Word: elektra
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Dates: during 1970-1979
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Dire Straits: Communiqué (Warner Bros.) and The Cars: Candy-O (Elektra) are two follow-ups to albums that were large -and largely surprise-hits some months back. Both offer again pretty much the same bill of fare, without the single tune that snags your ear straight off and streamlines the journey to the Top Ten. The Cars, a Boston band, go big for flash, echo and cosmic inconclusion. Dire Straits are English and purvey a sort of oblique narrative rock so relaxed and laid back, with its easygoing guitar licks and sleepytime vocals, that the record could have been...
...showed a bound woman saying, "I'm 'Black and Blue' from the Rolling Stones -and I love it!" A new organization, called Women Against Violence Against Women (WAVAW), protested to Atlantic, which took down the billboard. Now WAVAW is demanding that Atlantic, Warner Brothers and Elektra clean up their album covers, but the companies are stonewalling. Says Warner Bros. Publicity Director Bob Merlis: "If a group wants a gorilla on the cover, they get a gorilla on the cover, unless it's illegal or there's a marketing reason why gorillas aren...
Floyd relies on his orchestration-expert in its postromantic, pre-Elektra style-for most of his emotional impact. Yet that emotion is expended on shallow comments on the action, rather than on getting inside the characters. Reaching into and revealing heroes and heroines with music is what opera is all about...
...also handles Elton John, Queen has become the monarch of British rock. A few weeks ago, Bohemian Rhapsody, a six-minute cut that mingles introspection with Gilbert and Sullivan operatics, hit the top of the British music charts. Queen's fourth LP, A Night At The Opera (Elektra), has passed the million-seller mark worldwide. Last week the group began a six-week tour of 21 U.S. cities...
...1920s, Die Tote Stadt was an anachronism. Korngold was to Richard Strauss what Engelbert Humperdinck (Hansel und Gretel) was to Wagner-a brilliant but minor follower. The style of Die Tote Stadt is a lush, clamorous, occasionally schmaltzy orchestral sonorama that lies somewhere between Der Rosenkavalier and Elektra, with special added effects from Puccini, Debussy, Mahler and Rimsky-Korsakov. The best of its vocal moments, like the taunting Marietta's Lied, sound like pure Franz Lehár, the master of popular Viennese operetta...