Recording review - Rene Lopez, Love Has No Mercy (2014)

Feel the funk with mirror ball beats 


Rene Lopez continues spiraling in on his idealized target of electric Latin soul. His last release, Paint the Moon Gold,veered away from the funk to lurch toward R&B pop. On his new EP, Love Has No Mercy, '70s pop has given way to the hybridized disco funk of that same era. The album isn't a one trick pony, but Lopez is more dedicated to club-style rhythms on this release. The first half explores this borderland with a series of tracks that wrestle with co-dependence, love withheld, and unbalanced relationships."I Won't Love You Less" lies directly between the two genres. The sparse arrangement, the harmony vocals, and ringing keyboard fills are like the bright, spinning reflections of a mirror ball, while the crisp rhythm guitar suggests the chill nonchalance of Bowie's Thin White Duke and the steady, syncopated beat has a foot in both worlds. The choppy guitar bobs and weaves with nervous energy and Lopez's voice is strained to a falsetto whisper as he sings his unconditional love. His serene tone suggests that he's an ecstatic martyr to his chosen one's fickle whim: "You can lie and cheat and leave me cold / I won't love you less, I won't love you less / you can throw your stones and break my bones /I won't love you less, I won't love you less." From here, he wanders through electro-pop dance beats and Latin flavored disco before reaching my favorite track on the album.

The title tune is a duet with Carol C , and the two create a playful interaction that frames the song as a debate between the sexes. They share the chorus tagline, but the verses show how far apart they are. Drawn like moths to the flame, the two can only agree that, "Your love has no mercy, but I like it." After the break that summarizes the positions as, "Love-lust and love-love," Lopez takes a pseudo-rap turn,speak-singing his way through his lines with an expressive tone that maintains a nuanced tension. Meanwhile, the track is anchored by a snaking baseline and fenced in by stereophonic flickers of choppy guitar. Between the volley of vocal exchanges and the insistent dance beat, "Love Has No Mercy" is Lopez at his best.

From here, Lopez settles into a chain of solid funk pieces, with the fun attitude of "Lovegod", the Prince driven ''City Streets Are Dead Tonight", and the loopy electro funk of "Show Your Light". These are all strong, dance-friendly songs, but none of them follow a set formula. Even better,
Lopez adapts his singing style to each tune to flesh out the right character. Love Has No Mercy is another step towards perfecting his vision of electric Latin soul. The Latin element may be a bit restrained compared to earlier releases,but the music still calls you to surrender to the syncopation and dance.

Fresh single: Jarabe de Palo, "Vecina"

Hoping that the summer never ends

The first taste of "Vecina" is rootsy and sincere. Calling the vibe "Americana" hardly seems appropriate for Barcelona's Jarabe de Palo, but this band has a great ear for setting up a simple rhythm and letting it flow. Imagine The Rolling Stones' "Beast of Burden" without Mick Jagger's pouty strut. The groove is as comfortable as a perfect pair of Levi's and well-worn boots. The organ and sax accompaniment provide soulful touches. This is a song that captures an end-of-summer feel that seems just right for a chilly Autumn day with damper weather.



The lyrics capitalize on that feel; after spending a summer admiring his beautiful neighbor as she soaks in the sun, lead singer Pau Donés finally works up the nerve to make his move: "Soy ese chico que ves desde tu jardín/ Solo quería algún día invitarte a salir." (tr. "I'm the guy you see from your garden/ I only wanted to ask you out someday") Don't let the voyeuristic story line color your impressions; "Vecina" is fairly innocent and wholesome, with more metaphor than sly innuendo.

Jarabe de Palo are on tour here in the US throughout October, wrapping up November 1 in San Francisco. If they pass through your town, immerse yourself in some continental Latin music. It's also worth checking out their latest release, Somos. In the meantime, I'll settle into the sunny sway of "Vecina" and, just like Donés sings, "Este verano que espero no tenga fin."

Recording review: Rene Lopez, Paint the Moon Gold (2014)

Bless his electric Latin soul

My first taste from Rene Lopez was 2010's People Are Just People (review), which celebrated his R & B and soul roots. A year later on E.L.S. (review), Lopez reinvented himself and claimed his own genre, "electric Latin soul".  His most recent release, Paint the Moon Gold, bridges the two sides, picking up on pop influences and toning down the funky club beats, but still holding fast onto Latin textures.

