Monday, August 24, 1998
Soundbites
Counting Crows, "Across A Wire: Live in New York" (DGC) This specially-priced, double-disc live album is a must for Counting Crow fans, or anyone with an affinity for the craft of live rock-performance.
Comprised of two MTV television specials, "Across A Wire: Live in New York" helps to counter the bad reputation that the Berkeley-based outfit has for some of its live shows. Criticized early on for singer and songwriter Adam Duritz's overemphatic, sometimes whiny vocals and the band's struggle to produce its recorded songs' fullness, Counting Crows has developed a more mature, fluid live performance that, as evidenced on "Across A Wire," best suits their well-honed material.
The first disc, taken from "VH1 Storytellers," takes on an acoustic atmosphere, perfect for relaxing and appreciating the beauty of emotional music. Besides the usual mellow favorites like "Round Here" and "Anna Begins," Duritz and company slow the tempo for "Angels of the Silences" and "Mr. Jones" and do so with convincing power.
The second disc, from "MTV Live From the 10 Spot," allows the Crows to plug in and rock out, like in "Have You Seen Me Lately?" and the anthemic "A Murder of One," among other tracks. The latter disc does feature some slower tracks, like the aching "Sullivan Street" and "A Long December," but it hardly ruins the fluidity of the concert.
Aside from the occasional vocal exaggeration (some things are still unavoidable) and inconsistency by Duritz, "Across A Wire: Live in New York" is one of those rare '90s live rock albums that compels you to listen to every song with your full attention. Mike Prevatt
Sunz of Man, "The Last Shall Be First" (Loud) After years of anticipation and endless delays comes the new album from Wu Tang Clan-affiliates, Sunz of Man. Composed of Killah Priest, Prodigal Son, 60 Second Assassin and Hell Razah, they draw comparisons to their Wu-Tang counterparts - but the Sunz do not possess the extraordinary lyricism of the Clan. Their strength lies in their concepts, their message and production (featuring RZA, 4th Disciple and True Master, among others).
Most of the tracks are original, yet possess that head-nodding characteristic found in most commercial hip-hop (like the True Master produced "Intellectuals," featuring Reakwon and U-God). The first single, "Shining Star," is an uptempo track featuring Ol' Dirty Bastard and Earth, Wind and Fire and is produced by Wyclef Jean. Although this song aims to give the Sunz exposure, no credibility is sacrificed. The messages throughout the album attack the hip-hop status quo without resorting to cliched messages.
One of the better tracks, "Illusions," deals with the overt materialism present in mainstream hip-hop.
The song, featuring Master Killah over a 4th Disciple beat, opens with the verse: "You rappers don't amuse me with your Crystals and Uzis/ Industry groupies/ Livin' after movies/ They Scarfaced my race/ Some support hate."
With 19 tracks, "The Last Shall Be First" endures a few flaws, with moments of mediocrity following the more impressive songs. However, the album still begs to be listened to, given the current stagnation in hip-hop. Tenoch Flores
Monica, "The Boy Is Mine" (Arista) Never mind that she's too young to vote, still lives with her mom and pop or that combing the mall remains a favorite activity. At 17, Monica's second R&B album is steadily climbing the charts, following the tune of her previous 1995 double-platinum "Miss Thang." And with good reason.
Complete with decidedly urban rhythms which swirl and sample moods - all the way from the melodies of a posh Manhattan penthouse to the grinds of a steamy underground subway terminal - Monica's most recent creation remains uncluttered by tempestuous teenage angst or the opposite, yet equally irritating whimpers of tenacious toothachy love.
Perhaps the counterpart of her other hit single - "Don't Take It Personal (Just One of Dem Days)," a declaration of I-need-space amongst the hubbub of relationships - is Monica's duet with Brandy and the title track of the album, "The Boy Is Mine". This song sends an equally sassy message. Synthesizing angelic harp strums, galloping rhythms and pulsating Motown club stomps, this hit, which has reached No. 1 for two months straight, weaves in and out of ethereal sultry voices and high-paced beats.
Falling not far behind the albums hit song are eleven other tracks that evenly balance between feverish luscious ballads and danceable songs, that, while light on the lyrics compensate with heavy varying bass lines and intricate melodies.
Most notable are "Street Symphony," a fresh electrical orchestra arrangement to accompany Monica's wide range; "The First Night," which intros with a romping rap by J.D.; "Right Here Waiting," a R & B remix of Richard Marx's '80s ballad; and right off the "Space Jam Soundtrack," Monica's old hit "For You I Will." Nerissa Pacio
Eagle-Eye Cherry, "Desireless" (Work)
Riding on the success of recent single "Save Tonight," Neneh Cherry's brother, Eagle-Eye Cherry begins his own musical career with a simplistic but catchy tune that will stay in your head for the whole day if you hear it once. His album, "Desireless," uses much of the same simply stylish tunes to create a compilation of soothingly decent melodies.
Though some songs such as "Indecision" and "Worried Eyes" sound overly similar at times, their soothing, mellow acoustic beats give the album a comfortable feel. None of the rest of the songs, however, manage to meet the same infecting qualities of its first (and seemingly last) single, "Save Tonight."
Though not without talent, Eagle-Eye Cherry as a songwriter creates nicely soft numbers but not a lot of radio hits. Songs such as the sax-filled "Desireless" touch the heart deeply but do not usually receive much recognition in these days of hard-hitting beats and driving rhythms.
For the most part, Eagle-Eye's sound talks of love and inspiration when today's hits deals with fun, mischief and mayhem. Michelle Zubiate