Rosie Perez, Rosie Perez Biography, Rosie Perez A Tribute To Rosie Perez Album 2010

Rosie Perez, Rosie Perez Biography, Rosie Perez A Tribute To Rosie Perez Album 2010. The only issue with Aesop’s production is that it many times overshadows his MC cohorts. Good luck trying to decipher exactly what Murs and Slug are spitting during your first listen. There are moments when their rhymes fail to grab you and, instead, you’re left nodding along to Aesop’s production. What that amounts to is Felt 3 requiring several spins to fully digest. And once you do so, it’s when you can fully appreciate just how well these three guys complement one another.

Their lyrics might not dazzle you like on their own albums, but that was never the intention of Felt. Not to mention the fact that Murs and Slug truly sound at home over Aesop’s production. A quick listen to highlights like “Protagonists”, “Bass for Your Truck”, and “Henrietta Longbottom” will prove that. Murs and Slug adjust their deliveries to match the schizophrenic beats while delighting you with next-level bravado and storytelling. That’s no easy feat. But there is no question that the third Felt album could have used some editor’s scissors. It might be cohesive and well executed, but it suffers from moments of self-indulgence. There are numerous occasions, for example when Aesop’s beats, no matter how stunning, play for 30 seconds too long. Chop 15 minutes off this record and you not only have a fitting tribute to Rosie Perez but perhaps the best Felt project yet.

But you remember that Atmosphere album You Can’t Imagine How Much Fun We’re Having? OK, good– now imagine the exact opposite sentiment. I have no idea what put these guys in such a sourpuss mode, but the celebratory “we the best” boasting of “Protagonists” proves to be a red herring instead of a mood setter. The rest of the way we get to hear Murs and Slug swap out the kickin’ back at the BBQ vibe of their previous releases and go off on so many archetypes/strawmen you wonder if they even think they have fans. Either way, it gets to be awfully oppressive over the span of Rosie Perez’s hourlong runtime for anyone other than the most insatiable consumers of complaint rap.

Hipsters, critics, “internet rappers,” rappers who rap about violence (“Deathmurdermayhem”) all get dealt with, but in a manner so vague that their dismissals become toothless. Come on, I’m wearing a cardigan as I type this review– work with it! Instead they save specificity for tracks boasting the concerned but condescending attitudes towards women I expect from a Taking Back Sunday album. It’s one thing to lack sympathy, but Slug and Murs crucially forgo empathy too often, and their subjects come off like set pieces rather than real people– oddly enough, the fantastical fairy tale character portrait of “Henrietta Longbottom” comes off like the most intensely written song on the whole thing.

But you remember that Atmosphere album You Can’t Imagine How Much Fun We’re Having? OK, good– now imagine the exact opposite sentiment. I have no idea what put these guys in such a sourpuss mode, but the celebratory “we the best” boasting of “Protagonists” proves to be a red herring instead of a mood setter. The rest of the way we get to hear Murs and Slug swap out the kickin’ back at the BBQ vibe of their previous releases and go off on so many archetypes/strawmen you wonder if they even think they have fans. Either way, it gets to be awfully oppressive over the span of Rosie Perez’s hourlong runtime for anyone other than the most insatiable consumers of complaint rap.

Hipsters, critics, “internet rappers,” rappers who rap about violence (“Deathmurdermayhem”) all get dealt with, but in a manner so vague that their dismissals become toothless. Come on, I’m wearing a cardigan as I type this review– work with it! Instead they save specificity for tracks boasting the concerned but condescending attitudes towards women I expect from a Taking Back Sunday album. It’s one thing to lack sympathy, but Slug and Murs crucially forgo empathy too often, and their subjects come off like set pieces rather than real people– oddly enough, the fantastical fairy tale character portrait of “Henrietta Longbottom” comes off like the most intensely written song on the whole thing.
Pérez started her career in the late 1980s as a dancer on Soul Train and has choreographed music videos by Janet Jackson, Bobby Brown, Diana Ross, LL Cool J and The Boys. She was the choreographer for the dancing group the Fly Girls who were featured on every performance of In Living Color. She was noticed in a dance club by Spike Lee in 1989, who hired her for her first major acting role in Do the Right Thing.