Word: basses
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...STANDOUT OF Ronstadt's latest, though is Little Feat pulser, almost reminiscent of "Poor, Poor Pitiful Me." Carried along by Russ Kunkel's sure-handed, driving drum beat and a steady Kenny Edwards bass line, Ronstadt displays the power of her sharp, brassy voice in a heavily throaty verse that rises to an upbeat, bold chorus. The bright, '70s rocker contrasts strongly to "Oooh Baby Baby," a mellow Smokey Robinson tune in which Ronstadt uses two male backup vocalists who add a sweet falsetto giving the song a Motown-like sound. The song works quite well; Ronstadt's voice makes...
Though Townshend remains the Who's musical standard-bearer, it's clear that the other members are now full partners. John Entwistle, the bass player, wrote a full third of the album's nine songs, and they're every bit as good as Townshend's. "905," a song about a depersonalized future, has a cold, catchy beat recognizably not Townshend's but definitely the Who's. Daltrey has once again taken control of his voice and uses it with as much energy as in the past, and more dramatic flair, controlling the frenzy and leaving the primal screams...
...summer at Buildings and Grounds. Zewinski forms the team just once every year for the tournament, and asked Murray to join this year. Murray then contacted Hughes and Purdy and the Crimson fishing team had its starting roster for 1978. Although he has netted a lot more goals than bass in his lifetime, Purdy declared his three days in Nova Scotia, "the best athletic experience I've had at Harvard...
Another Mem Hall tradition is Mr. Test When you take your first Mem Hall exam you will see him; a rotund man, his bald pate rimmed by electro-shock curly hair, a bottle of soda surgically grafted to his hand and his mellifluous bass vice oozing out of the corners of the giant mead hall in which exams are given...
...boiling point. They are powerhouse musicians who have raised roadhouse rock to Olympian heights. The driving delicacy of Roy Bittan's piano, Danny Federici's flights of rough-and-tumble fantasy on the organ, and the hang-tough beat of Max Weinberg's drums, Garry Tallent's sinuous, serpentine bass lines and the roistering guitar of Miami Steve Van Zandt form the firm foundation. The wailing, extravagant sax solos by Clarence Clemens cut jolting, joking arabesques around the Boss's lead guitar and vocals, which are the main attraction, and the most seismic in the business...