Word: pops
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Dates: during 2000-2009
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...loved you all my life." She's Clare (Rachel McAdams), a young artist, and in her past - Henry's future - he has visited her and won her undying devotion. Henry, you see, has the gift or curse of time-traveling: disappearing from one temporal and spatial reality to pop up, naked, in another. This science-fiction trope will be familiar to fans of The Terminator, but Henry is no action-fantasy god. He's just a guy whose body has a wanderlust he can't harness. That's why, as he tells the besotted Clare, "I never wanted anything...
...interview with Frank Beacham, Paul joked that a lot of people didn't know he played a guitar. "They think I am one," he said. He was something more: a genius of a tinkerer, with machines and music - the Edison of pop...
...Paul had thought that Summers, schooled in country, would not feel at ease singing the jazz-inflected pop he wanted to play. But he finally decided that his domestic partner could be his professional one. For a two-star act, she needed a name nearly as short and simple as his; thus Mary Ford. They hit immediately: five Top 10 hits ("Tennessee Waltz," "Mockin' Bird Hill," "How High the Moon," "The World Is Waiting for the Sunrise" and "Whispering") in nine months. From August 1952 to March '53, they scored five more Top 10 hits ("My Baby's Coming Home...
...High the Moon' had terrific verve," said Bill Wyman, long the Rolling Stones' bassist, "proof at last that pop could provide stylish, instrumental inventiveness." So it's instructive to listen closely to "How High the Moon" - not a chore, since the song provides as much musical exhilaration now as it did when it was released, in March 1951. It encapsulates the lithe popular art of all those Les and Mary singles - the density and clarity, the distinctiveness of his guitar voice and her intimate vocal instrument, the heart and the fun. It's a number that expresses the choral lilt...
...feeds out of Ford's vocal with a wah-guitar wail that seems to hunch the shoulders of a note, then relax into some fleet picking in Paul's trademark bubbly style as if he's somehow playing underwater and the notes have quickly risen to the surface to pop in the clear air. That's the first chorus. The second features a lot of the power chords that later rock guitarists would borrow. It climaxes in an ascending "aaaah" from the Ford voices that transports us into the third instrumental chorus, where a few more Lawrence Welky bubbles return...