Word: songe
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Dates: during 1990-1999
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...excesses of actressy masochism. As Sadie, she leaves no emotional scab unpicked. It's a role for which her voice, carriage and technique are ill suited; she's too small for these grandiloquent gestures. Georgia's big set piece is an eight-minute (or possibly eight-hour) Joplinesque song in which Leigh screams, whines and pleads "Take me back" while falling to pieces onstage. It's a startling, exhausting spectacle--and, like the rest of Leigh's performance, very, very...
...agrees to marry Fairfax--she can't resist the hundred crowns offered--and, of course, Point cares for Elsie, but he hasn't declared himself to her. Their duets are the best thing about the show, hands down. Brown has a wonderful voice, powerful and elegant. Miller's adorable song and dance numbers win the audience over in no time...
...most entertaining cuts show the Beatles' early gift for parody. You'll Be Mine, a Lennon-McCartney jape from 1960, suggests a Five Satins love song as it might have been tortured by a fourth-rate crooner in a Blackpool pub. John offers a basso-preposteroso spoken verse: "My darlin'...I looked into your eyes, and I could see a National Health eyeball..." The band brought the same proto-camp tone to covers of Three Cool Cats and Sheik of Araby, on a failed audition tape for Decca Records on New Year's Day, 1962. Raw and cheeky, the Beatles...
...Ghost of Tom Joad, is his best in years, it's because Springsteen has turned his attention once again to the downtrodden. The songs on the new album are about desperate lives along the Mexican-American border. Each is like a short story; several unwind without choruses. On Sinaloa Cowboys, Springsteen sings of two illegal immigrants who fall in with drug traffickers (he manages to rhyme "ravine" and "methamphetamine"). His sound--somewhere between Springsteen's stark Nebraska album and his serenely wrenching hit Streets of Philadelphia--is spare, featuring little instrumentation beyond an acoustic guitar, harmonica and keyboard...
...mature, well-crafted debut" is how TIME's Christopher John Farley describes the eponymously titled first album from the New York City-based alternative rhythm and blues duo Groove Theory. The album is remarkably consistent; every song amply lives up to the promise of the sweetly insinuating first single "Tell Me". Groove Theory is a restrained affair, with reservoirs of emotion. Singer-lyricist Amel Larrieux's voice is a placid soprano with an intriguing hint of hidden hurt that evokes the gently aching style of Sade, or Beth Gibbons of the British band Portishead...