Word: lovesickness
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Dates: during 2000-2009
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...prize still belongs to Mascis, whose songwriting seems perfectly attuned to the chemistry that the trio had developed, weirdly uninterrupted after nearly two decades apart. Nowhere is this more true than on “I Want You To Know,” a blissfully heavy blast of lovesick joy that’s just as easily straight out of the 80s vaults. In the end, the only difference between “Farm” and its immediate predecessor is the subtle tone of satisfaction; having emerged into yet another creative groove, this record lacks the hints of ragged...
...world list. (She's No. 93; it probably wouldn't be proper for a First Lady to come in any higher.) Cameras with lenses that can count her pores from three states away are trained on her around the clock. Former East Wing veterans marvel at the lovesick coverage she gets: when Oscar de la Renta questions her fashion sense - "You don't ... go to Buckingham Palace in a sweater" - the response is, essentially, Well, what does he know? This is what a paradigm shift looks like. (See pictures of Michelle Obama's fashion diplomacy...
...Curtis, McVeigh has an uncanny knack for delivering the most vacuous lyrics with commendable seriousness and brooding passion. The title track, while arguably the strongest song on the album and the one with the most commercial appeal, sounds at times like the pubescent diary entries of a lovesick and paranoid teenager: “He said to lose my life or lose my love / That’s the nightmare I’ve been running from.” It gets even more bizarre when the band attempts to imbue the lyrics with sappy romanticism, as in the chorus...
...singer-songwriter Neko Case, writing alt-country songs teeming at the brim with a mixture of nature, love, and free-spirited humor is all but, well, second nature. On her new album, “Middle Cyclone,” her skillful imagery—featuring killer whales and lovesick tornadoes—continues to prevail, bringing forth an album full of integrity and purity rarely found on an artist’s seventh studio release. While Case remains true to the form established on her previous work, the original appeal of her ethereal voice and fanciful melodies...
...well-respected place in the music industry to explore a folksy, Mitch and Mickey sound. M. Dean Wareham ’85, who’s billed in the accompanying press material as “an architect of despair,” comes across as more of a lovesick crooner, flatly singing “Honey I miss you now / Baby I miss you now.” “Singer Sing,” the first track of the album, is deceptively good, featuring Britta Phillips’ throaty, intriguing vocals over a funky background and some...