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Word: soloed (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

...Clarke's "Hello Again," Chick has the bass leap into a swinging stride figure, then covers a couple of choruses in classic cabaret-style piano. The moment is totally unexpected, and it inspires an otherwise weak composition. The big-band funk of "Musicmagic" becomes a vehicle for extended solo exchanges--Corea duels with Clarke's hard rocking bass, Joe Farrell's jazzy reed lines, and workhorse Gerry Brown's polyrhythmic drums...

Author: By Paul Davison, | Title: Lost In Eternity | 1/15/1979 | See Source »

...Gayle Moran's rendition of "Come Rain or Come Shine" falls flat--she should know enough to stay away from such a gutsy jazz singer's standard. Serenade features Joe Farrell's tenor sax, an undersung quantity if there ever was one. Stanley Clarke performs a lengthy acoustic bass solo that is more a technical coup than a creative improvisation. His sheer enthusiasm makes the cut listenable despite serious intonation problems. Corea begins the show's finale with a 17 minute piano solo. His playing is so damned interesting that he very nearly carries off this whole venture by himself...

Author: By Paul Davison, | Title: Lost In Eternity | 1/15/1979 | See Source »

...with a wealth of new stuff that couldn't fit on Some Girls languishing on tape somewhere, facing an unfamiliar time urgency (Billy Wyman is 42 and Keith Moon is dead) and a new solo ambition on Richards' part, the Stones have turned to the single as a way to introduce fresh music without the agony of launching an album piggyback on Some Girls. More can probably be expected in the new year...

Author: By Paul A. Attanasio, | Title: Two From Mick and Keef | 1/11/1979 | See Source »

...side, "Run, Rudolph, Run," an old Johnny Marks-Marvin Brodie song once recorded by Berry, sounds exactly like "Roll Over Beethoven." Richards taught Harrison the lead to that one, and he's had fifteen years to brush it up. The result, predictably, is wonderful. Richards used to reject solo offers, saying the music would just come out like the Stones minus Mick. Maybe so, but who cares? Based on this cut and a handful of earlier efforts, we can only view Richards' recently publicized willingness to form his own band with eager anticipation...

Author: By Paul A. Attanasio, | Title: Two From Mick and Keef | 1/11/1979 | See Source »

...legendary Memphis session man, producer, and mainstay of Booker T. and the MGs. Belushi smooths out his vocal delivery a bit in "Almost," and Tom Scott of the L.A. Express handles the sax break as the rest of the horn section punches away. Next comes Aykroyd's only solo number, a wonderfully obscure bit of nonsensical babbling called "Rubber Biscuit" which is, believe it or not, quite faithful to the original version. Murphy takes the spotlight in the classic 12-bar "Shot Gun Blues," delivering some sizzling runs as Belushi moans, "I'm gonna take a shotgun, baby, disconnect...

Author: By Marc E. Raven, | Title: The Blues for Sure | 1/4/1979 | See Source »

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