Lopez introduces himself on the opening track, "Purpose and Place". Latin percussion and a restless keyboard vamp provide a background to this autobiographical journey. From Spanish Harlem to his father's record collection, he recounts his influences, casting them as signposts that led him to his calling as a musician. The personal perspective he takes here is a good example of how Lopez approaches most of his songs. Although the arrangements are fully developed, he remains true to his singer/songwriter roots by dressing up his personal experiences with just the right touch of evocative metaphor. "Steal Your Love" is typical, elevating a romantic obsession into a bodice ripping conquest. A flute winds its way through the insistent rhythm, adding an air of exotic tension. The instrumentation is solid but he could easily carry the tune with nothing more than a solo guitar if necessary.

Like People Are Just People, this album is full of retro sounds, this time reaching more for 1970s pop than classic soul. This gives the project a familiar feel, especially on easy flowing tunes like "Just a Man" or "Don't You Change your Heart". That's not a bad thing, but it can become easy to take the music a bit for granted and not get as deeply engaged. Almost as though he recognizes this, "Your Soul Is In Danger" breaks the pattern and refreshes the listening experience. Except for occasionally intoning the title through a veil of reverb, the song is an instrumental, but the mood is unique for Paint the Moon Gold. The shaker beat and weird echoes push the tune into the strange and even when a more focused jazzy groove starts up, the sinister aura smiles in from the edges. It's possible to treat the piece as a bit of camp - his own laughter on the track indicates that he gets the joke - but I could also hear it as a tip of the hat to Dr. John's "I Walk on Gilded Splinters", using horns instead of the choral backing vocals. In any case, the change-up pulls you out of complacency.

Paint the Moon Gold rises from this dark interlude and closes out with a tight, upbeat run of songs: from the soulful sway of "Midnight Love" through the danceable electro-funk of "Come Along Now" to the chill soul-revue of "Hey Papa". Lopez has put together a solid collection that will click for a range of audiences. It blends pop, soul, and funk, all spiced by a generous serving of Latin rhythms. While it doesn't push as many boundaries as his last album, I think that Lopez is finding his most natural voice.

Concert review - Los Lobos with Muskateer Gripweed

8 March 2012 (Aggie Theatre, Ft. Collins CO)

The Aggie usually draws a strong college crowd that doesn't build critical mass until the opening acts are wrapping up their sets. Last night's show broke the mold. The age spread was quite a bit wider -- I might have even seen a grandmother or two -- and local stars Muskateer Gripweed had a good full audience for their hot set. The Led Zeppelin music between the bands was an interesting choice, but it was a night for joyous dancing and rhythmic excitement.

Muskateer Gripweed

It's been a while since I've seen Muskateer Gripweed. They weren't weak before, but now they've honed their show into a high energy tent revival. Their frontman, the Reverend Monkey Paw Patterson (Jason Downing) took a seat at center stage but rarely sat still. He stayed as focused as an ADD eight year old on Red Bull and Pixie Stix.

Bouncing around the stage, Downing was in constant motion, jumping from guitar to tambourine or from the stage to stand on his seat. Even when others could have stepped forward for a bass jam or guitar lead, he scampered around and air played along. The interplay between the gyrating Reverend and his tightly focused band was a study in dynamic contrast. It was as if the band channeled all of their stage movements into their frontman.

Downing may have played the goofy clown, but he and the rest of Muskateer Gripweed were perfectly serious about setting up a sweet pocket in the groove. Like the best blues bands, they whipped through intricate arrangements with a casual aplomb.

Laid back soulful jams, bluesy shuffles, and Southern rock all meshed together as the band skipped through their hour long set. Several of their songs had a Little Feat bounce, especially with the drummer's tight syncopation. The straighter rock tunes offered a small taste of Bad Company's guitar/bass drive. But it wasn't all retro '70s sounds. The hyperkinetic beats and vocals recalled Blues Traveller, even if the harp playing wasn't quite John Popper. For all of the comparisons, Muskateer Gripweed have their own sound and personality.

Muskateer Gripweed will be back next month, hosting their CD release party for Straight Razor Revival at the Aggie on April 7.

Los Lobos

Los Lobos ambled out on the stage and kicked off the set with a rollicking Mexican folk sound that got everyone dancing. A steady bass throb, syncopated guitars, and accordion fills bounced along as the crowd shouted their encouragement. After this warmup, Cesar Rosas warned us, "We're doing the acoustic thing tonight" before the band kicked into Saint Behind the Glass from their classic album, Kiko. Los Lobos would dip back to Kiko several times during their set.

Maybe it was the wider age range of the audience or the casual camaraderie, but everybody surrendered themselves to the easy, waterflow melodies and tight harmonies. This was backyard music writ large. From Conrad Lozano's easy grin at the enthusiastic shouts to David Hidalgo's shut eyed focus as he played his bajo sexto, the band created a relaxed vibe and the crowd could feel the love.

