By Kat Bein
By Shea Serrano
By S. Pajot
By Terrence McCoy
By Falyn Freyman
By Shea Serrano
By Jacob Katel
By Michael E. Miller
Here we have Sister Red, a band so cleverly packaged one would think they had David Geffen's millions behind them. An extremely attractive three-piece with a strong image, a ten-song cassette of superior quality (with sampling, no less) in a five-page foldout J-card, a recent full-page ad in Billboard.... We're talkin' major bucks here, and a lot of brains, too.
However it's music that usually gets bands signed, and here is the flaw in the Sister Red machine. Aimee's thin, breathy vocals rarely explore the range of emotions the rather uncomplicated lyrics would like to imply. Songwriter/guitarist Anthony Winters got off to a few good starts, but the songs lack a necessary catchiness, and are sometimes easily traceable to their inspirations; both the chorus and subject matter of "I Miss You" are nearly identical to "Knockin' on Heaven's Door."
To its credit, the Sister Red organization is wise in the ways of business and marketing, but the outfit would do well to slip passion for a contract back into the music, where it's needed. A slick product, but one should always put something in the box before the ribbon is tied.
-- Suzan Colon
DJ Laz presents a juicy target. The popular Power 96 DJ and his partner in crime Danny D stocked Laz's eponymous Pandisc release with all the lyrical rap-music elements that critics love to lambaste - sexist braggadocio ("Hump All Night," "Back in the Days"), misogyny ("Fatal Attraction"), and violence ("Lookin' for the Payoff"). Round up the usual suspects.
Laz is not as profane as Luke, nor as incendiary as Chuck D, but it's safe to assume that this album will curry little favor with the National Organization for Women or the Police Benevolent Association.
Of course, the only people who really care about rap lyrics are anal-retentive, self-appointed guardians of morality (you know who you are) and music critics who still haven't forgiven Dylan for going electric. This is DJ Laz, after all, not Tracy Chapman. He's aiming for the feet, not the cranium, and he's a damn good shot. The opening cut, "Mami el Negro," positively percolates. Combining expert production, pumping bass, and samples from the Wilfrido Vargas merengue standard of the same name, "Mami" kicks. The cassette also features an amusing pseudo-reggae tune called "Rub Your Belly," and is sprinkled with excerpts from the classic Alvarez Guedes comedy routine offering Spanish lessons for Anglos (Lesson One: Come mierda! Lesson Two: No!). That's an example of another important facet of DJ Laz's music: humor. An overriding sense of fun pervades "Mami el Negro," and that has helped push the video into heavy rotation on Video Jukebox and MTV International, and the album onto the Billboard "Black LP" chart.