Temet Nosce “Create Your Own Life”

Posted on March 29, 2012 by Chris

Leading in with a soft piano and vocal duo, “Create Your Own Life” by the Norwegian rock band Temet Nosce is a powerful rock track that blends elements of both the classic power-ballad and more modern rock-anthem genres.  With well-written lyrics creating a storyline that engages the listener right from the opening lines, the music is written and performed in a way that builds energy throughout the track, highlighting the words and vocal line in a way that brings attention to the right words at the right time, while never getting in the way of the melody at any point on the track.

One of the most interesting aspects of “Create Your Own Life” is the vocal melody-line, which is familiar in one sense, drawing inspiration from other classic tracks in the genre, while injecting some very interesting and engaging note choices from time to time that go a long way in making the song personalized, as well as keeping the audience guessing as to where the melody will go next.  Far too many modern rock bands fall back on safe and tested formulas when writing a power ballad such as this, but Temet Nosce isn’t afraid to take chances, adding excitement to a genre that can sometimes be predictable and monotonous.

In the rock-ballad tradition, the song also features an energetic guitar solo that enters during the final minute of the track.  While the solo is well put together, it does sound a bit out of place at that point in the track.  Perhaps it is because the guitar line begins with a flurry of notes, before settling in on a more melodic phrase, whereas most guitar solos in the rock ballad genre will begin with slower, more melodic phrases and build up to a powerful climax.  This moment will appeal to some listeners while others may not “get it,” but in the end it will be up to the listener’s tastes as to how effective the solo is in this context.

Overall, “Create Your Own Life” is a well-written modern-rock ballad that is not only based on the traditional aspects of the genre, but one that also takes chances along the way that lift it into the realm of personalized interpretation by the band.

Reviewed by Matthew Warnock
Rating: 4 Stars (out of 5)

Posted in Matt Warnock, Reviews | Tagged | Comments Off

Lindsay May “Shimmer”

Posted on March 19, 2012 by Chris

In the land of independent recording artists, oftentimes the process is a long one.  Some artists, while standing possessed of immense talent, come forth in need of healthy amounts of proverbial sandpaper.  In some cases, it’s their songwriting that could stand being tweaked, in others, their vocal performances.  Still other artists wrestle with finding just the right sound and arrangement to support their talent while many find harnessing the right production nearly impossible on day to day budgets.

Yet for upcoming artist Lindsay May, none of this applies.  May’s foray into the musical realm seems nearly seamless on her latest release, Shimmer, as she offers up intelligently written songs, warm and varying accompaniments, and solid vocals throughout, certainly bucking the aforementioned trend.  Of course, this isn’t May’s first step into the recording studio, with her 2008 debut, Bronze and Blue, offering her plenty of experience to get the kinks out.  And with the well-worn alt-country displayed on Shimmer, May has done just that.

May dives right in on the title track, a shuffling beat ambling acoustic guitars down a winding sonic road with her vocal delivery recalling alt-country stars such as Tift Merritt, Maria McKee, and Anne McCue.  “Star in the Sky” slows the pace, with mournful fiddle and patient guitars, accompanied by subtle piano notes that buoy the warm love-based lyric while “Spinning 45’s” becomes the album’s first must listen.  Charmed by a rocking backbeat, chugging guitar work, and another solid set of vocals, May weaves a lyrical tapestry that is full-on radio ready.  The simple connection of lyrics and pace work magnificently well and leave listeners hoping for more.

And those listeners are in luck as May is just getting started.  “Nashville” is another great listen, with May envisioning herself longing for the world of Music Row to indulge her deep-set country longings, over-against an insistent acoustic strum that pushes ahead unhindered.  “Drive” follows hard after, with the addition of some serious dobro playing, courtesy of the multi-talented Scott Smith, and is followed up with yet another album highlight in “Lie To You.”

“Lie to You” is presented in two forms here, a “plugged” and “unplugged,” or more accurately, acoustic version.  Both versions shine with great vocals and lyrics, as at this point one has come to expect.  The original version offers up musical panoply of accompaniment, from more weepy dobro to building drums and guitars that keep everything going.  This serves the song nicely and fits the lyric well.  Yet, on the same hand, the acoustic rendering, focusing itself with just an acoustic guitar and the rich lyric, stands on its own and is, in many ways, its own song.

