’m really excited about the new mix of ‘Gettin’ Over You,’ said Guetta. Fergie’s and Chris Willis’ powering vocals combined with LMFAO on the mic results in a dance floor explosion unlike anything else being heard right now.”

David and wife Cathy Guetta will throw their infamous F*** ME I’M FAMOUS party on Saturday, March 27th at Mansion in Miami. The F*** ME I’M FAMOUS parties which are thrown weekly over the summer in Ibiza have become one of the most known and successful dance parties around the world. Guetta is also confirmed to appear at this year’s Coachella on April 17th and has added club dates in Chicago, San Francisco and Las Vegas (full schedule below).

In January, Guetta won his first Grammy award for Best Remixed Recording for his remix “When Love Takes Over” with Kelly Rowland. He was nominated in 5 categories including Album and Record of the Year for his production work on the Black Eyed Peas album ‘The E.N.D’ and for Best Dance/Electronic Album and Single for his own album ‘One Love’ which was released last August. With the Black Eyed Peas “I Gotta Feeling” and his own hits “When Love Takes Over” and “Sexy Bitch,” Guetta has produced 3 of the year’s biggest global hits. ‘One Love’ which was awarded the prestigious International Album Of The Year Award at 2010 NRJ Awards, has sold over 1 million albums and over 6 million singles worldwide. Last month David Guetta released his first official iPhone and iPod Touch application which allows fans to follow him as he moves from city to city around the world, receive an ongoing feed of personal updates, photos, videos and tweets along with innovate features such as Tour Tracker, an interactive world map that allows fans to see in real time where David is mixing and DJing and also features a miniature mixing deck, allowing fans to remix and play with Guetta’s smash “Sexy Bitch.”

Earlier this year David Guetta partnered with will.i.am to become the music ambassadors of the non-profit MASSIVEGood. MASSIVEGood is an innovative fundraising movement that will enable travelers to make a “micro-contribution” towards major global health causes every time they buy a plane ticket, reserve a hotel room or rent a car.

David Guetta is one the world’s premiere DJ’s and producer. He is the most viewed electronic artist on youtube with over 150 million views. He has over 2 million fans on his official facebook page. Guetta released One Love, a non-stop, party-thumping musical hybrid of dance beats and hip-hop/R&B vocals to rave reviews in August. People Magazine called ‘One Love’ “a party-rocking album” and the Associated Press agreed, “Guetta’s CD is one big party,” The album features vocals from some of music’s biggest names that includes Akon, apl de ap, Estelle, Kid Cudi, Ne-Yo, Novel, Kelly Rowland, will.i.am and Chris Willis. One Love has already reached platinum in France, Ireland Canada and Australia, Gold in the UK, South Africa and Belgium…to name a few.

Sure, Michael Jackson’s legacy has been sampled to death, carving out a number of hit records for various artists including Jay-Z (“Izzo”), Kanye West (“Good Life”), Nas (“It Ain’t Hard To Tell”), and tons more. What you may not be aware of however is how many times Michael has tapped these same artists to appear on his own records. Here are MJ’s top collaborations with hip-hop artists of all time. No bootlegs or unofficial releases are included in this list.

10. “Jam” (feat. Heavy D) – “Jam” was 1992 single from Michael’s Dangerous album, an album produced with Teddy Riley, as he stepped into the 90′s with the era’s disposable New Jack Swing sound. While the single’s ambitious video featured MJ on the court with the other MJ (Michael Jordan), it also marked the first time he would share mic time with a rapper: Heavy D.  Heavy was in his element here, at the time being looked at as the “safe rapper” to go to for projects like this, much different than Biggie’s mismatched appearance on “This Time Around”.

9. “HIStory (The Ummah Remix)” – Wha-huh? Just how far do the arms of J. Dilla reach? Yes, Jay Dee was commissioned to remix Michael Jackson in 1997 for “HIStory”, the lead single for MJ’s greatest hits album of the same name. Unfortunately, while the honor was great, “HIStory” was not a hit for MJ. Still, it’s interesting to hear Michael over a beat that could have essentially went on A Tribe Called Quest’s Beats, Rhymes, & Life, with Dilla’s trademark snapping drums and hollowed out basslines.

