Word: smoothly
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Dates: during 1970-1979
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...same time, because of his easygoing style, his youth and his ability, Tom Eagleton made a lot of friends in Jeff City and around Missouri. He is known as a smooth, effective campaigner, charming his constituents with his informality and wry, self-effacing wit. Pulling into small towns, he has been known to pop out of his Cadillac and announce: "Here I am, folks, in living color." In rural areas he can be as folksy as the soybean farmers in his audience. "I know," he will drawl, "that you don't want to hear this...
...filigree (largely in the first violin part) which is given an ostinato accompaniment (sixteenth notes) marked both with dots and the written indication, "staccato." Only during the climax midway through the piece was this ostinato element performed according to the markings--elsewhere, these repeated notes were articulated in a smooth, 'lyrical' way. Thus the movement was robbed of both the intended contrast of the alternating elements, and the overall unity inherent in similarly-executed repetitions of the rhythmic ostinato figure. The scherzo, marked presto, was played too slowly to bring off the abundant rustic humor, while the trio, undoubtedly intended...
...acting is also topnotch. Robert Redford's McKay is a perfect seemingly sexless but actually hungry, American idealist; MeIvyn Douglas is fine as his corrupt father; Don Porter, veteran of fatherly roles in TV sitcoms, is well-cast as Crocker Jarmon--rhetorically smooth, with the sincerity of a born exhibitionist and a rockribbed physical facade. But Peter Boyle steals the show as Marvin Lucas, McKay's mysterious New York-based campaign manager. Lucas is tough, and smart, and flexible, a Madison Avenue superman; but in his own oily way we feel he cares more seriously than anyone else...
...guitar as much as Argent's rely on organ and piano. "Tragedy", opens with a good soul band guitar lick, that becomes the basis of the tune. Rod Argent's role on this one is to build the total sound with his full-bodied chords, and to play a smoothly-phrased duet with Ballard during the break. The transitions between chorus bridge and break are smooth--repeated listening shows this to be one of the band's strong points. Though Ballard doesn't play a solo here, he gets by with some nice chorzs over a syncopated bass and drum...
...overdubbing effect early in the break by playing lines with both hands. The rest of the long break is characterized by a full sound on the organ; Argent builds by level to his climax, but does no without any (Keith) Emersonian flash or frenzy. Again, there's a smooth transition, featuring an echoed, insistent "Hold Your Head Up" chant, into the final chorus and verse...