Word: complexing
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...This article contains a complex chart -- Please see hardcopy of magazine or PDF.] Standing under a fading blue sign that says BIRTHPLACE OF THE AMERICAN V6, Allan Taylor gestures at the factory behind him and grimaces. "Everything in there is obsolete," he says of the Buick engine plant. Taylor has spent 30 years there, and at 59 he's nearing retirement. It's a good thing too, since the plant won't be running much longer. General Motors plans to shut it down in 2008, one of nine factories the company aims to close, eliminating 30,000 jobs. Taylor...
...girl-name song (they had a lot of those) with a you-look-so-fine, gonna-make-you-mine lyric. But listen to their later, more mature (I want to say Blue Period) work and you'll hear little pop poems about hard-won love lessons, wrapped in fairly complex narratives...
...Dawn. For their fifth single, the Seasons team produced a masterpiece. Anyway, their apotheosis. Since the simple days of "Sherry," Crewe and Gaudio had been listening to Phil Spector's productions for the Crystals and Ronettes; the arrangement is both burlier and more complex. The song begins with a snatch of spoken doggerel ("Pretty eyes of midsummer's morn, / They call her Dawn"). Then the drummer has a quick snit fit, and organ and chimes lead into the plaint, "Dawn, go away, I'm no good for you," as a guitar strums 2/4 Latino figures. There are six different melodic...
...singer is a wonderful guy with no money and an inferiority complex the size of Idaho. "Dawn, / Go away, back where you belong. / Girl, we can't / Change the places where we were born." The rich girl is ready to go with him, but she's leading with her heart. So, like Bogart in Casablanca, he has to do the thinking for both of them. "Before you say / That you want me, / I want you to think / What your family would say. /Think / What you're throwing away. / Now think what the future would be with a poor boy like...
...Having seen Jersey Boys, and spent the last week listening compulsively to their greatest hits album, I still think that. I'd go further and say that this music is as sharp, smart, tuneful and complex as any new Broadway scores not of the Sondheim school. I mean, better than the scores of The Producers, Hairspray, Avenue Q, Spamalot-which happen to be the last four Tony-winning musicals. Gaudio, Valli, DeVito, Massi and Crewe left a legacy of potent, sophisticated songs. Pop-classic music for all seasons...