Word: backgrounds
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Dates: during 1990-1999
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...performed with Cunningham and Moll. Huggett and Cunningham have performed together as part of a chamber group, the Trio Sonnerie, and it showed in the lively interplay between the two musicians. Huggett's clear, sharp playing was a marvel, and both Cunningham and Moll, who provided a solid background to Huggett's soaring violin, ably supported...
...last two pieces brought Galway back onto the stage, his brassy, clear sounds bringing the volume back up again after Marais' Suite. The Bach Sonata in E major was purely a Galway showcase, the other players fading in the background for once as he overwhelmed them with his flawless playing. The Telemann Quartet in D Minor, however, brought the whole group on stage for the finale, and all contributed to the success of the performance of that work. Huggett and Jeanne Galway, especially, shone in this work, Huggett's playing so clear and light that she almost sounded like...
...plays guitar and sings--or rather, bellows--the vocals. Although I had a difficult time understanding him, his hoarse screams went rather well with the thrashing guitars. He has a couple of thrilling two measure solos in "Blowin' Smoke" in which you can actually hear his voice. In the background, drummer Jeremy Thompson, once a member of the band Phantom Creeps, does what he can--which isn't too much...
...would be misleading to say that R.E.M. has simply reverted to Automatic For The People. The band continues to have some of the eerieness found in Hi-Fi, with echoes and added effects sprinkled into the background and a low, raw bass at times. Up seems to take a lot of the positives from New Adventures in Hi-Fi and combines them with traditional R.E.M. The absence of Berry, who left as the result of a brain aneurysm during the Monster Tour, translates itself into an exotic mixture of spacey beats on several tracks. Screaming Trees drummer Barret Martin...
...guitar gives a raw edge that shows the change over the course of the past two albums, but unlike their previous raw guitar pieces, "Lotus" blends the raw sound into the fabric of the song in a way that neither accents it nor leaves it too far in the background. "Lotus" seems to resolve R.E.M.'s conflicts with the hard and distorted guitar that took the world of popular music out of their hands and into the grunge era's clutches...