Word: songe
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
Still, MTV didn't want to just martyr itself and show videos all day. What it did instead was learn how to make videos feel like programs, to hold viewers even when a bad song comes on. On 12 Angry Viewers, young people are asked to review videos on the merits of their visual style, although, despite repeated instructions, they can't seem to keep from talking about the music instead. On MTV Probe, kids are taped, cinema verite-style, expounding about what videos mean to their lives. In one 35-second segment, a guy explains to his friend...
...pomp-and-circumstance style that seeks to swallow the listener up in production and emotion. The main problem with Let's Talk About Love is that Dion's sense of dynamics is only a trifle more refined than Saddam Hussein's sense of international protocol. She doesn't build songs, she demolishes them, she overruns them, like Caesar conquering Gaul. Oh, she tries to rein herself in, but to no avail. The song The Reason starts off gently, then, out of nowhere, Dion starts to shriek. The reason? Because...
...another song, I Hate You Then I Love You, Dion makes the mistake of having opera star Luciano Pavarotti join her in a duet. Now, inviting Pavarotti to sing a fluff-headed pop song is like asking Picasso to paint your house--it's just not practical. Pavarotti's big, clear tenor easily trumps Dion's showy yelp, and he doesn't stop there--he goes on to overwhelm the song's flitty lyrics and thrash its slight melody. Final score: Pavarotti: 3, Song: 0, Dion: 0. And while we're at it, give Dion a zero for this album...
...like how one imagines it must be to get chewed out by New York Jets football coach Bill Parcells--only with guitars. Bolton is one of those guys who, even when he's singing softly, SEEMS TO BE SINGING IN CAPITAL LETTERS. He invests nearly every phrase of every song with unbearable, unearned emotion, and several of the songs are cluttered with heavy-metalish guitar asides that seem lifted from Spinal Tap B sides. The last song on this album, Go the Distance, is a fitting closer. It's from the animated movie Hercules, and every line...
Streisand has one of those voices that can take you places. Go back and check out her 1970 rendition of the title song from her movie musical On a Clear Day You Can See Forever: it makes you feel eligible for frequent-flyer miles. Streisand also has that rare ability to make show-biz emotions seem sincere; when she hits those big payoff notes, she doesn't do it just because she can; she does it because the song calls for it, because the big note she's holding is the only way to express what she's feeling. Higher...