Word: rhythm
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Dates: during 1980-1989
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...Erase the race that claim the place and say we dig for ore." She makes no overt 'statement,' but the primitive-sounding instruments and background follow a sparse, dirge-like rhythm, mourning the destruction of a people. At the same time, the dirge represents the grinding advance of heavy machinery. The background sounds of animals and chanting crowds of people give way to the mechanical advance, leaving only a lone, hopeless voice to utter a regret in an ancient tongue...
...haunting tone of the music is Kate Bush's trademark. But the heavy rhythm in the song would come as a surprise to anybody used to the more conventional style of her earlier hits like "Man With the Child in His Eyes.' The contrast with her old style persists throughout the new album, each song pressing a new experiment in sound or subject matter. For the most part, she experiments with a darker, heavier sound. She seems to want to dispel her soft-rock image, without resorting to an electric guitar. Instead, she alters her singing style and makes frequent...
...sings in German in a song on Lionheart. Her influences always came from Europe, where the bulk of her fans live. The inspiration of the new album, though, often comes from below the equator. "Pull Out the Pin," the song of a Vietcong cadre in combat, borrows from the rhythm of Indonesia. Even the blades of a clipper join in to help keep time in a manner reminiscent of The Clash's Charlie Don't Surf. "Scott Your Lap" has the throbbing, polyrhythmic beat of the last Talking Heads or Peter Gabriel albums. Bush never really had her roots...
...European melodic style in 'Suspended in Gaffa." The incomprehensible lyrics follow a melody as appealing as "Oh To Be in Love" as they wander about on a waltz tempo. She doesn't really need these flashbacks to maintain her image, though. Despite the superficial changes in rhythm, voice and musical texture, the album has the same surreal spirit as its predecessors. Kate Bush is still alive and well and living in a world only her own music can adequately describe...
...Born in Cincinnati, a city with a rich musical heritage, young Jimmy Levine could pull himself up to the family Chickering piano and pick out tunes before he was two years old. When little more than an infant, he once astonished his father, a former bandleader, by spotting the rhythm of Mary Had a Little Lamb when it was idly drummed on a tabletop. Piano lessons came at four, recitals at six. In 1953, age ten, he made his debut with the Cincinnati Symphony, performing Mendelssohn's Piano Concerto...