“The Lex Diamond Story”
By John Mandeville, Revelry Writer
Wu-Tang Clan’s golden son, Raekwon, has come back with an album that rivals his classic 1993 solo debut “Only Built 4 Cuban Linx.”
“The Story of Lex Diamond” is a theme album that tells the story of one of his alter egos.
It starts with a corny, but forgivable introduction that explains Diamond’s life in a style copied straight from gangster movies.
The true magic happens when Raekwon starts rapping.
“Pitbull Fights” is a quick stab, reminiscent of the lyrical beating inflicted on 1993’s “Incarcerated Scarfaces.”
Raekwon loves to give new people the chance to get their music heard and enjoys the variety of music he raps, over.
The disc boasts only two songs produced by the same person and the genius of fellow Wu-Tang member Rza is nowhere to be found.
“Clientele Kidd” and “All Over Again” have some of the warmest beats on the record and complement the rapper nicely.
Some of the other eight members of the Wu-Tang Clan make appearances, most notably Raekwon’s running partner Ghostface Killah on “Missing Watch”.
On the attack track “Planet of the Apes,” Capone from Capone-N-Noreaga along with Sheek Louch add masterpiece touches.
Louch displays the cleverness that Raekwon holds down throughout the album.
He raps, “I’m sick in the head/ They need to make throwback straightjackets.”
Sore spots are on”Ice Cream Pt. 2″ and “Wyld in da Club” which is a contrived club song full of cliches and a weak hook in which Raekwon’s protege group Ice Water rap, “We wild in the club/ Style in the club/ this is for my people getting down in the club.”
Overall, the beats on “The Lex Diamond Story” are subtle but effective, and the rapping ability goes unparalleled.
B+
“Margerine Eclipse”
By Blake Robinson, Revelry Writer
Since their inception in the early 90s, Stereolab, a London based art-rock band, has undergone several changes that have typically steered their music in a positive direction.
But, with the release of their latest album “Margerine Eclipse,” Stereolab has veered way off course. In fact, they went careening off a cliff and hit rock bottom with an instantly forgettable thud.
The latest album sounds completely devoid of the charm that seemed to grace their previous albums so fluidly.
What is left is a monotonous drawl of predictable melodies and unintelligible lyrics.
The band wanders aimlessly through most of the album before producing rhythms capable of inducing any consistent foot tapping – a feat that was accomplished early on in Stereolab albums of yore.
It was hard to keep from skipping through the first seven or so tracks, but the album does admittedly get slightly better when it reaches track eight, “Margerine Melodie.” Sadly, that is ever so slight indeed.
For those who consider themselves Stereolab fans, there are two reasonable choices regarding this album:
Skip this album entirely, and don’t taint a fond memory.
Or, listen to “Margerine Eclipse” as a dirge while mourning the loss of a band that once was.
Beyond that, the uses for this album are slim.
F