Word: moog
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INSTEAD UPDIKE plunges us into a scrutiny of the alienated characters. In "Love Song for a Moog Synthesizer," for instance, he binds us in the "spirals of indignation" of a Cub Scout den mother. Throughout the collection of short stories, Updike stalks the problem of human disconnectedness from all imaginable angles, realistically fleshing it out in "Domestic Life in America," abstracting it in his geometric "Problems," sketching a symbolic outline in the opening piece, "Commercial," recasting it as classical tragedy in "Augustine's Concubine." But he refuses to hunt out the solutions in the diseased scenarios. His "maimed and fanatic...
Only under the worst conditions does Updike envision that men can begin to dismantle the obstacles between them. Pain alone links Tod and his wife. Pumpkin, in "Love Song for a Moog Synthesizer." Tod responds to Pumpkin's need for human sympathy only when she offers a "piece of herself, transferred to his ribs, his kidneys, as pain." Love attaches itself only "to what we cannot help," Updike observes grimly. In another tale of marital wrangling, then, the wife gets through to her husband only by inducing desperation like a "hooked claw," evolving "psychic protuberances that penetrated and embraced...
...rhythm as the Ravel classic. After a few bars, a thick curtain of light, produced by in tense lights rimming the stage, dissolved to reveal Keith Emerson, 32, Greg Lake, 29 and Carl Palmer, 27, hard at work on the center. There was Keith darting from Hammond organ to Moog synthesizer, and Greg picking away at his bass-guitar. Between them sat Carl, confined along with his drums, snares, gongs and tubular bells in a percussion cockpit that resembled nothing so much as a mod four-poster converted into a padded cell for the phantom of the opera. The music...
...sound from a strictly technical standpoint, with one notable exception. Some of the keyboard and synthesizer work performed by Tom Coster on Festival completely eclipses any of the solos rapped out by his predecessor on the ivories, Gregg Rolie. The ornate pattern of notes that flow from Coster's moog on "Reach Up" enable him to separate his personal style from Carlos' domineering presence, a real rarity in this band's history. Until now, Santana has featured five accompanying musicians who have provided a virtually faceless backdrop to the lead guitarist...
...influence of Eno is immediately obvious. The crown prince of electronic rock plays on 7 of the 11 tracks, and collaborates with Bowie on the most successful of the instrumental pieces, "Warszawa." Using piano, mini-Moog, Chamberlain and E.M.I. (don't even ask), Eno creates a work of majesty and spirituality. Medieval in feeling, with a bass drone borrowed from Russian liturgy, it is punctuated by Bowie's decent imitation of the sharp, nasal song style of Eastern Europe. You have the sense of sunlight glowing through the windows of a cathedral; gloomy, but at the same time gloriously transcendant...