Word: songs
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Dates: during 1970-1979
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...album's other high points come with "If You Can Touch Her At All," a meditative sad song, and "Don't Cuss the Fiddle," which leads into an impromptu chorus of "Goodhearted Woman." But perhaps most engaging is "The Wurlitzer Prize (I Don't Want to Get Over You)" the quintessential country song about putting quarters in the same Wurlitzer every night, playing the old songs and thinking about a woman. And even Waylon's death wish, which came through on the uneven Luchenbach album when he recorded "Sweet Caroline" and sometimes makes you think he wants...
...cities, to emphasize the inadequacies of the general term. While the British punk rockers vomit on their audiences and cry for anarchy, Boston punk rock is at times nothing more than pure late-'50s-early-'60s rock'n'roll. Joe is quick to point out that punk is the song of a culture, and different cultures shape different songs...
...story, to convey a feeling using the guitar riffs and words--tell exactly what the meaning of the so. And it's exactly the same with punk. It's simplistic, but it has to be understood that it's only a vehicle around which the real meaning of the song...
...three women and two men who deliver the numbers really deliver. Armelia McQueen is a husky-dusky sybil of song, Irene Cara wraps her voice in plaintive melancholy, and Nell Carter has a sensual verve that turns Cash for My Trash into a show-stopping aphrodisiac...
...though my opinions on such matters should matter little to you, I felt that the costumes, designed by Lindsay Davis '75 and Alison Taylor, were very impressive, glittery and colorful. The dance numbers (in the first act, at least) lacked a certain pizzazz (although the '50s-style "T.V. Love" song-dance combo was a show-stopper, and I'm told that the disco-oriented "Travolta-clone" scene in Act II was equally memorable). And while all of the actors did creditable jobs within the horrible confines of the format, there were a number of unquestionable standouts (at least...