Listeners looking for something of a sonic shift will love the sultry sounds of “Stick Around” which finds the artist weaving her way around a bluesy vibe and lyrics that bristle with elements of sexual tension.  It’s a nice turn for the artist and showcases her vocal delivery that much more.  May keeps the soul flowing on “It Ain’t Easy…Being Me,” fueled by tastefully played acoustic guitar and her warm, passionate vocals.  These tracks really showcase May’s vocal chops and establish her as someone to be reckoned with while the artist uses the shuffling two-step waltz of “Hang Around” to close things out.

Lindsay May’s sophomore effort, Shimmer, is truly a diamond in the rough.  From the top-notch yet accessible production notes to the artist’s songwriting and delivery, this album shines.  May is a solidly talented artist and Shimmer finds her doing just that, shimmering in the sunlight like the gem she is.  Keep your eye out for Lindsay May; she’s the real deal.

Review by Andrew Greenhalgh
Rating: 4 Stars (out of 5)

Posted in Andrew Greenhalgh, Reviews | Tagged | Comments Off

Lindsay May “Shimmer”

Posted on March 16, 2012 by Chris

Lindsay May has produced a nice disc that works between country, folk, blues, bluegrass and even a little rock sounds. The musical mix often feels quite retro, like it could be some long lost recording from the 1950s or 1960s. At other times, it seems more modern. The disc shows a real sense of pacing in that it never sits in one place too long. There’s plenty of variety in terms of musical style, tempo and energy.

The title track opens the disc. Acoustic guitar opens it and there’s a real folk feeling to the first sections of the track. It rocks out more as it continues and lines up closer to country music than folk in the later sections. A mellow ballad, “Star in the Sky” is more pure country than folk. It’s got some tasty sounds with a very traditional country arrangement. It feels like the kind of thing that might have been released in the early 1960s under the banner of country music. Some slide guitar later really adds to the flavor of the piece.

“Spinning 45′s” comes in with more of a rocking sound. It’s got a lot of energy, but still contains plenty of country music. The lyrics have a lot of name dropping in terms of pop artists spun on the record player. It’s a great touch of nostalgia for those who fondly remember vinyl singles. This cut seems like it would be a great choice for a single, both for the quality of the music and the lyrical tribute to that musical format. “Nashville” is a balladic cut that’s very folk music oriented. The vocal performance on this tune is among the best of the set.

“Drive” doesn’t rise to the rocking level of “Spinning 45’s,” but it’s more energetic than a ballad. The instrumentation, though, is more acoustic and there’s almost a bluegrass sound to the piece. “Lie to You” continues the acoustic based instrumentation, but in a real bluesy ballad approach. The slide guitar is particularly noteworthy, as are the clever lyrics. The arrangement gets more energy later, but if it were rock it would be considered a power ballad because the same basic song structure remains. In some ways some of the later portions of the piece might even call to mind some of the acoustic based music Led Zeppelin used to do.

“Stick Around” has a great blend of sounds feeling like a soulful classic rock with just hints of country music in the mix. The violin (or should it be “fiddle?”) is a great touch. “It Ain’t Easy…Being Me” has an acoustic based arrangement that’s one of the most open of the set. It’s really got a great bluesy folk sound to it and is one of the best tracks of the whole album. “Hang Around” has a very traditional country music rhythm section. There’s a real twang on the vocals and some slide guitar. It’s quite a potent country tune. It’s also another that feels like it could have come from a bygone era. A guitar solo that serves as part of the outro, though, feels like something from the Allman Brothers. An acoustic version of the earlier track, “Lie to You” ends the disc. In many ways, it’s a stronger tune in this particular arrangement. The vocals really get the chance to shine and it’s got a lot of charm.

This disc really works well from beginning to end. The songwriting, musical performances, lyrics and production are all top notch. The only complaint is that sometimes the vocals can feel a little abrasive. Of course, May’s biography lists such singers and Bonnie Raitt and Roseanne Cash as comparisons and that same argument can be applied to both of those ladies. That means May is in good company. She has certainly created a disc that’s classic in sound and sure to please fans of good country music.

