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Eazy-E
Str8 Off tha Streetz of Muthaphukkin' Compton
Ruthless

If Henry Fonda hadn't been in On Golden Pond, his last cinematic moment would have been the horrific "bee" movie, The Swarm. Late Compton rapper Eazy-E should have learned something from Fonda's swan song. Str8 Off tha Streetz ... could have been a way for Eazy-E to make a real statement about AIDS, police brutality and gangsta living. Instead, he goes out with braggadocios, talking a whole lot of nothing on "Sippin' on a 40" and "Nutz Onya Chin," even calling out Death Row's roster on "Whut Would U Do?" Beatwise, it's the usual West Coast gangsta style he helped push but which has been sucked dry by faceless imitators. Rhyme skills? Eazy-E's microphone prowess had been in steady decline since Ice Cube stopped writing lyrics for him. Eazy-E, who passed away from complications related to AIDS last March, spent his last days warning the hip-hop nation about AIDS. Knowing this, songs like "Lickin, Suckin, Phukkin" and "Hit the Hooker" sound hypocritical as well as pitiful--like a desperate child trying to prove his manhood. Eazy-E also takes time to vent against gold-digging women in "My Baby'z Mama." Eazy-E spent his recording life promoting an image as a real "G," and he goes out as one. The only real things in life are taxes and death--something Eazy succumbed to but, on wax, won't ever concede to. Don't buy this album to salute Eazy-E; go see a Marlon Riggs movie instead (or check out the homepage. (Todd S. Inoue)


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Photo by Ben Gray

Seven Mary Three
American Standard
Mammoth

Without a salient sound to set it apart from every other group over-rotated on KOME, Seven Mary Three is the pleasant and inoffensive band next door (and on the web). With its simple yet sturdy common-time meter, American Standard is the All-American album. Like apple pie and vanilla ice cream, the throbbing bass, jangling guitars, and consistent percussion and vox are all conveniently complementary. Though J. Ross' gruff vocals offer a hint of rebelliousness, the band primarily adheres to intensely melodic (and therefore bland) instrumentals. "Punch In, Punch Out," an intricate, rhythmic percussion/vocal piece, is a welcome departure from the three-instrument, melody-chorus-bridge formula. You really can't help but be mildly attracted to American Standard--until you begin probing for substance and realize that there just isn't a spark. (Bernice Yeung)


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The Recruits
The Recruits
Self-released

The Recruits are a San Jose band without any of the unpleasant associations involved with the regional designation (except that they have a web page). Their album is full of quite pleasant, relaxed, earnest, acoustic-based melodic rock that should turn on Toad the Wet Sprocket and Counting Crows fans--those of you who are left. The subjects are the usual life-pondering meditations ("I Wish I Could," "That's Life"), infected with moments of cornball self-loathing ("Sorry," "Me Especially"). Percussionist Rick Swanson is subtle, relying on aesthetic flourishes on the tiny spash cymbal. Unlike Adam Duritz, Eric Campbell can sing (key word) a good emotional tune like "Just Let Go" and the best track here, "I Won't See You Anymore." There's absolutely nothing on here to offend anyone. With their great melodies and solid musicianship, the Recruits ought to switch to country & western; they could top the charts. (TSI)

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