Word: musicalized
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Dates: during 1990-1999
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...Invisible Touch, including the upbeat and pleasing title track, dominated by synthesizer and pounding studio drums and the somewhat sappy yet touching ballad "In Too Deep," in which Phil Collins' conversational vocals become very intimate. "Tonight, Tonight, Tonight," a song about sexual desire infused with a little '80s electronic music, is a darker single from the same album. Other predictable songs are here, such as "I Can't Dance" and "ABACAB," the latter whose introductory guitar riff is familiar, even if you didn't know from which track it came. "Jesus He Knows Me," an ironic single about evangelism...
...still naive--or at least straightforward. With Odelay and now Midnite Vultures, Beck has left these Mountain Dew-soaked roots for something more rarefied and cosmopolitan. Even his voice seems to have gotten higher. Grooviness has replaced grit, and Beck has moved from the wood-paneled periphery of the music industry to its hollow matrix-like core...
...brilliance of Beck, however, is that his new hollowness rocks. He is doing a very sincere (if idiosyncratic) cover of the history of pop music. When, on "Hollywood Freaks," the most majestic track on Midnite Vultures, the background vocals rap-wail "Jockin my Mercedes/Probably have my baby/Shop at Old Navy/He wish he was a lady," Beck isn't making fun of rap, or even of people who shop at Old Navy. He knows all about this, and he isn't afraid to mimic it. And he hopes all the "Hollywood freaks," "b-boys," girls who "look so Israeli" and whom...
...When listening to Midnite Vultures for the first time, it's easy to be overwhelmed by its crackling originality. The album's main fault is that such a hectic blend of music eventually sounds a little thin and is more exciting as an artistic maneuver on Beck's part than as a long-term fixture in a CD-changer. It's the most straightforward (and final) track, in fact, that will probably become Midnite Vulture's best-remembered track. "Debra" is a funk-love send-up; its proto-cheesy sound is so robust that all irony melts away...
...Lola the Pioneer. The depiction of one train moving forward and another train moving backward, when coupled with Manuela's voice-over of the history and purpose for her journey detract from Almodvar's intention that the scene serve as a point of transition and departure. In an almost music-video-like sequence, a distraught Manuela peruses the local transvestite meat market. She does not find Lola, but she does come upon La Agrado (Antonia San Juan), or the agreeable one, Manuela's transsexual friend. La Agrado is the movie's ironic wit, garnering lines such as a full list...