By Times Staff Writer
Published August 10, 2003 PANJABI MC, BEWARE (SEQUENCE RECORDS) - While we've heard India's influence on hip-hop and R&B before, Get Ur Freak On being perhaps the most notable example, never before has the mix of Bollywood and Brooklyn been so complete, or so good, as on this British DJ's first American release, Beware.
PMC's unusual blend of ancient, rhythmic Indian music stylings interwoven with modern, bass-driven rap first took Europe by storm about eight years ago, and just now has made its way here. Too bad we had to wait so long.
The CD's first single, a remix of Jay-Z's Beware, is a dance hall delight. The rest just solidifies the notion that these are two sounds that belong together. B+
- JEFFREY S. SOLOCHEK, Times staff writer
ZIGGY MARLEY, DRAGONFLY (PRIVATE MUSIC/RCA VICTOR) - The title track of Marley's Dragonfly, his first album without backing band the Melody Makers, is one of the catchiest songs of the reggae star's career. In it, the singer/multi-instrumentalist plays a Dr. Dolittle-type role, conversing with animals, insects and trees concerning the state of the environment. Of course, in print, it sounds corny, but Marley pulls it off. And the tune's relaxed acoustic setting, which consists of sparingly used percussion and rhythm guitar, makes for an easy sell. The jazzy lead guitar flourishes are an inventive twist on traditional Jamaican sounds.
Unfortunately, the remainder of the album is a disappointment, including pedestrian rock forays, misguided hip-hop beats and loping reggae retreads. Many are fitted with political messages that sound like the observations of a grade school student and irritate rather than inspire.
Old-school reggae numbers such as True to Myself are agreeable, but Marley is merely going through the time-tested motions and, once again, serving up insipid lyrics as if he were dropping revelations. C
- WADE TATANGELO, Times correspondent
BLACK EYED PEAS, ELEPHUNK (A&M Records) - Black Eyed Peas haters need to loosen up. Critics have been slamming the feisty rap quartet (the group just added its first female member, Fergie, whose sweet serenading adds tarty energy to the feel-good music) for this genre-jumping album; detractors call it diffuse.
Granted, Elephunk has its missteps, but the Peas' music is about mood. And things get celebratory immediately on the manic Hands Up, the lead track. The group matches its playful musings - on topics ranging from vacation (Labor Day (It's a Holiday)), to utter silliness (Let's Get Retarded), with splashy, syrupy brass arrangements, propulsive guitar and prodding bass. The full band orchestrations complement the group's pep.
Hey Mama's reggae groove is annoying but, ultimately, forgivable. What's regrettable is that the band strives to craft profound political (or social) statements. Single Where Is the Love soars sonically, but politically remains just a series of cliches and vapid pondering. Alas. B+
- BRIAN ORLOFF, Times staff writer
STACEY EARLE & MARK STUART, NEVER GONNA LET YOU GO (EVOLVER) - Husband and wife Mark Stuart and Stacey Earle (she's outlaw troubadour Steve Earle's sister) have teamed together in acoustic bliss. The collection of tunes matches Earle's sweetly childlike singing with her hubby's casual country croon. The two evince sweetness with their lilting melodies and loving harmonics. Mandolin, organ and upright bass add swagger to the album. Highlights include Fishbowl and the chiding Lookin' for Fool's Gold. B.
