Monday, July 20, 1998
Soundbites
Def Squad, "El Nino" (Def Jam) Out of nowhere comes "El Nino,"
Def Squad’s debut album. Consisting of Redman, Eric Sermon and the
"lyrical wordsmith," Keith Murray, Def Squad attracted mainstream
attention when their rendition of the classic "Rapper’s Delight"
enjoyed heavy rotation on MTV. Though the three always appear on
each other’s albums, this is the first time they’re together for a
full album.
People expecting an erratic Redman album or another lyrical
mindbender from Murray won’t be disappointed. However, while
elements from all three emcees are present in this collaboration,
the crew produces a unique sound conceived collectively. With Eric
Sermon handling the production, it’s a given that the beats will
thump, while Redman and Keith Murray continue to prove themselves
to be two of hip-hop’s best lyricists .
The first single and album highlight, "Full Cooperation," serves
as an example of Def Squad at their best. A guest appearance by
none other than Biz Markie on "Rhymin’ Wit’ Biz" adds some party
flavor to a bouncy Eric Sermon track.
One of the drawbacks to the album are the many skits, which,
while funny at first, get old very quickly. Long-time Def Squad
afficionados might have to get used to the crew reciting lyrics
"southern style" on "Ya’ll Niggas Ain’t Ready" and might skip past
a few monotonous tracks. Yet Eric Sermon creates a unique sound
without losing the Def Squad appeal, attracting new fans without
abandoning the old ones. Tenoch Flores B
Lucinda Williams, "Car Wheels On A Gravel Road" (Mercury) With
all the hyperkinetic pop ruling the airwaves of late, it seems
other "alternative" subgenres get pushed aside in terms of
publicity and radio airplay. That’s a shame because most of the
music with substance falls into this pit.
Singer and songwriter Lucinda Williams falls into this category.
Thanks to her hookless tunes and alt-country-like sound, formatted
radio stations (except for KCRW 89.9 FM) will pass on Williams’
easy-going, semi-twangy style of rock ‘n’ roll featured on her
latest release. Even though her music lacks infectious melodies,
Williams excels in the Steve Earle (who makes appearances on the
album) and Sheryl Crow type of gritty, reflective bar room
music.
"Car Wheels" possesses a relaxed, almost lackadaisical aura that
could fit anyone’s mood or environment. Its smooth rhythm of
slower, more country-folk influenced songs (like "I Lost It" and
"Concrete and Barbed Wire") and faster, sassier songs (like "Can’t
Let Go") seem perfect for road trips, sitting in the hammock
outside, lying in bed at night or just sitting around with
pals.
Part of her charm flows from her Chrissie Hynde-meets-Bonnie
Raitt vocals that look at the ups and downs of small-town life
(especially on the title track). Her articulate vocal approach and
storytelling talents are highlighted in "Drunken Angel," which is
about a musician who throws his life away on alcohol. It’s just the
sort of depth and musical talent needed in today’s quick-fix pop
scene. Mike Prevatt A-
Lenny Kravitz, "5" (Virgin) Critics have skewered Lenny Kravitz
for lacking originality in his songwriting. They have likened his
past work to rehashing both Jimi Hendrix and Sly and the Family
Stone, and he has been accused of being a rock-pretender, unworthy
of the acclaim of the artists whom he has built his career
upon.
While it may be true that Kravitz’s bag of tricks borrows from
history, at least he’s modeled himself after some of the greats.
The cleverly-named "5" (his fifth release) may not contain
incredible rock breakthroughs, but it provides for some good
listening.
Kravitz does indeed dredge up the ’70s funk-rock that earned him
the Stone comparisons, but he also adds some different material
that gives the album a nice feel. Most tracks, such as the driving
"Supersoulfighter," or the Superfly-esque "Straight Cold Player"
are catchy but not overly inspiring.
When Kravitz tries something else, however, he can soar. The
album’s best track, "Black Velveteen," trades the ’70s horns for
dreams of the future, making it stand above the other songs. A
bizarre ode to a robot love slave, "Velveteen" combines well-placed
electronic effects and the album’s best guitar work, showcasing
Kravitz’s talents as a musician. If he learned from "Velveteen" and
stuck to his guitar, instead of goofing around with horn charts and
background singers, Kravitz would be on far stronger ground. Brent
Hopkins B+
K’s Choice, "Cocoon Crash" (550 Music) In their sophomore
offering, K’s Choice manages to subtly synthesize their musical
influences into a seamless sound, distinctively their own. Their
potent amalgamation of pop, alternative, rock and folk gives new
meaning to "easy listening." While the album’s melodic tracks jolt
and soothe unpredictably, they always leave the listener pleasantly
satisfied.
Lead vocalist Sarah Bettens fronts the Belgian band and makes an
impression with the raspy fluidity of her unforgettable sound. With
each crack of her delicate voice, the listener comes to yearn for
just another utterance. Along with brother Gert, Bettens composed a
collection of personal songs that resound with emotion and
sensitivity, from the inspiring "Believe" to "Butterflies Instead,"
the latter a touching recollection of a childhood in a troubled
household.
"Everything for Free" and "Hide" highlight the album’s more
intense selections with a hard-edged, heavy approach that outdoes
their folk-inspired ballads such as "Now is Mine." "Winners" tops
off the record, a beautifully soulful dedication to a special
friend of the singer’s. While their new "easy listening" style
stands impressively on its own, K’s dabblings with a harder sound
leave the listener wishing there was more. Louise Chu A-
DEF SQUAD
"El Nino"