Word: falsetto
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Dates: during 1970-1979
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...looks like a refugee from a George Raft movie with an acrylic pile toupee. His last record, Fresh Fish Special, was a great open-a- few-beers album which included, among other things, the best version to date of Bruce Springsteen's "Fire." With his Elvis-like baritone and falsetto yelps, Gordon made you dance along and sing along, play an invisible guitar and even try Brylcreem...
...fund raisers called the affair VIP Night on Broadway, and it was indeed that. Scores of celebrities, including TV Star Robin Williams, Historian Arthur Schlesinger Jr., Falsetto Tiny Tim and Actresses Claudette Colbert, Phyllis Newman, Lauren Bacall and Brooke Shields were on hand for a $24-a-seat variety show at the Shubert theater. Maureen Stapleton sang Gilbert and Sullivan's "The policeman's lot is not a happy one." Angela Lansbury borrowed a song from the musical Sweeney Todd, singing for the cops, No One Will Harm You. Those who paid $96-the price of one bulletproof...
...disembodied voice "I wish I could die" over a ponderous bass line. At the coda, Lydon intones "terminal boredom," an apparent gloss to the song. "Fodderstomf" features a disco bass line and the refrain "We only wanted to be loved" chanted in a sort of Monty Python falsetto. In the background we hear Lydon variously maundering belching, and playing with a fire extinguisher, for almost eight minutes. One manifest fault of these tracks is their impossible length; tracks on Bollocks averaged around three minutes...
John Oates, who often writes slow and soft tunes, turns out a nice cut on Along the Red Ledge, with "Melody for a Memory." The pair make good use of string orchestration to provide a backdrop for Oates' mellow voice, echoed by a Hall falsetto. But this is typical Hall and Oates stuff, basically no different from the music on albums like Bigger than Both of Us or the less-successful Beauty on a Back Street. What distinguishes Along the Red Ledge as a worthwhile contribution to current pop music is the work that comes alive on the second side...
...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 her version of the song just different enough from the original...