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10
For The Record
Carey Avoids Sophomore Slump; The Ei\emy Ahnost Strikes Out
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Lyte modifies her style and adds "serious knowledge"
Mariah Carey
Emotions
Columbia Records
Reviewed by Corey Sturdivant
Mariah Carey again inspires our
hearts and amazes our minds with
her latest album. Emotions. Carey,
the CO-producer and exclusive writer
on all of the songs, skillfully avoids
the “sophomore slump” so com
mon to other artists. She gracefully
utilizes seven different octaves in
rendering an album that is rich in
mood and character.
"Emotions,” the hit title song,
possesses abeatreminiscentof“You
Got The Best of My Love,” a popu
lar 70s song by The Emotions. This
particular cut inspires listeners to
sing along not just because of it’s
rhythm, but also for its easy-to-
follow, fun-loving lyrics.
Toward the end of “Emotions,”
Carey amazes listeners by singing
in bird-like tones one could easily
mistake for machine-produced
sounds. Another standout track is
“Can’t Let Go,” which offers a
melodious mixture of just the right
instrumentation and vocals. It is
smooth and engaging; the perfect
song for unwinding.
A significant number of the cuts
on the album are rich in gospel
overtones. In, “If It’s Over,” the
four voices blend smoothly in the
background to produce a sound
similar to that of achurch choir. The
beginning of “You’re So Cold”
smacks of gospel origins because of
its abrupt, brisk, staccato notes
which are rendered sharply on the
piano.
A possible hit, if released, “To
Be Around You,” picks up the pace
a bit. This fervent, upbeat song gets
you moving as Carey relates what
it’s like be in the presence of the one
you love.
Carey closes out the second side
of the album with “The Wind.”
Although sad, this jazzy number is
expertly performed and Carey ex
hibits the vocal flexibility that
should belong to every truly great
singer.
Overall, the album is a wonder
ful collection of songs that can be
enjoyed by neariy everyone, espe
cially fans of vocal prowess, thor
ough use of instruments and precise
rhythm. Although Emotions may
not yield as many number one hits
as her Carey’s first effort, the albimi
is one of great quality. Carey takes
us on a journey and allows us the
opportunity to reach inside and
search our deepest thoughts and
emotions.
Rating: A
Prince and the New Power Gen
eration
Diamonds and Pearls
Paisley Park Records
Reviewed by: Scott Johnson
Prince has continued his tradi
tion of frequent releases by unveil
ing his thirteenth album in fourteen
years. Diamonds and Pearls. And
once again, his purple highness has
changed his band in an attempt to
move forward and explore various
forms of music.
One of the most notable addi
tions is rapper Tony M., who sings
back up and has his own cut in
“Jughead”. Lyrically, Prince re
mains the same with numerous
sexual references, but musically he
has composed a number of different
tracks which unfortunately lack the
substance found in his previous
albums.
The songs range firom the thrash
ing, opening track “Thunder,” to
the light and simple “Strolin’”. As
always. Prince expresses his love
for funk in “Geu Off’ and slows
things down in “Diamonds and
Pearls,” the title cut, and “Insa
tiable.”
Ovtnll,'Diamonds and Pearls
is an improvement over some of his
more recent albums, but doesn’t
measure up to his older releases.
The song variation, inviting lyrics,
and slow jams keep this album above
average, but the music itself pre
vents the Purple One from return
ing to his OTiginal level of royalty.
Rating: B-
Public Enemy
Apocalypse91 ...The Enemy Strikes
Black
Def Jam/Columbia Records
Reviewed by TJ.Stancil
After a short hiatus, Public
Enemy is back with Apocalypse
91...the Enemy Strikes Black. The
release contains 12 new songs,
including the mid-album tune “Get
the F— Outta Dodge” and a remake
of the P£. classic “Bring the Noise,”
featuring rock hard-heads Anthrax.
This album is on the level of Fear of
a Black Planet , Public Enemy’s
last album, but still a notch or two
below It Takes a Nation of Millions
to Hold Us Back, their sophomore
effort.
As always, the radical rappers
produce many interesting and
thought-provoking songs like “I
Don’t Wanna Be Called Yo Niga,”
“By the Time I Get to Arizona,” and
“1 Million Bottlebags.” You can
also expect to here the already
proven hit “Can’t Truss It” and the
surefire smash, “Nighttrain.” But
the album does not go much deeper
then these two songs in terms of
quality.
P.E., now accepted by a wider
pop audience, reflects this in their
current album and their curious
penchant for touring with heavy
metal music bands.
When compared to the usual P.E.
fare, Apocalypse 91 just does not
measure up to this reviewer’s ex
pectations. But even though it may
lack more than two big hits, it packs
well-written lyrics, superior music,
and overall is very thought-provok
ing. One would expect no less of
Public Enemy, one of the first groups
to introduce protest rap to the
masses. On a final note, be sure to
check out, “A letter to the New
York Post” by Flavor Flav, which
discusses the decision of Jet maga
zine and the New York Post to
publish his fight with the mother of
his kids and his delinquency in
paying child support.
Rating: C+
A Tribe Called Quest
The Low End Theory
Jive Records
Reviewed by Stefan Tyson
Gooooood Grrrraaaacious! This
is a slamming album! ATribe Called
Quest has put out onfe of the top five
rap albums of the year. Their sec
ond album. The Low End Theory, is
one of the best jazz/rap combina
tions ever heard by this reviewer.
Like their debut album. People’s
Instinctive Travels and The Paths
of Funk and Rhythm, Quest shows
their considerable aptitude for
mixing in old jazz music. But their
latest album features more imagi
native music and crisper lyrics than
the last
As many may know, the first
release and smash dance groove
from the album is “Check The
Carey’s Emotions: bird-like vocals and engagingchords