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LITTLE CAESAR AND THE ROMANS
Toga! Toga! Toga!
Del-Fi
LITTLE CAESAR AND the Romans bridged the gap between late
'50s doo wop groups and the emerging early '60s frat rock scene
led by the Kingsmen, Sam The Sham and the Pharaohs, and the Swinging
Medallions. From their signature vocal theme "Those Oldies
But Goodies" to the balls-out New Orleans-style R&B of
"Popeye One More Time," Little Caesar and the Romans
catch a "Fever" that brings the "Ten Commandments
Of Love" to a standstill with powerful, haunting four-part
vocal harmonies. Dressed in the corny guise of togas and sandals
(think Caligula and his entourage doin' the funky chicken at a
weekend bacchanalian beer blast), Little Caesar and the Romans
defined the dawning era of frat rock, back in 1961. With hip dance
moves and loads of rockin', R&B-flavored tunes like "Hully
Gully Again" and "Yoyo Yo Yoyo," all the uptight
frat boys were seduced into shaking a tail feather--sucking down
pitchers of cheap suds helped aid their awkward attempts at doing
the Watusi and the Boo-ga-loo. Toga! Toga! Toga! is the
ultimate Animal House-styled soundtrack to your next booze-soaked
barbecue. Little Caesar and the Romans would make John Belushi
belch with approval.
--Ron Bally
SONNY ROLLINS
Global Warming
Milestone
WE'VE PRETTY MUCH got two jazz legends left--Ornette Coleman
and Sonny Rollins--and the latter flashes enough of his unmistakable,
slightly raspy, driving tone in the first 60 seconds of this newest
release to loosen the furrowed brows of jazzsters concerned that
the aging Rollins is losing his touch. While the opening "Island
Lady" is no "St. Thomas," it's certainly in keeping
with the saxophonist's unabashed love for simplistic, even danceable,
themes. While most players his age are churning out useless discs
of standards, Rollins continues to write most of his fare--all
of them here, with the exception of a single cut by Irving Berlin.
The coupling of his melodic composing with his idiosyncratic improvisational
personality continues to reel us in from both angles. This is
no nostalgic album to be appreciated merely for the sake of what
Rollins hath already wrought. He's hasn't lost the touch. While
his previous exclamation-mark playing may no longer flash itself
as frequently as we'd like, it's probably due more to Rollins'
increasing penchant for understatement more than a loss of chops.
--Dave McElfresh
BEENIE MAN
Many Moods of Moses
VP Records
DANCEHALL REGGAE'S PLACE on the fringes of mainland pop
is a shame. Of all current music, the style can claim the strongest
one-two punch--often hitting harder than its hip-hop cousin--of
insistent party rhythms and melodic rhyming. But besides the disadvantages
of not being a homegrown sound, dancehall's main stumbling block
seems to be all those cheap drum machines and cheesy synths that
turn Americans off. As Shabba Ranks proved a few years back, though,
an artist who can apply hip-hop's indigenous flavors and production
values to dancehall holds serious crossover potential on the pop
charts. Meet Moses Davis--a.k.a. Beenie Man--and check the many
moods he explores on his fourth and highest-profile U.S. release.
True to its name, Many Moods dabbles in various styles,
yet succeeds consistently at working new sounds into dancehall's
framework. From the Zulu chant-sing of "Introlude" to
the rudimentary drum 'n' bass of "Monster Look"--and
from the new jack swing in his version of Bobby Brown's "My
Prerogative" to the Nashville fiddle and pedal steel of "Ain't
Gonna Figure It Yet"--Beenie Man expands dancehall's vocabulary
far enough to leave stretch marks. And with the worldwide hit
"Who Am I," where Beenie flaunts hip-hop swagger over
Jeremy Harding's sophisticated production, the blueprint for an
international dancehall sound is laid. At its most extreme swings,
Many Moods can sounds like a multiple personality disorder. Beenie
slips anti-Christian sentiments into "Heaven On Earth,"
then shouts gospel reggae to the top of Mount Zion on "Got
To Be There." "Have You Ever" toasts the joys of
menage à trois, while "Steve Biko" reprises Bob
Marley melodies to inspire African consciousness. Does he contradict
himself? Certainly. But give Beenie a break, the man contains
multitudes.
--Roni Sarig
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