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"