Word: lyricizing
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...What If I Came Knocking, both of which reaffirm Mellencamp's knack for exuberantly melodic rock 'n' roll. The record ends, appropriately, with To the River, on which Mellencamp dives "down to the undertow" and declares, "Well, the deeper I drown/ Lord, the higher I'll go." The lyric, with its suggestion of cleansing renewal, demonstrates the essential optimism at the core of Mellencamp's dire vision and his faith in the healing power of music. By venturing into the urban wilderness, Mellencamp has discovered the core of the American soul...
...What If I Came Knocking, both of which reaffirm Mellencamp's knack for exuberantly melodic rock 'n' roll. The record ends, appropriately, with To the River, on which Mellencamp dives "down to the undertow" and declares, "Well, the deeper I drown/ Lord, the higher I'll go." The lyric, with its suggestion of cleansing renewal, demonstrates the essential optimism at the core of Mellencamp's dire vision and his faith in the healing power of music. By venturing into the urban wilderness, Mellencamp has discovered the core of the American soul...
Joel's gem is the sleepytime title tune. Its consonant-poppin' lyric charts a land where pop merges with gospel, black embraces white, dread is absolved by belief -- in God, in dreams, in the rolling sing-along cadence of a doo-wop bass line. "We all end in the ocean,/ We all start in the streams,/ We're all carried along/ By the river of dreams." And by effortlessly sophisticated, perfectly primal music. It makes the journey of faith as jaunty as a Nintendo quest...
...Trousers, currently in production at the Lyric Stage, is a small play with big ambitions. In its Boston premiere, the William Finn musical is the first of the "Marvin" trilogy that Finn and James Lapine went on to complete, and while Falsettos, the Tony Award-winning combination of the latter two plays, has received much acclaim, the first one-act has merits...
Aspects of the work of older American artists recur in Porter's work: Marsden Hartley's love of bony mass, Edward Hopper's treatment of light. But there were very great differences. Porter was a more nuanced and daring colorist than Hartley; his world is more lyric than Hopper's, and on the whole untouched by melancholy. It is also more generalized in treatment. In a large painting like Island Farmhouse, 1969, the white weatherboard asserts itself in a blast of light like a Doric temple; the lines of shadow are a burning visionary yellow; everything, from the angular...