Word: songs
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Dates: during 1970-1979
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...justified. The Eagles are a motivating commercial force in rock more than a creative one. The Sad Cafe tries to shape a coda for the '60s by shoring up all the cliches of a generation ("love," "freedom," "amazing grace," "lonely crowd") and firing them off like salvos. The song becomes unwieldy, but its graceful melody rescues it. Henley and Frey have better luck closer to home, in the jokey, hokey bacchanal of The Greeks Don't Want No Freaks or the sly ironies of The Disco Strangler (a collaboration with String Player Don Felder) and King of Hollywood...
...tell me who's on the phone?") set beside 120 members of the University of Southern California's Trojan Marching Band, blasting away to create an unlikely mixture of mystery, humor and the slightest hint of menace. Tusk is the penultimate song on side four. The album ends with a lovely Christine McVie tune, Never Forget, whose congenial conventionality seems calculated to assure listeners that the band has come back down to earth...
...Most Happy Fella (first produced on Broadway in 1956) most clearly reveals the imbalance that occurs in a musical when it opts for the operatic mode. A musical rests on a tripod of book, score and dance. Opera-oriented shows almost inevitably rely on only a monopod, song...
...EXECUTIONER'S SONG...
...difficult to tell entirely whether Mailer or various tape recorders are to be congratulated for The Executioner's Song. Mailer seems to have undertaken the project mostly for money. He never met Gilmore but acquired an immense pile of tapes from a hustler named Larry Schiller, the entrepreneur who had earlier promoted deals involving Jack Ruby, Marilyn Monroe and Susan Atkins of the Manson gang. Mailer spent additional weeks interviewing Gilmore's family, his girlfriend Nicole Barrett, and surrounding bit players...