Review by G.W. Hill
Rating: 4 Stars (out of 5)

Posted in Gary Hill, Reviews | Tagged | Comments Off

Lindsay May “Shimmer”

Posted on March 16, 2012 by Chris

Lindsay May just seems to make magic happen.   The Kelowna, British Columbia native knew she wanted to make music from an early age.  Whatever she touches, musically, seems to turn to gold.  May has performed at NXNE, the Vancouver Folk Festival, and has been nominated as a regional finalist in the New Mountain Stage songwriting competition.  Lindsay May recently released her second solo album, Shimmer, plying real emotion born of everyday events with wonderfully structured alt-country arrangements.

Shimmer kicks off with the title track, a mid tempo love song.  The Americana/rock arrangement is solid, although the vocals are way too high in the mix, creating an unbalanced song.  The song itself is well-written, with a quiet energy that grabs your attention.  May’s full, warm voice is enjoyable here, although her tone does change a bit the one or two times she climbs into her higher range.  “Star In The Sky” is a blue country love song, born of longing and melancholy.  May blows hot and cold here, blowing back and forth between a sense of unrequited or unfulfilled love and hope.  May is again vocally solid, although she does falter a bit on the long, slow chorus. “Spinning 45’s” will have you up and dancing before Lindsay May even launches into the vocal.  It’s a song of reminiscence, but also a paean to how integral music is to day-to-day life.  There’s no possible way to sit still through this number.

“Nashville” is all about dreaming big, and heading out into the world to make your dreams come true.  The song has a confessional feel that will sound familiar to anyone who has ever thrown a guitar in their trunk, or stowed it under a boss, and taken off for somewhere else to try to make it.  While presented in singer-songwriter style, you can hear the hints of a country anthem wrapping itself around this song.  “Drive” is a slinky little acoustic-rock number that will get stuck in your brain.  May brings more of a country feel here, buried deep in the arrangement, but you could easily imagine this is a full-on, raw rocker.

“Lie To You” is another confessional ballad; a love song from someone who is not playing on the level.  Lindsay May’s voice truly shines here, blending her misty vocal warmth with a perfectly complementary arrangement.  “Stick Around” has a bit of an R&B/country feel to it.  Vocally it’s an intriguing listen, but from a songwriting perspective it’s not the strongest tune on the album.  But don’t be surprised if you get caught up in Lindsay May’s voice here and forget all about the songwriting.   “It Ain’t Easy… Being Me” takes the singer/songwriter confessional style to overly-emotive heights.  The song is well-written, and May’s voice is as strong as ever, but the drawn-out vocal lines tend to expose very minor, occasional pitch issues for May.

“Hang Around” finds Lindsay May dialing it down into a solid, easy-going Americana groove.  Stopping to smell the roses is the point of this number, and May conveys the easy-living feel with a simplicity and grace that’s easy to believe.  Shimmer winds down with an acoustic take on “Lie To You” that actually works better than the full version.  The stripped down nature of this number is more true, perhaps, to the highly personal lyrics, and Lindsay May inhabits the song as if the somewhat twisted heart in the song were her very own.

Lindsay May separates herself from the pack of country/rock/Americana songwriters on Shimmer.  Her personal, authentic story-telling style is refreshing, and May’s arrangements fit her lyrics like well-worn gloves.  May conveys each song with a voice that’s warm and misty, smooth and inviting.  You can lose yourself in her dulcet tones and become mesmerized in stories that are so real and true you’ll feel as if they are your own.  Shimmer does have a couple of slower moments where things don’t quite work as well, and May does show very occasional lapses in pitch on the album, but these are minor points that perhaps add a touch of real world flavor to an otherwise superb album.  Lindsay May, and Shimmer, are very much the real deal.

Rating:  4.5 Stars (Out of 5)
Review by:  Wildy Haskell

 

Posted in Reviews, Wildy Haskell | Tagged | Comments Off

Lindsay May “Shimmer”

Posted on March 16, 2012 by Chris

Though it is mostly known for its cold winters, beautiful landscape and world-class hockey players, Canada has also produced some of the most successful bands and musicians of the past century. From Rush to Nickelback to Justin Bieber and Celine Dion, Canada has no shortage of talent on the international musical stage.  One of the categories where Canadian musicians shine brightest is female Country artists.  From K.D. Lang to Terry Clark and of course Shania Twain, the Great White North has produced some of the greatest women on the modern Country music scene.  One of the newest names on this list is west-coast native Lindsay May, and her 2012 album Shimmer is a collection of 10 well-written, emotionally performed Country tracks that are not only radio friendly, but engaging on a deep level at the same time.

