Word: basses
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Dates: during 1980-1989
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...MUSIC BOWIE employs on Scary Monsters matches this consciousness of sub-terranean gloom: it is shuddering, dissonant, ponderous, complex. "Scream Like a Baby" opens with a thud from George Murray's bass and a wail from Bowie; then, to a leaden bass drum beat and descending synthesized tones it tells a story of pointless assimilation...
...opening night the answer was no. Dozens of critics and musicians disputed the long reverberation time, the strident brass, the puddles of aural mud. Too much depended on one's location in the auditorium. The bass was usually too strong. (That is good; after 18 years and expensive tinkering, New York's Avery Fisher Hall-the Titanic of postwar acoustics -still has a mumbling bass.) In general the sound seems too bright and unfocused. That, however, is better than starting out with a dead hall...
...contrary humanity. What was it like to listen to 8,500 guns, a sound that no human ear had ever heard before? For Winston Churchill, who visited France to see the war firsthand, the crescendo rose "exactly as a pianist runs his hands across the keyboard from treble to bass." For Private Frank Gray the thunder was "one roll, one roar, which never diminished and never increased, and which, indeed, imagination refused to conceive could be increased." After listening to a similar barrage, a U.S. Marine exulted: "I never want to have a grander feeling or I'd just...
...besequinned red velvet crown and proved by playing the rhythm-and-blues devil out of his instrument. He was flanked by a young white guitarist, who played astoundingly well in a Freddie King-inspired style, plus a more stoic black guitarist, two saxophonists, a vigorous drummer, a bass man and, ofcourse, brother Cleveland Chenier on his metal washboard...
...album continues with the title track, "Emotional Rescue." Over an eerie carnival backdrop and an ingenious bass line, Jagger sings of the psychic strategies necessary to life with women, which is, as I have said, identical to life in general. It moves from a return to adolescence and ideal love (matched in from by the carnival figures and the unnatural falsetto) to a life of chronic depression ("And I was crying, baby, crying like a child," in a pain-wracked natural voice) to a vision of sexual redemption worthy of Lawrence, sung in the dread/voodoo accents of a Jamaican deejay...