8. “2 Bad” (Refugee Camp Remix) / “Blood On The Dancefloor (Refugee Camp Remix)” – In 1997, The Fugees were just coming off of their success with The Score, and Michael Jackson tapped them for his remix album, Blood On The Dancefloor. While Lauryn was not involved with the project, Wyclef got busy on a pair of remixes, the highlight being the lead single and title track, where ‘Clef took it back to basics sampling classic breaks for Michael to rock over. One can also surmise that this was the highlight of John Forte’s career.

7. “This Time Around” (feat. Notorious B.I.G.) – On paper, this seems like a natural contender for the best Michael Jackson hip-hop collabo of all time, however the end result wasn’t all it was cracked up to be. This was recorded and finished when both artists were alive, back in 1995. The problem with it is the overly pop production of Maurice Joshua that didn’t mesh with the type of records we were used to hearing B.I.G. on. Listening to it now, it sounds incredibly dated, however Biggie comes nice with his, shouting out Mike at the end of the verse. Who wants to put money on Diddy remixing the song for 2010 remix single?

6. “Butterflies (Trackmasters Remix feat. Eve)” – After the success of “You Rock My World”, Mike stuck to the script with the hip-hop remixes, again employing the Trackmasters to reinvent his sound for Invincible. The duo cheekily jacks Redman’s “Tonites Da Night”, as Michael sings “I want to be with you toooniiiight”, with Eve backing him up. Typically we’d frown on this kind of thing, but Mike sounds so cool on this vibey, smoothed out track.

5. “Billie Jean (Kanye West Remix)” – Of course if you ask Kanye, he’ll tell you this is the number 1 Michael Jackson hip-hop collabo of all time, but hey. It’s kind of hard to improve upon perfection, so when word got out that Kanye was remixing “Billie Jean” for Thriller’s 25th Anniversary reissue, hopes got sky high, but the final product was a bit of a let down. ‘Ye got rid of the song’s trademark bassline, opting instead for the symphonic string section sound found on Late Registration, as well as some hard-hitting drums. We’d expected Kanye to drop a hot sixteen bars, but apparently this is one case where he kept his ego in check, and remained silent.

4. “I Want You Back” – Jackson 5 (Z-Trip Remix) – Z-Trip’s remix of Jackson 5′s “I Want You Back” for the 2005 Motown Remixed compilation is the ultimate love letter to the song, as he essentially breaks down and reconstructs the song, with different drum patterns, extended bridges, and a cut section. It’s hard to imagine that this song could sound as strong without the familar piano intro, but Z pulls it off with ease.

3. “The Girl Is Mine 2008 (feat. will.i.am)” – One of the other tracks from Thriller’s 2008 reissue showed the potential of what MJ could sound like with current production. Rather than simply remixing Mike’s old collabo with Paul McCartney, will crafted an entire new song with a new hook, new lyrics, and completely fresh sound for the king of pop, proving that the comeback that never happened may have been possible had he lived.

2. “Unbreakable (feat. Notorious B.I.G.)” – Taking a page from B.I.G.’s “Unbelievable”, this 2004 posthumous collabo almost recreates Biggie’s original beat, but flips the script on it so it’s not a complete bite (much like Diddy did in his early Bad Boy days). Big’s verse was reused from Shaq’s (!) debut album title track “You Can’t Stop The Reign”, however we predict in time it will be remembered for his verse here. This track was one of the lesser known selections from Invincible, as something else reigned supreme that year….

1. “You Rock My World (Trackmasters Remix feat. Jay-Z)” – This is easily Mike’s best collaboration with a rapper, hands down. The song dropped in 2001, two weeks after the September 11th attacks, and two weeks after Jay-Z dropped his classic, The Blueprint. This was the lead single to his Invincible LP, and was incredibly relevent at the time, getting major spins from just about every radio deejay in every market. Jay-Z’s opening verse sealed the deal.

