Word: successful
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Dates: during 1960-1969
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...time underneath his clothes, his hair, and his histrionics, Hendrix is a Bluesman. His guitar playing is not as polished or perfected as that of B. B. King but he is years younger than B.B. and is far more adventuresome. Unlike many contemporary Rock stars success seems to have improved Hendrix rather than ruining him. He now doesn't have to worry about playing for his audiences. He will now play a whole set of beautiful Bluesy stuff and all he has to do is wind up with "Purple Haze" and the audience will worship him. In his last album...
Motown is essentially oriented toward the urban black, his experiences, attitudes and aspirations. This orientation and the care with which they arrange their records have been nearly as important in the company's success as the talents of its artists and song-writers. In 1968, the company put even more emphasis on the life of the urban black, in songs ranging from "Love Child" by MISS DIAN A ROSS! and the Supremes to "Cloud Nine" by the Temptations. These are good examples of the type of social-comment song Motown produces. The songs do have comparatively relevant messages to impart...
...often, though not always, cramped and weakened by large and superfluous brass and string sections, not to mention a number of poorly conceived arrangements. Essentially, this seems an attempt to emulate the breadth and polish of the Motown Sound. As such, it is neither a notable success nor an unqualified disaster, and the use of percussion is, generally speaking, far better perceived and executed than on her previous albums. For the future then, it is reasonable to expect Atlantic to continue this exploration into more complected arrangements unless and until it begins to seriously hurt her sales and her feelings...
...just as we have not forgotton those days just before the Twist, Broadway has not forgotten the success of Bye, Bye Birdie. New York producers seem to have remembered that this Charles Strouse-Lee Adams musical found favor not only with parents who wanted to laugh at their crazy children, but with the very subject of satire as well; the kids liked Strouse's mock-pop rhythms. And now, much later, we (and our parents) are being asked to like Broadway packages of our new culture...
...success of Promises and the rest of the latest batch of "rock" musicals certifies the fact that the paths of Broadway and true rock culture will continue to meet in the future. While some of the established critics will dissent--John Wilson of the Times found Promises all beat and no melody--the trend seems to be towards a modernization of the American musical. What remains to be seen is whether the New York musical theatre will receive enough potent doses of pop/rock to bring it down squarely on the side of the cultural revolution...