Word: intros
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...there to sing, of course, though he played a vigorous rhythm guitar, ceding the fancy solos to Scotty Moore. But on one 1957 session, when slap-bassist Bill Black walked out in frustration after being unable to master the rumbling electric-bass intro for the Leiber-Stoller "Baby, I Don't Care," Elvis picked up the instrument and played the line perfectly. He would also push for extra takes to get a song right. He insisted on 31 stabs at "Hound Dog," then listened pensively to the playbacks and said of the final take, "This...
...songs are artfully constructed, ranging from the introspective “My Sins” to the teasingly jazzy intro of “Before You Met Me.” Bell and Palmer’s guitar work is unaffected and terse, neither giving in to indie-style chord pounding nor dissolving into noodling solos. That said, album-opener “Green Eyes” boasts a yearning solo that might make the Edge proud. Matthew J. Kamen ’03 provides lithe basslines that mostly remain tied to the bass drum of Travis M. Beamish...
...drop courses will always create a barrier for students who want to switch classes. Preregistration would also discourage students from visiting a wide range of courses during the first week of classes, resulting in students taking less risks with their course selection and sticking to safer, impersonal intro-style classes. And preregistration would encourage professors to start teaching actual course material from day one, making it difficult for students to catch up if they join the class in the second week...
...simply stunning. It combines the meticulousness of such handcrafted, small print-run books as Non with the availability of a trade paperback. Ng Suat Tong has sharply edited the selections for a variety of styles, subjects and cultures. Perfect for a newcomer, each contribution has a short accompanying intro to the artist. It mixes artists from Croatia, Hungary and Malaysia with many of America's new generation of comix creators. Tom Hart's fat, almost crude lines perfectly match the brutal ecstasy of his superb "Sandra Brown," a story of lust and mud. In one of the several non-fiction...
...Those three TV minutes revealed Jerry Lee's electrifying, near-electrocuting showmanship. But the music was what got me. The bass figure on the piano starts rumbling and, two beats later, J.M. Van Eaton's cymbals join in. After the four-bar intro (which he first used in his own composition "End of the Road," recorded November 14, 1956), Jerry Lee makes the vocal invocation: "Come on over, baby, whole lotta shakin' goin' on!" It's a firm but liquid tenor, at times quavering with the infusion of the Spirit (perhaps holy, perhaps profane) that Jerry Lee heard and sang...