Word: lyricizing
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...post-Mottola career, Carey does most of the creative work herself, including the lyric writing and producing. A reluctance to delegate and a crushing travel schedule put more pressure on her. For several years, a Sony executive notes, Carey has had problems sleeping. A close friend was "not surprised at all" by the breakdown. "She works ridiculously hard." Since she became a star at the age of 19 in 1990, she has made nine albums, in contrast to three by Whitney Houston...
...Been Me" and "Greenbacks," he adopts the nasal whisper of a race tout) and get forceful. Charles also learned that he was his best composer. His first pieces were every bit as primitive as Ertegun?s, but his renditions were way more primal. On "Don?t You Know" the lyric boasts a banality worthy of Ahmet?s efforts ("Don?t you know, baby/ Child, don?t you know, baby/ Don?t you know, baby/ Little girl, little girl, don?t you know/ Please listen to me, baby/ Girl, I?m in love with you so"). But those are just words...
...back to basics -the 12-bar blues -in a song so uptempo and alluring, and so memorable, that it serves as the title for Ertegun?s gigantic memoir book: "What?d I Say." There was nothing revolutionary in the lyric, except its daring to be loose ("Hey, mama, doncha treat me wrong/ Come and love your daddy all night long," etc.). Nor was the notion of releasing a jazzy, largely instrumental number in two parts; the year before, Cozy Cole (whose drumming career had stretched from Jelly Roll Morton to Charlie Parker, and who had recorded a Leiber-Stoller number...
...Drifters hit made them cautious with other writers? songs. Mann and Weil had written "Only in America" as a scathing denunciation of civil inequity: "Only in America/ Land of opportunity/ Do they save a seat in the back of the bus just for me." Leiber and Stoller rewrote the lyric as a straightforward, Horatio Alger anthem. The meaning was lost; worse, it was twisted...
...beloved on her birthday. The show is too sketchy in spots, particularly in its portrayal of Kathleen. But Brown's music (lushly orchestrated with Brown himself on piano) is the least arid and most accessible of the scores turned out by his generation of Sondheim disciples. This is smart, lyric-driven music that doesn't abandon melody or variety. One number rocks; another harks back to '30s Tin Pan Alley. And a wistful, turn-of-the-century-style waltz sends you out of the theater with a lovely, warmhearted souvenir. Most of the souvenirs at The Producers cost 20 bucks...