songs were similarly given the El Vez treatment: "Suspicious Minds" became "Immigration Time", dealing with immigration rights; "Little Sister" was redone as "Chicanisma" (a Spanish grammatical gender inversion of the term Chicanismo), about the empowerment of Latina women; and "Baby Let's Play House" turned into "Safe (Baby Let's Play Safe)", with cautionary lyrics promoting safe sex. "Cinco de Mayo", an original song musically rooted in the Who, the Clash, and the Dils, traced the story of the Battle of Puebla and featured Chip and Tony Kinman of Blackbird (formerly of the Dils). Music critic Kembrew McLeod later called the album "El Vez's best work, smoothly combining humor, social and political satire, and great rock & roll in one fell swoop." A Christmas album, Merry MeX-mas, followed later that year, and El Vez began staging annual Christmas-themed performances that became big hits with his fans. In mid-1994 Lopez also began performing as a new character, Raul Raul, who he described to the Los Angeles Times as "a real angry Chicano beat poet. I enjoy it because he's a solo act with no props or dancing girls to fall back on. It's almost the opposite of El Vez, who is always so happy and positive-thinking. Raul Raul is yelling, spouting, finger-pointing at the 'white devil slave masters' and all that. But it's really humorous." Also in 1994 Lopez reunited with the Zeros for the band's first full-length studio album, Knockin' Me Dead, which consisted of new recordings of their old material. The Zeros toured Spain in the spring of 1995, and a live album titled Over the Sun was recorded in Madrid that March and released later that year by Madrid's Imposible Records. Also in 1995 Munster Records released the El Vez live album El Vez Is Alive, documenting his performance at the 1991 Roskilde Festival in Denmark. Lopez began incorporating the Raul Raul character into his El Vez performances; in a New York Times review of his 1995 Christmas show in Manhattan, journalist Neil Strauss wrote: "The set's highlight was its most atypical moment, the reading of a poem by El Vez's alter ego, Raul Raul, an angry-young-man poet. As Vince Guaraldi's theme music from the Peanuts cartoons played in the background, he decried racism in the Sunday comics with lines like, 'Hey Charlie, I'm brown/Por que no Latinos in your stinking town?' Underneath the humor, there was a message. And