Word: sung
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...which makes the success of Scott’s new album all the more imperative and all the more impressive. Her arrival a couple of minutes into the second track, “Long Walk,” is heralded by the deeply felt and sung line, “You’re here / I’m pleased / I really dig your company,” which sets the tone for the entire live disc. Scott’s high-energy performance emphasises the vibe between performer and her audience. “Long Walk” hits...
...Don’t Call Me Up” is in many ways the standout track on the album, despite being musically fairly unremarkable. The lyrics are written and sung with a depth of conviction that you wouldn’t think possible from Jagger until you heard it. He sings his way through the messy story of a divorce: “People ask have you seen her/I say not for a while/I’m going to see my girlfriend way down in Argentina/We going to have a blast for a while.” Jagger?...
...problem in writing to suit the fashion is that fashions go out of fashion. In 1910 and beyond, there was a rage for "coon songs," which were to be sung as if by black performers - often by whites in blackface. "Alexander's Ragtime Band" is such a song, the name of the bandleader tipping listeners of the day to his race. Berlin wrote numbers popularized in blackface by Eddie Canton ("Mandy"), Al Jolson ("To My Mammy") and Bing Crosby ("Abraham" in "Holiday Inn"). Some of Berlin's coon songs offered what now seems like subversive social commentary. Beneath its jarring...
...Anything You Can Do" (1946), by Judy Garland and Howard Keel (1948), on "Irving Berlin in Hollywood." Garland was to star in the "Annie Get Your Gun" movie, but frazzed nerves forced her withdrawal. The nerve shows in this duet of rivals, sung at a faster-than-usual tempo, and with an antagonism that ends up somewhere between alarming and awe-inspiring...
...Play a Simple Melody," or "Simple Melody/Musical Demon," 1914. This was Berlin's first contrapuntal tune: two melodies - one demure, one robust - that are sung consecutively, then one atop the other. (He did it again with "I Wonder Why/You?re Just in Love" for "Call Me Madam"). It was the biggest hit of his first Broadway score, "Watch Your Step," and spawned hit versions that reached #4 and #8. In 1950 the song did a Lazarus, or would have if he?d been a barbershop quartet. This time there were four hits, including Bing and Gary Crosby...