One of the reasons that Shimmer is so engaging from an audience point of view is that May brings a strong level of diversity to her songwriting and performances.  There are toe-tapping, get up and dance number such as “Spinning 45s,” where May and company lay down a powerful groove that, when mixed with the rhythms of the vocal line, combine to be an energy inducing track that will get even the biggest wallflower up and on the dance floor.  There are also medium-tempo tunes such as “Hang Around” that are just as fun to get up and dance to with a partner as they are to sing along to while driving down a long stretch of highway.

On the other side of the spectrum, May lays down some intense slow tracks that showcase her powerful vocals and ability to find the utmost emotional context of any lyric and melodic phrase.  Songs such as “Stick Around” bring to light May’s slower side, one that brings to the forefront a slower tempo, but with the same intensity as her faster tracks.  Her ability to keep an emotional quality, and high intensity level, no matter where the song tempo takes her, is a quality that helps May stand out among the crowd, giving her songs personality and a connectivity that lifts her songwriting to the next level.

Another good example of this approach, and another 6/8 slow Country groove tune, is “Star in the Sky.”  Here, May digs deep into the Country ballad genre to produce one of the biggest highlights of the record.  There is something very powerful about a Country ballad that has endured those tunes in the public’s mind for almost a century.  And when they’re performed with the soft, yet powerful, touch that May injects inter her vocal lines, these ballads reach new levels of enjoyment with the audience.  As well as understanding the importance of featuring slower tracks such as this on the record, May also knows when to bring in vocal harmonies to highlight specific lyrical lines and musical moments during important moments on the song.  On this track, the background vocals are never done, but they are used to add weight to specific lines that, when combined with the musical accompaniment, draw the listener in to the melody, leading them along the song’s musical journey until the last note fades from the speakers.

Overall, Shimmer is a very strong release for Canadian Country singer, songwriter and performer Lindsay May.  It is releases like this that remind people of the deep musical heritage that Canadian artists have developed over the years, and it goes a long way to building May’s reputation as a Country artist to watch out for in coming years.

Reviewed by Matthew Warnock
Rating:  5 Stars (out of 5)

Posted in Matt Warnock, Reviews | Tagged | Comments Off

Lindsay May “Shimmer”

Posted on March 16, 2012 by Chris

With a little bit of folk and a heaping helping of country, Lindsay May storms into your ears. Her latest release Shimmer is proof that good music with a country feel doesn’t always come from Nashville. Lindsay May hails from Kelowna, BC.

Shimmer is May’s second album and its a thing of beauty. Ten perfect songs gathering together on one album reminding us that albums can be good from start to finish. Lindsay hits on some of the most important things that make an album great; good songwriting, a great voice, and great musicianship. With these things in place, it is no wonder that Shimmer is so good.

With an album where no track can be labeled a pot boiler, it is hard to point out stand out tracks. “Spinning 45′s” is a bluesy country rocker. Its a twangy song with great guitar riffs. As Lindsay sings out the names of some great classic artists, she’ll have younger listeners wondering what these 45s are, that she’s singing about. The rest of us, will smile and try not to feel old. This song is pure fun.

The album’s title track “Shimmer” is a surprisingly more pop oriented song. It is definitely radio friendly. It is easy to imagine it being played back to back with artists like Gloriana or Lady Antebellum.

“Star In The Sky” is a folk song with a sweet lyric and a gentle melody. Lindsay’s voice is very much her own for the most part, but on this particular song she sounds more than a little bit like Natalie Merchant.

There’s a little bit of a dreamer in “Nashville.” The song illustrates perfectly, a singer/songwriters determination to get to the city where she could reach her dream. The opening line sets the stage as Lindsay sings, “I’ve got my guitar. I’ve written twenty songs so far. And all I can think about is Nashville.”