Honorable Mention: Akon – “Don’t Stop Til You Get Enough 2008″ – While we liked Akon’s treatment of the song for the 2008 reissue of Thriller, this was actually a cover of the song, not a collaboration.

Dishonorable Mention: Fergie – “Beat It 2008″ – Really, bitch? Get your ass off this song.

    So naturally, BEP’s main selling point would be given the chance to release her own solo album, and thus, Fergie’s The Dutchess was born. But first, a little history. Fergie might seem like some kind of cool, edgy hip-hop chick from L.A, but in essence she’s just someone who has made a career off her marketable beauty. Her career began as a child actor on Kids Incorporated, and then as she grew older, she became the lead singer behind a female pop vocal group called Wild Orchid, who attempted to make big dance tunes in the tradition of Madonna’s “Vogue”. This was around the same time Will.I.Am was making hip-hop records as the Atban Klan – which wasn’t a far cry from what he’s still doing today. Fergie, on the other hand, seems to be someone obsessed with stardom, adapting to whatever the “now sound” is, so she can be on T.V. 

     Complete lack of street credibility and harsh disses aside, Fergie-Ferg has a few undeniable club joints on here, coming in the form of the album’s first two singles. “London Bridge” packs one of the most raw, commercial hip-hop beats of the year (think ’92 Show and A.G.), slightly polished up for Fergie’s risque raps and addictively cool delivery. Kudos are also in order for “Fergalicious”, a Will.I.Am produced homage to 80′s chick rap, in the tradition of JJ Fad and Salt ‘N Pepa – a vast improvement over last year’s “My Humps”. Later on “Here I Come”, Will fully utilizes her multiple styles, meshing her sung vocals and raps, with The Temptations’ sample of the same name. 

    Will, as a matter of fact, saves this album from being the complete mess that some of BEP’s recent releases were, as he is coming into his own as a producer. “Clumsy” begins with an incredibly dope beat – maybe better suited for De La Soul – but Ferg does her best to mesh with it, singing about (wait for it) falling in love. Not exactly a shocker, but Ferg’s got a certified head-nodder here. The smoothed out “All That I Got” allows the girl to really exercise her vocal chops, exposing some of her insecurities in the process, asking her mate (here played by Will) if he would stick with her if she got fat and ditched her dye job. 

     But unfortunately, these insecurities rear their ugly head later in the album, with constant style shifting and tiresome interpolations, giving the album an overall sense of schizophrenia. While The Dutchess has its share of standout moments (taking this completely for what it is, a pop record), it’s also littered with faults. After “London Bridge” closes, Fergie moves on to the unbearable “Pedestal”, which interpolates the original “London Bridge” playground song, where she actually has the nerve to attack her critics, as if she can do no wrong (The Beatles never did this, Ferg). The Ludacris featured, Will.I.Am produced “Glamorous” borrows heavy influence from Prince’s “I Would Die For You” and Shelia E’s “The Glamorous Life”, and it almost works, if it weren’t for the sad fact that this is actually a scrapped remix to Gwen Stefani’s “Luxurious”. Gwen’s original version was leaked to deejays a year ago, with the same beat and Luda rap in tact. Ladies and gentlemen, witness the music industry in action! 

     When Fergie isn’t being a rapper, she is attempting to make songs for every other music market – just in case the hip-hop thing doesn’t work. She puts her blonde dreads and Rastafarian accent on a pair of reggae joints, first with “Voodoo Doll”, and following with the piss-poor (heh) lift of Bob Marley’s “No Woman No Cry”, on “Mary Jane Shoes” (with a shoe-horned appearance from Rita Marley). The adult contemporary pop audience is not forgotten either, as she smooth things out for that crowd with both “Big Girls Don’t Cry” and “Finally” – with pianos by John Legend! Are we supposed to take her seriously now? 

     Not at all. Taking this album seriously will only upset you. Despite it’s manufactured quality, if you look at it for what it is, it’s not half bad. This fact is especially surprising, given her shoddy track record thus far. Ferg gets a temporary pass for the album’s handful of listenable and club-rockable joints, but equally succeed’s at pissing off the esteemed critics in the same breath.