Word: rhythm
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Dates: during 1970-1979
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...once again, as in their last two matches, at Boca Raton, Fla., and Tokyo earlier this year, the younger Borg (now 22, vs. 25 for Connors) was clearly superior. His metronomic groundstrokes raked the corners of the court, upsetting Connors' rhythm and preventing him from battling back with the laser passing shots and pinpoint volleys that are his best strokes. But it was Borg's serve that made this the quickest (107 min.) and most definitive Wimbledon men's final since 1974, when Connors pasted Ken Rosewall in a straight...
Laura Nyro: Nested (Columbia). The record that asks the question: "Can we mend/ transcend/ the broken dishes of our love?" In pressed wallflower ballads and rhythm and blues slicked up for the cotillion, this garland of lovelorn billets-doux shows no sign of Nyro's lyrical gift. Most of the tunes have to do with being wronged, often romantically, sometimes legally: "Autumn's child is catchin' hell," she sings, "for having been too naive to tell/ property rights from chapel bells." These are the best lines on the record. They are promptly diluted, then wasted, like every...
...Innocent, and The E Street Shuffle. Moreover, Springsteen has given this album a very dense texture, creating a wall of sound effect on many of the cuts. Springsteen has used this approach befire, but on this record he lays certain things too thickly, specifically the less-than-sprightly rhythm section and his own vocals. "Badlands," basically a good cut--as energetic and rambling as the best Springsteen can be--suffers, as you will, from Springsteen's triple-tracked harmony on the chorus, which is all too reminiscent of bloodhounds baying at a treed raccoon. In fact, Springsteen does this...
...abandoning their convictions for crossover record profits. A number, like Taylor and Coleman, have headed in the opposite direction: into free-form experimental jazz, which seems to flaunt its abrasive sound, hitting you like a kick in the ear. Free jazz dispenses with the chord progressions and set rhythm that traditionally have ordered jazz, leaving each member of a group free to improvise both notes and tempo. It is intense sounding and often looks to the emotional power of African music for its antecedents. Says Taylor: "One of the things I had to divorce myself from was the constraint...
Perhaps Betty Carter put it best at Newport. She began her set with / Must Have Music and ended with Movin' On, a song whose relentless one-two rhythm propelled it forward like a speeding train...