Lindsay’s music has been described at alt-country. This genre as always seemed to be more like country that reflects more of what country music used to be like. There’s a little bit of that sound to Lindsay’s music, but she’s not an artist that can easily be put in category.  The first version of “Lie To You” has a hint of bluegrass to it, but an acoustic version of the song closes the album, and the two versions could not be more different.  The acoustic version will definitely appeal to those that like a little less twang to their music.

“Stick Around” is the bluesy-est song on the album. The melody is slow and smooth, but the guitars really wail and even whine on this one. The instruments really convey the sorrow of the lyrics.  “Off in the distance, between hope and despair, there is a finish line, will you wait for me there.”

Perhaps its companion song is the more fun sounding “Hang Around.” This girl isn’t worried about the guy leaving her. In this case she’s ready to settle down.  She goes the acoustic blues route on “It Ain’t Easy…Being Me.” Its another bad relationship song, but isn’t that what country music is all about? Lindsay knows how to convey that bad relationship angst well.

No matter what your preference, you’re likely to find a song or two to love on Shimmer. More likely than not, you’ll fall in love with the whole album, because it really is that good. Lindsay May is an artist you don’t want to let pass you by. She may not be a household name yet, but Shimmer may just be the album that makes her one.

Review by Andrea Guy
Rating:  5 stars (out of 5)

Posted in Andrea Guy, Reviews | Tagged | Comments Off

El Gun Legro “The Return of the Future”

Posted on March 15, 2012 by Chris

Some will claim without hesitation that hip-hop has lost touch with the ability to have fun. It is apparent that El Gun Legro has not forgotten the importance of that element in rap music. His bio may state that he’s from Tait, California, but his persona has been beamed down from another galaxy, one where flashy showmanship and an assortment of wigs are standard protocol for intergalactic rhyme slingers. The Return Of The Future feels like an animated feature come to life, a fuse of loony bin hysterics intermingled with the memories of the mother ship connection that Parliament-Funkadelic once talked about. El Gun’s blood tests positive for the funk, whether it be George Clinton’s brand or the next generation G-Funk that rolled through California streets in a stylish ride during the mid-1990s.

Legro lyrically surfs a taut beat concocted by Jaz on “Spaceship,” featuring rubbery bass pulses and sustained ambience to fill up the gaps. It’s the perfect introduction to this overly charismatic emcee, spitting each line with endless energy. Even when the beat is more seductive as on “First Class,” his cartoonish flow never sounds out of place. He gets in where he fits in for the ladies, slipping in a barrage of hilarious lines and adlibs (“You thirsty? I’ve got Kool-Aid on chill”). El Gun enlists Keoni for production on a pair of head banging selections. “Rockstar Status” takes a series of percussive knocks and makes them hard as nails, smearing them with a layer of guitars provided by Chris Wilson. “All Out” turns the formula up to 11 with blazing riffs and thunderous kicks, practically guaranteeing several stage dives during live performances.

As engaging as the album can be, not every song delivers the goods. For instance, “007” could have been a winner, reworking the James Bond Theme into a sweaty Southern bounce for the clubs. However, the overly dramatic vocals from Jaz doused with Auto-Tune hits a sour note. It’s the type of joke where you find yourself laughing at the person rather than with them. “The Wiz” comes closer to a perfect fit with El Gun verbally strutting through the production just as loud and bombastic as the character that the song was inspired by. Few moments are more head-nodding and hysterical than “On My Computer.” The operatic background vocals from Mike Eddie are simply brilliant as El Gun rants about social media connections and his mother cutting off his cell phone over metallic finger snaps and muffled thumps.

Perhaps the most impressive song from a conceptual standpoint is “Goodday.” With its poignant piano, uplifting chorus, and Joe Cardillo’s soulful saxophone, it’s hard to imagine El Gun playing the role of motivational speaker. Against all odds, he makes the role his own, dishing out advice with a heaping side order of tough love. The song manages to be heartfelt and gut-busting at the same time, walking a sonic tightrope that very few could pull off. “Gangsta Slap” saves the best for last, its staggered claps spanking the organ hits. The blend of El Gun and St Cyr’s bars along with Rachel Evans and Tommy Redding’s singing works well, a healthy vocal combination of the rough and the smooth.

