Word: singer
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Dates: during 1990-1999
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...sure had. Waller, who's 54 and on sabbatical from his day job as a professor of management at Northern Iowa State University, just happened to tell somebody at Warner Books that, yeah, he had been a semipro, Saturday- night-at-the-Holiday-Inn sort of guitarist and singer since college. And, yeah, he had written a song about Kincaid and Francesca called The Madison County Waltz...
...scenario, based on a real story, seems full of dramatic potential. In 1964, Rene Gallimard (Jeremy Irons), a French diplomat stationed in Beijing, starts a long-term affair with Song Liling (John Lone), an opera singer who enchants him with Eastern modesty and feminine mystery. Several years later Gallimard learns he's been had, so to speak: Song was a spy for the Chinese government...
Frances Gumm, which has toured with Pavement (and now is based in St. Paul) developed a simpler sound you could duplicate night after night, show after show: short songs, no jazz, no instrumentals, with the melody locked up in the jumpy bass lines. Eric, the singer, started singing as if his lungs were being torn from his body and his liver ripped apart by vultures every time the two-line choruses began. Cruella is therefore one of the year's most emotionally wrenching rock records, if you can get used to the singing; the whole package reminds...
...painful self-reproach ("The Red Baron"). Once you stop noticing how high his voice is, you'll probably start noticing its agility: "I want to go bang on every door/And say 'Wake up, you're sleeping through heaven'" has three contrasting riffs buried in it. Your average power-pop singer would give it one at most. Far from being lush or orchestral, Game Theory's sound is always crisp (there's barely any reverb or delay on this entire CD, and when there is, it's a special effect). No matter how thin you slice the songs--down...
...awesome aesthetic reach of Sunday's "intellectual memorial" for W.E.B. DuBois owed much as well to the voices of Walter Robinson and Co. These voices proved more than equal to the haunting and soulful beauty of what DuBois deftly called the "Sorrow Songs"--the Negro Spirituals. The Singer of "My Lord, What A Morning" matched Marian Anderson at her best, and the beautifully disciplined improvisation on "Swing Low, Sweet Chariot"--boldly folding over the classical Spiritual rendition with the classical or high-style Gospel mode--was something to behold...