But this didn't translate into sleepy seranades. Instead, Los Lobos created a party atmosphere. Uptempo classical runs, interlocking rhythms, and even electric guitar kept the crowd dancing. While they often returned to the traditional Latino folk music of their roots, they stirred in a host of other sounds: meandering jams (accentuated by Stever Berlin's flute), solid funk rock grooves, Latin jazz, and some New Orleans rhythms.

That's really the beauty of Los Lobos. Their roots may stay true to the Latino music they were steeped in, but they are a truly American band. Louis Pérez's jarana huasteca and Lozano's guitarron meld with electric guitar and keyboard to create a fusion sound that connects across cultures and eras.

Maintaining the same players since the beginning (although younger drummer Cougar Estrada now joins them) has imbued their music with a rich depth. The songs could be deceptively simple, but that effortless flow is the result of countless hours of playing.

When the band came out for their encore, Rosas teased us with a couple of Led Zeppelin snippets, referencing the music from the set break. But that was just a feint before they launched into the Cuban classic, Guantanamera. Then, a last upbeat jam (Mas y Mas) kicked it up before sending us out.

More photos on my Flickr.

CD review - Ritmo Machine, Welcome to the Ritmo Machine (2011)

Hip hop/electronica fusion with a Latin flair

Ritmo Machine is a victory for globalization and we're all winners. Latin Bitman and Eric Bobo each bring a fairly different perspective to the group, which offers a richer sound than either have on their own. Chilean DJ Latin Bitmap ponies up his great ear for mixing backing tracks that are steeped in both electronic and Latin influences. Bobo has a classic hip hop sensibility rooted in his work with Cyprus Hill and the Beastie Boys. Some of their common ground may well come from the influence of Bobo's father, afro-Cuban percussionist Willie Bobo. But it's clear that each one hears a space for their own voice in the collaboration.

Welcome to the Ritmo Machine offers a cool mix of old school Latin funk, heavy beats, modern electronica, and tasteful sample layering. Most of the tracks sound like they start with Latin Bitman's groove inspiration. Then, the two musicians start adding color - an electronic scratch rhythm here, a cuica beat there. With this well constructed foundation, the tracks are complete enough to stand on their own. But they spice things up on some of the songs by featuring guest rappers adding their own flavor.

Maestro shows how well Ritmo Machine assembles their songs. It's a densely layered instrumental. It's got a modern, glitchy vibe, but at its heart it's a mix of Latin jazz and soul. The Latin beat sets up an uptempo drive that contrasts with a moody, soulful bassline. A host of details round it out, from electronic scratches to a chopped up afro-beat vocal sample. Early in the song, a funky guitar partners with the bass, but later, the track slides fully into jazz territory with a meandering vibes solo. While there are some vocal parts, the song works as a pure instrumental jam.

When the guest rappers sit in, they each add their own character, from Chali 2na on Witness This Heat to Sen-Dog (Cyprus Hill) on Senny Sosa. This latter track fades in with a loop that builds up tension to kick start a strong old school rap. The heavy throbbing beat with Latin percussion accents creates a deep pocket for Sen-Dog's strong Spanish delivery. The flow is tight with group punches on the closing words of the lines.

Latino hip hop is easy to find, but Ritmo Machine's stronger emphasis on the music creates a unique balance. Similarly, there's plenty of Latin influenced dance and electronica, but Ritmo Machine's street edge is more grounded.

CD review - Rene Lopez, E.L.S. (2011)

Lopez moves from retro soul to a contemporary Latin sound

Rene Lopez' last album, People Are Just People (review here) served as a kind of homage to classic R&B and soul music. On his latest album, E.L.S., Lopez steps forward to claim his own voice. "Electric Latin Soul" is his new banner and the album largely lives up to that vision.

The title cut serves as Lopez' statement of purpose, marrying an electro-disco funk groove with Latin percussion beats. But it's the second track, I Flow, that really delivers on the Electric Latin sound. The vocals provide club braggadocio touting his rap skills as the backing track lays down the speedy beat the flow demands. The horns and rhythms make a compelling combination:

It took me twenty years to finally find my flow
Now that it's mine, I won't, I won't let go
Pickpocket man try to steal, steal my soul
I caught him red handed when my eyes were closed
(Here I go, here I go)
To the east (I flow), yeah it's big in Japan
To the west (I flow), in the California sand
To the north (I flow), in the Bronx, I was born
To the south (I flow), it's going on and on

The beat is club worthy, but the syncopation gives it life beyond the dance floor.