For a debut album, The Return Of The Future is one hell of a way for an artist to introduce themselves. It lands with the force of a karate chop, but reaches out to tickle you before making contact. El Gun Legro is a much-needed change of pace in the rap game. By not taking himself too seriously (or at all), his personality wins you over while the stellar production may leave you in danger of head nodding injuries. Love him or hate him, once you hear the album, you will certainly never forget him.

Reviewed by Jason Randall Smith
Rating: 4 stars (out of 5)

Posted in Jason Randall Smith, Reviews | Tagged | Comments Off

El Gun Legro “The Return of the Future”

Posted on March 15, 2012 by Chris

Regardless of genre, once the creative muses take hold, songwriters are in a state of bliss.  Southern California rapper El Gun Legro discovered his natural talent and surrounded him with an array of fellow local artists to bring his debut album The Return of the Future to fruition, ripe with many different musical flavors.  The listener’s first introduction to El Gun Legro is in the jaunty “Spaceship.”   The tempo is easy with a simple backbeat with a fast but not rapid vocal delivery.  Skillful rappers that enunciate and take the time to make themselves heard and understood rise above others that could just be considered noise.  El Gun Legro has an edge to his voice, but is not harsh, and commands attention.  While “Spaceship” may have benefited from more amusing space sound effects, especially in the bare fade out, there are plenty of out of this world references from Buzz Lightyear to the Enterprise to Jedi Knights.

“007” continues the trend of mixing insightful, well thought out lyrics cleverly referencing the subject the song is insinuating.  Despite the excessive amount of pitch bending on the vocals, a phrase and half of the chorus is clearly a steal from the original James Bond theme.  The content takes a typical hip hop club ditty, which countless artists have covered before and uniquely compares it to Bond’s shenanigans at the casino, which is a given in just about every 007 book and movie.  More play on words form the basis for “First Class” juxtaposing the airline nuances to the excessive baggage that some chicks carry.

In addition to writing songs about different subjects, El Gun Legro also mixes up his instrumentation.  “Rockstar Status” appropriately features crunch guitars courtesy of Chris Wilson from San Diego band Endoxi.  His playing coupled with the rapper’s Hendrix references of “Purple Haze” and “Voodoo Child” show El Gun Legro’s musicianship is hardly limited to freestyling with a drum machine.  He raps about the stereotypical rock star life from big pay days to sexy ladies and thankfully has the decency to not drop the implied “f-bomb.”   Wilson is featured again in the heavy “All Out,” which has the title suggests has intense guitars and El Gun Legro double tracked to make his vocals extreme and prominent.

Another nice match up occurs in “This Ain’t My Club” with the rapper offset by R&B crooner Tommy Redding.  His smooth, clear falsetto creates a nice dichotomy to another typical hip-hop account of a night at the club enjoying strippers sipping on Red Bull and vodka.   Rachel Evans is yet another guest artist lending her talent to The Return of the Future.  She begins the album with her sultry, velvety alto singing in a dreamlike narrative sequence to a lone piano accompaniment before El Gun Legro dives in.  Evans adds the same delicate touch to “Good Day” with the melodic chorus, “It’s a beautiful day / worth what you make it / with all the things to be thankful for,” offset by El Gun Legro rapping verses about the melodrama that is life.  Evans however proves that she can get down and freestyle with the big boys in the final cut “Gangsta Slap” which is a reunion of sorts featuring many of the guest vocalists on the album getting the last word in.

El Gun Legro with the help of his collaborators have produced a fine debut by ensuring that each track is different with its own special offering whether it is the message, the music or in many times both.  Keeping it fresh and keeping it real are important aspects to promote longevity in the life of rappers and El Gun Legro looks to be off to a great start in his career.

