Word: songfulness
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...show, milking every line for laughs that even Brooks may not have known were there. This time, Brooks makes do with an array of competent Broadway vets. Roger Bart (the gay assistant in The Producers) is likable, but only that, as Dr. Frankenstein. Sutton Foster, one of Broadway's song-and-dance wonders, seems to be slumming as the Swedish bombshell Inga, a part any one of a dozen actresses could have played. The dizzy Megan Mullally (of Will and Grace) seems wrong as the doctor's uptight fiancé. Andrea Martin, that SCTV pro, is probably best in show...
...released a mere seven weeks ago, and has unsurprisingly already claimed the number one spot on Billboard’s “Hot 100” chart. Who can resist a bouncy beat–or Nappy Boy, for that matter? Aside from the typical bump-and-grind songs, a few impressive ballads are presented in the album as well. Brown’s ballad “I Wanna Be” proves to be one of his more moving efforts. Over a gentle piano melody, he sings longingly to a benefitless friend from whom he wants more...
...Heartbreaker” juxtaposed tears-and-beers country with pop rock, oscillating between the shambling joviality of “To Be Young” and the apocalyptic depression of “Come Pick Me Up.” His slipshod albums display brilliance in one song and careless laziness in the next. Then there were the substance abuse problems. Adams says he’s been clean and sober since before entering the studio to make June’s “Easy Tiger” and the just-released “Follow the Lights?...
...slow start, and it’s definitely back-heavy. The last third of the album–where Diddy’s production crew, the Hitmen, are conspicuously absent–is markedly better than the rest. “Pray,” the first song and second track of the record, goes right for the jugular. Heavy rhythmic bass, a pulsing melody, shouts, and a distorted guitar accompany Jay’s straightforward, unremitting delivery. The sparking of what is presumably a J at the end of the track blazes the way for the mellifluous and soulful...
...figure technique. It is often the similarities in works across time and place that are most intriguing. A case in the second gallery that houses fish and flowers illustrates this strength. A floral Josef Hoffman design from roughly 1920 echoes both a Chinese vase from the eleventh-century Northern Song Dynasty and a twelfth-century plaque from Cologne—one of the show’s tiny treasures—while the congruence of fish forms in ancient Greek and Egyptian bowls plays well off the Hokusai print beneath. The objects are well displayed throughout. Many, such...