Word: music
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Dates: during 1960-1969
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...serve as indoctrinatons for the non-hip. While some of these (like "Walking in Space" and another number called "Be-In") have too much Broadway sound and too many lyrics that only Life would find hip, some of the others are honest, simple and firmly based in the rock music vocabulary of the pre-Sgt. Pepper's and Hendrix days. One of the authors. Rado, does "Manchester England," a piece happily in the early-Stones idiom in which he asserts, "I believe in God/ And I believe that God believes in Claude/ That's me." this and others (particularly...
Your Own Thing, the off-Broadway version of Twelfth Night that won the New York Drama Critics' Award for best musical last year, is never equal to Hair, even when Hair is at its worst. The score (by Hal Hester and Danny Apolinar) makes every concession to Broadway and very few to rock. The music is all pre-Beatles rock-and-roll; some of the songs are just waiting for Leslie Gore and Connie Francis...
Bacharach (music) and David (lyrics) comprise something of a unique niche in popular music, one that indeed defies categorization. They wrote a large collection of songs before Promises--such as "Reach Out for Me," "What the World Needs Now is Love," "The Look of Love," "I Say a Little Prayer,"' "Message to Michael"--most of which were initially sung by Dionne Warwick. These compositions owe something to rock, something to soul and something to Gilbrerto. But it is rock without the acid, soul without the traditional soul beat and orchestrations, Gilberto without the relaxing rhythms...
Central to the songs of this team is the faithfulness of the lyrics to the gut essentials of emotion and the accompanying faithfulness of the music to the erratic course the relentlessly frank lyrics take. And thrown in with all this are the rhythmic patterns, which fluctuate wildly as the words shifts (often suddenly) between hope and despair...
When Jill O'Hara, a girl with a voice that is a strange cross between country-western twanginess and Dionne Warwick inflection, sings about "Knowing When to Leave" a lover, music and rhythm change as the character's thoughts move form a detached statement of principle ("Knowing when to leave won't ever let you reach the point of no return/ Fly") to an upbeat assertion of hope ("Foolish as it seems/ I still have my dreams") to an angry stream of abuse ("Keep your eyes on the door/ Never let it get out of sight/ Just be prepared when...