Despite the electro-dance elements, Lopez hasn't completely abandoned his earlier sound. The "soul" part of "Electric Latin Soul" gets a workout in tracks like Honey Got Some Love or Everything We Do. These tracks keep the clave rhythms and tight percussion, but still deliver a soulful message and vocal feel.

E.L.S. is packed with busier tracks than Lopez' previous work. As much as I enjoyed People Are Just People, the new album is exciting as Rene Lopez plays with sonic ideas. Not all of the experiments succeed (L2 the Boogaloo's electro Latin hip hop, for example), but Lopez commits to the exploration. He embraces his Puerto Rican roots while reaching for a more contemporary sound. Lopez is a talented multi-instrumentalist, so his next steps will indicate whether he plans bring the E.L.S. sound to maturity or mutate it further.

(The link above for I Flow is a live version. Follow this link to tweet about the album and get a copy of the album track)

CD Review - Navegante, Microcosmos

Another happy accident. I recently heard about about the band Navegante and got the chance to hear their upcoming release of Microcosmos, which is due out officially on June 19. The band has been compared to a "Latin Gnarls Barkley". They've also garnered praise from Carlos Santana, which gives them some serious cred but the key, as always, is in the music.

And Microcosmos is a great collection of music, with the main influences coming from Latin R&B and various styles of dance music, like trance and electronica. Many of the songs would easily fit on one of Santana's more recent albums but the dance influence twists it into something a little different. The Gnarls Barkley reference fits because of the vocal delivery style and some of the backing keyboard work, but it also reminds me of some of Sting's solo work. Beyond that, I can hear som African and reggae influences hiding in the background. Overall, Microcosmos offers a lot of what I really enjoy: great beats, a serious groove, and enough underlying complexity to make it really interesting. The complexity is a pleasant surprise from a trio like this. Playing live must be their true showcase but the CD shows a pretty nice range.

One caveat: be prepared, the songs are all in Spanish. On the other hand, the delivery and vocabulary are fairly straightforward. I was able to understand most of it without much effort and I am definitely not fluent.

The album has matching bookends with the song Apariencias ("Appearances"). The closer is a remix of the first song. Initially, I preferred the remix; it has a heavier groove and more synthesizer and echoing guitars. After a few listens though, the mix is a little better on the first one. Speaking of mixes, if I have to find fault with anything with this CD, it's the engineering work. The mixes are compressed and muddy, which makes it hard to hear the separation between the instruments. Little tricks, like varying the EQ and reverb of the various parts, would have made this easier to listen to and would have helped emphasize the bottom end bounce and the shimmery synth washes.

The second song is one of my three favorites off the disc. Todo o Nada ("All or nothing") starts out with a Moorish/mideastern feel with syncopation and a reedy, processed chant in the intro. The beat drives the song but the syncopation balances it into a looser groove. The underlying fill music plays some very interesting scales that take it beyond Latin into a North African/world beat sound. The spoken/sung vocal delivery is typical for the album, contributing to the laid back feel. The only thing this lacks is a heavier bottom end to the groove to take it more into a club beat. The song has a number of sections that all fit together and keep it interesting. This is heavy in my current rotation.

Ya Verás ("Really!") is another of my favorite tracks. It starts with a simple drum beat but there's an underlying sixteenth note guitar ticka-ticka that comes up a little like the verse in Another Brick in the Wall, but this is no Pink Floyd thing. Once again, there's some wonderful complexity between the beat, the guitars, and synths that really catch my ear. Unfortunately, this is where the mix doesn't really deliver on what the song could be. I want a serious thumping bass here with walls of guitar and some cutting synthesizer. The parts are all there but they all smoosh together.

My third pick (and favorite) is Tú, which starts out as a simple ballad, with some trance-like touches. The psychedelic feel comes from echoed shimmery synth washes, the sound of static, and some intensely layered vocals. This is mellow and emotional. There are touches of Beatles influence (Lucy in the Sky with Diamonds) but nothing overt. Even though a cleaner mix would have helped, the overall engineering here is better than the other tracks I mentioned.

There are plenty of other standout tracks on this album: La Optimista reminds me of some Journey song I can't quite name, Cameron brings Johnny Clegg and Savuka to mind, and Calor has a great electronic R&B feel with a hint of trance. This last track is a good example of what I meant by reggae influence -- it's not the beat, it's the dub-style of the arrangement, with instruments dropping out once in a while to add emphasis to the remaining parts. The live version, which is also included, has more jam to it. I'd love to catch this live in person. The irony is that the trance groove adds a cooler distance that belies the title ("Heat").

All together, this is a good example of Latin club music that's worth checking out. My first thought for a pairing was rum and Coke but a nice sipping rum like Cacique from Venezuela would be even better.