Word: backgrounds
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Dates: during 1990-1999
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Aside from figuring out the lyrical motivation, indulge in the addictive chorus of "I Got Time." Hanley jubilantly and rockingly declares, "You take the weight off the heavy notion/I'll take the wave from coast to ocean/that's why the ride is light/it's alright," with perfect background harmonies and studio dubs of Hanley singing complementary lyrics ("disappointment try it out/disappointment it's alright") peppered in at certain points. In addition to the exciting groove throughout the song, new drummer Tom Polce gets a chance to show listeners that he is a wonderfully energetic addition to the Letters To Cleo...
...with its punky-paced, unrestrained musical journey in Hanley's car, again highlights Polce and emphasizes the talented band members--Greg McKenna and Michael Eisenstein on guitar and Scott Riebling on bass--and guest organist Jed Parish. With an attractive female lead, the men sometimes get pushed to the background, but they are essential in completing the perfect pop rock sound of Letters To Cleo, especially on a song like "GO!". With Hanley's ecstatic voice, the band's instruments wailing with heed to precise dynamics and a circuslike organ bopping along to the automobile antics, the song exemplifies...
...movie, and then the next thing they do is some thriller made for profit." Holland did not, however, buy into the notion of a "revived" independent cinema that dovetailed with the success of The English Patient, Secrets & Lies and other non-Hollywood pictures late last year. Again, her multicultural background clearly affords her a unique perspective...
...though it is sitting on the surface of the canvas as opposed to on the hat in the image where it belongs. Similarly, the highlights on the buildings in "Montmartre Street Scene" appear more like abstract shapes on the picture plane than reflections on buildings in the distant background. This conflict between the material surface of the painting and the illusion of space in the image is doubly intriguing in its ambiguity, as we are unsure whether to attribute it to budding originality or simply unresolved patches in a young artist's work...
...portraits of his mistress Madeleine serve as elegant examples of this newfound painterly restraint. In "Woman in a Chemise (Madeleine)," Picasso sets his subject's creamy profile against a blue-green background. Yet the layering of the image is so delicate and transparent that body slips into background and chemise slips into body. In "Seated Nude (Madeleine)," Picasso goes even further, playing with both line and plane to describe form. He uses thin black lines to distinguish her rust legs from a background of the same color, while only a mottled cream plane indicates the surface of her chest...