Reviewers Name: Kelly O’Neil
Rating:  3 stars (out of 5)

Posted in Kelly O'Neil, Reviews | Tagged | Comments Off

El Gun Legro “The Return of the Future”

Posted on March 14, 2012 by Chris

El Gun Legro was born and raised in Southern California, but his music takes on a more maniacally worldly aspect than you might suspect.  The Tait native took in the sights and sounds of hip-hop and rock from his teen years on, and also became quite obsessed with the visual imagery of film.  Along the way, he began making up two-line rhymes to describe customers in a sporting goods store he worked in.  This habit won him accolades from co-workers and friends, and encouraged El Gun Legro to begin writing songs.  The accolades haven’t stopped, and from the first time El Gun stepped into a recording studio he was hooked on the process of making music.  With a sound that spans the globe from Chuck D to Busta Rhymes, El Gun Legro is on the rise. His debut album, The Return Of The Future, is eclectic and occasionally unfocused, but ultimately entertaining.

The Return Of The Future opens with an “Intro” that features the inestimable Rachel Evans cooing her way through a snippet of Nat King Cole’s “Nature Boy”.  The allegory of the song to El Gun Legro’s over-the-top style is the only explanation for the inclusion of this here, but Evan’s voice is certainly a pleasure.  El Gun Legro kicks things off with the weird, wild and entertaining, taking listeners on an interplanetary ride on “Spaceship”.  The over-the-top presentation is entertaining but may turn a few listeners off in the process.  “Rockstar Status” features J-Light in a catchy hard-core dance tune that evokes thoughts of Fatboy Slim throwing down with Public Enemy.  This song gets inside of your head and just won’t let go.  “007” is a lone wolf here, featuring the overly coded voice of JAZ in an almost painfully slow number.  Expect to be hitting skip here.

Nilaja sits in on “First Class”, an entertaining take on trying to find a classy girl.  Catchy and fun, the song isn’t as misogynistic as it at first sounds, but the tongue in cheek take will probably set some overly sensitive types off anyway.  This is a fun, danceable tune; a modern male response, perhaps, to “No Scrubs.”   “Superhero” imposes a soul/R&B groove under what borders on a rock and roll vocal line.  El Gun’s chutzpah, and the entertaining side-kick quality of J-Light carry this off in fine fashion.  El Gun Legro continues the longtime rap tradition of including funny and often non-PC skits as segue ways between songs.  “Chinese Skit” leads directly into “Chinese Connection”.  Neither makes a lot of sense from the listener’s perspective, but both are highly entertaining.

Mike Eddie contributes some smooth vocal chops to “On My Computer”, a song that shows that El Gun Legro’s musical reach had more depth than you might at first suspect.  Nevertheless, this number falls a bit flat.  “This Ain’t My Club”, likewise, just doesn’t show the pizzazz of some of the earlier material on the album.  The impish sense of humor still tries to shine through, but in this case there just isn’t as much to work with.  “The Wiz” is a highly entertaining turnaround, even if El Gun Legro does mix numerous references to Harry Potter into a song that starts out using imagery from The Wizard Of Oz.  The song is full of braggadocio and entertaining self-aggrandizement, but it’s all done with a wink and a nod.  Chris Wilson lends some terrific guitar work to “All Out”.  This turns out to be the absolute highlight of the disc, with Wilson’s shreds serving as the perfect counterpoint to some of El Gun Legro’s most powerful and focused rhymes on the album.  This one could be a hit.

Rachel Evans brings her smooth, breathy voice back for “Goodday”.  Her vocal performance is a highlight, even if the song itself is overly repetitive and simplistic.  The Return Of The Future winds down with “Slap Skit” and the closing number “Gangsta Slap”.  The latter is entertaining, with contributions from St. Cyr, Rachel Evans and Tommy Redding.  Picture this one as a fan and live-concert favorite, and maybe even as a sleeper hit.  It would seem to be a perfect complement to the long running “slaps-giving” gag that runs through CBS’ “How I Met Your Mother”.  Hopefully El Gun Legro already has someone working on that angle.

El Gun Legro turns musical attention deficit into an art form on The Return Of The Future.  With blinding speed and deft musical agility, El Gun transitions quickly from thought to thought and style to style, moving like a comedian on an inspired binge.  There are a couple of crash and burn moments here, but in general El Gun Legro soars on The Return Of The Future.  This isn’t heady fare by any means, but if you’re looking for a good time then you’re looking for El Gun Legro.

