Word: musicalization
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Dates: during 1970-1979
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...interviewed the smooth-talking, pinstriped attorney in his expensively furnished Houston law office. It was only in this third and most worldly incarnation that Ajemian saw Big John ease up on his relentless self-control and look touchingly human. "I had asked him about country-and-western music, and he started talking about the ballads of his youth," Ajemian recalls. "Then,all of a sudden, he began to sing - his voice strong, a little creaky , perhaps and certainly less splendid than his oratory, but the words never faltered and he was into this song about The East Bound Train...
Price is not best known for the incendiary qualities of his music. His keyboard skills have been celebrated since his days as a cornerstone member of the Animals, one of the most vigorous of the Beatles-era British rock groups. His songs for Lindsay Anderson's mock epic of modern England, O Lucky Man (1973), stand as one of the decade's most original film scores. But the spike in his lyrics can be easy to miss: it is hidden neatly between a rich melody and a smooth delivery that owes as much to cabaret...
Lucky Day, ebullient and ironic by turns, is obviously an attempt to break some new ground, both a modification of what Price has called "diary music" and a tentative rapprochement with "have fun" tunes. It may seem like a transitional record. But first cut to last, it sounds like a good time, the restless work of a front-rank pop talent...
Price's gifts seem, to American ears, peculiarly English, and that may be one reason American ears have not been as responsive as the music merits. He brings rock to the music hall, overlays it with suggestions of '50s club jazz and well-shaken pop, and comes up with a sound that seems to fall between any two stations on your radio dial. You can drift easily along with an aged-in-wood Price ballad like i Love You Too and nearly not hear the scalding observation "Love only lasts until believers leave us" stashed between choruses like...
...West Coast jazz scene in 1941, his fortissimo "walls of brass" sound struck some critics as "sheer noise," but his popularity endured long after the demise of swing. He helped introduce Afro-Cuban rhythms to U.S. pop, invented the mellophonium, a trumpet-French horn hybrid, and wed classical music with jazz both in his own dissonant compositions (Artistry in Rhythm) and in unorthodox interpretations of Wagner and Ravel...