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Avg: 3.5 (148 ratings)
- Date Released: April 3, 2007
- Genre: Hip-Hop/R&B
- Style: Rock, Salsa, Latin, Funk
- Label: Concord Jazz
L.A. Latin funk rockers come correct with more hooks, just as many grooves.
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We Say...
Maybe the L.A. Latin-funk-rock-skank-Tejano-etc. nonet Ozomatli were tired of hearing that their live show trumps their recordings — that people seek them out to exult in their grooves but forget to listen to them at home. But although albums like 2004’s Street Signs are plenty meaty, with Don’t Mess with the Dragon Ozomatli is clearly going for as many hooks as grooves, and finding them with impressive regularity. The title track sounds like War given a high-gloss meringué buff, and because it wouldn’t be an Ozomatli song without a little cross-genre crosshatching, the breakdown throws in a little Augustus Pablo melodica dub action. “Lo Segunda Mano” plays like a beat-fueled fever dream: synth-bass sizzle, off-kilter piano loop, booty-rap beat and backing vocals from Martha Gonzales of Queztal under a rap by Ozo’s Justin “El Niño” Porée, an infectious hip-hop/son jarocho blend. And just in case you still haven’t seen them live, the two eMusic-exclusive tracks at the end give you a nice, hefty taste of the experience.
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They Say...
Never a band afraid to push their sound further, to try new things, Ozomatli has been developing their songs past the salsa-inspired, hip-hop-infused rock they played on their self-titled debut for a while now. On Don't Mess with the Dragon, they continue to do this, moving even further from the Latin music around which they formed and into R&B, ska, and rock riffs that often little resemble what the original group focused on. Not that the record is unrecognizable -- the previous ones had progressively moved in this direction, anyway -- but many of the songs on Dragon wouldn't be out of place on a Robert Randolph or even a No Doubt album. "City of Angels" uses horns and female backup singers to build up a strong soul groove, while "Here We Go" is practically reggaeton. Strangest of all, however, is "When I Close My Eyes," a punk-inflected pop song that hearkens back to the mid-'90s alternative scene. It's not that any of these tracks are bad: Ozomatli is comprised of talented enough musicians, and have been doing it for long enough now, that they're able to pretty much successfully pull off anything they try, but these songs move so far from the sociopolitical salsa on which they created themselves that it's almost hard to recognize them as from the same band. Sure, there are still some cuts that celebrate their Latin influences well -- "La Gallina," "La Segunda Mano," "Creo," "La Temperatura," for example -- but it almost seems as if they're so afraid of playing the same song over and over again (ironically enough, "La Temperatura" sounds a lot like La Misma Cancion" off Ozomatli) that they don't let themselves truly do what they do best, fall into the groove that they know best. Sure, they're capable of everything they try out on Don't Mess with the Dragon, but capability alone doesn't always necessitate action.
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| 01. |  |
Can't Stop |
2:56 |
|
| 02. | |
City of Angels |
3:16 |
|
| 03. | |
After Party |
3:45 |
|
| 04. | |
Don't Mess with the Dragon |
3:23 |
|
| 05. | |
Gallina |
3:05 |
|
| 06. | |
Magnolia Soul |
3:21 |
|
| 07. | |
Here We Go |
2:38 |
|
| 08. | |
Temperatura |
3:03 |
|
| 09. | |
Violeta |
3:53 |
|
| 10. | |
Creo |
3:15 |
|
| 11. | |
When I Close My Eyes |
3:46 |
|
| 12. | |
Segunda Mano |
3:33 |
|
| 13. | |
Cumbia De Los Muertos - eMusic Exclusive Bonus Track |
16:39 |
|
| 14. | |
Esa Morena - eMusic Exclusive Bonus Track |
6:23 |
|
14 Total Tracks, 62:56 Total Length
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Credits
- John Burk - Executive Producer // John Burk - A&R // James Calire - Organ (Hammond) // Chris Gehringer - Mastering // June Kuramoto - ? // Tim Roberts - Mixing Assistant // Serban Ghenea - Mixing // K.C. Porter - Piano // K.C. Porter - Accordion // K.C. Porter - Keyboards // K.C. Porter - Programming // K.C. Porter - Vocals (Background) // K.C. Porter - Producer // K.C. Porter - Engineer // K.C. Porter - Synthesizer Bass // Robert Carranza - Engineer // Christian Lantry - Photography // Ulises Bella - Clarinet // Ulises Bella - Keyboards // Ulises Bella - Saxophone // Ulises Bella - Vocals (Background) // Ulises Bella - Melodica // Ulises Bella - Requinto // Ulises Bella - Group Member // Mary Hogan - A&R // Cecilia Bastida - Vocals (Background) // Asdrubal Sierra - Guitar (Acoustic) // Asdrubal Sierra - Trumpet // Asdrubal Sierra - Keyboards // Asdrubal Sierra - Vocals // Asdrubal Sierra - Group Member // Mario Calire - Drums // Mario Calire - Group Member // Walter Miranda - Piano // Sheffer Bruton - Trombone // Sheffer Bruton - Horn Arrangements // Sheffer Bruton - Group Member // Raúl Pacheco - Guitar // Raúl Pacheco - Vocals // Raúl Pacheco - Jarana // Raúl Pacheco - Tres // Raúl Pacheco - Group Member // Jiro Yamaguchi - Percussion // Jiro Yamaguchi - Tabla // Jiro Yamaguchi - Vocals (Background) // Jiro Yamaguchi - Group Member // Seth Presant - Engineer // Pilar Diaz - Vocals (Background) // Amy B. - Vocals (Background) // Amy B. - Executive Producer // Willy "Wil Dog" Abers - Bass // Willy "Wil Dog" Abers - Percussion // Willy "Wil Dog" Abers - Guitar (Rhythm) // Willy "Wil Dog" Abers - Keyboards // Willy "Wil Dog" Abers - Vocals (Background) // Willy "Wil Dog" Abers - Synthesizer Bass // Willy "Wil Dog" Abers - Group Member
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