Rating:  4 Stars (Out of 5)
Review by:  Wildy Haskell

Posted in Reviews, Wildy Haskell | Tagged | Comments Off

El Gun Legro “The Return of the Future”

Posted on March 14, 2012 by Chris

If one listened to the first 90 seconds of The Return of the Future without hearing the rest of the album or knowing anything about El Gun Legro’s background, it would be easy to assume that Legro’s specialty was vocal jazz, cabaret or traditional pop of the pre-rock variety.  The Return of the Future opens with singer Rachel Evans performing the Eden Ahbez standard “Nature Boy,” which was a major hit for Nat King Cole in 1947 and has been recorded by a long list of jazz, cabaret and traditional pop artists since then (as well as the occasional pop-rock artist).  But the use of “Nature Boy,” with its reference to “a very strange, enchanted boy,” at the beginning of this CD actually turns out to be quite ironic.  The Return of the Future is not jazz, cabaret or traditional pop but rather, alternative rap, and the “strange, enchanted” one that Evans is singing about turns out to be Southern California rapper Dominique Gilbert, a.k.a. El Gun Legro.  Clearly, Legro is not the type of rapper who takes himself too seriously for his own good; this album is full of goofy, quirky humor, some of it self-deprecating.  Legro’s musical heritage includes alternative rappers like Digital Underground, the Pharcyde, De La Soul, A Tribe Called Quest, Digable Planets and the Roots as well as the comic p-funk of George Clinton, Parliament/Funkadelic, the Brides of Funkenstein and Bootsy Collins, and the fact that Legro is into p-funk makes perfect sense in light of how much Clinton and his colleagues influenced Digital Underground and so many other alterna-rappers.

Indeed, p-funk-isms are quite plentiful on this album.  One hears that Clinton influence on “This Ain’t My Club,” “First Class,” “On My Computer,” “The Wiz” and the relentlessly infectious “Gangsta Slap.” On “Spaceship,” Legro recalls Parliament’s 1976 classic The Mothership Connection, which was full of science fiction imagery.

Legro’s publicity bio states that he was “showing great interest in both music and film at a very young age,” and in fact, this album has an abundance of film references.  Legro incorporates imagery of James Bond movies and British spy thrillers on “007,” and he shows his appreciation of Bruce Lee and Asian martial arts films on “Chinese Connection.”  Legro isn’t the only MC who has employed Asian martial arts imagery; the Wu-Tang Clan are famous for doing that.  But while the Wu-Tang Clan (the Staten Island collective that gave us Method Man, Ghostface Killah, Raekwon, GZA, the late Ol’ Dirty Bastard and others) have a thuggish, in-your-face image, “Chinese Connection” is quirky and humorous rather than threatening.  And the imagery of science fiction films is all over this album; “Spaceship,” “Superhero” and “The Wiz” are especially sci-fi-minded.  So between the James Bond/spy thriller imagery, the Bruce Lee/Jackie Chan/Asian martial arts imagery and the sci-fi imagery, movies are clearly a big source of creative inspiration for El Gun Legro.

Occasionally, Legro incorporates rock elements.  The rock influence is quite strong on “Rockstar Status” and “All Out,” but the rock that influences Legro on those tunes is a funky sort of rock.  There are hints of both Jimi Hendrix and Funkadelic on “Rockstar Status” and “All Out,” and it is logical for Legro to be drawing on Hendrix and Funkadelic simultaneously in light of how much Hendrix influenced Funkadelic’s more rock-minded material.  And even though Hendrix has been dead for 41 years, it is great to see that his innovations are still having an impact after all this time.

When one looks back on the history of hip-hop in Southern California, there is no getting around the impact of gangsta rap.  Ice-T, N.W.A, Dr. Dre, Snoop Dogg and Cypress Hill were so influential and so successful that Southern California hip-hop continues to be closely identified with gangsta rap.  But not all Southern California rappers have favored the gangsta approach; The Pharcyde, just to give one example, were never gangsta rap at all; they were strictly alterna-rap.  And El Gun Legro, similarly, is a So-Cal rapper who has nothing to do with gangsta rap.  El Gun Legro is alternative rap all the way, and his goofy sense of humor yields consistently fun and memorable results on The Return of the Future.

Review by Alex Henderson
Rating:  4 Stars (Out of 5)

 

Posted in Alex Henderson, Reviews | Tagged | Comments Off