Word: tempo
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Dates: during 1990-1999
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...first listen, the love songs sound lighter than the rest of the album, but beneath the sunny surfaces, Sweet's view of secular relationships is equally bleak. The brokenhearted narrator of Someone to Pull the Trigger implores his lover to take him back or "shoot." And on the mid-tempo Devil with the Green Eyes, Sweet laments, "You were never meant to be mine/ 'Cause I came up from a dark world/ And every love I've ever known is dead." At such moments, backed by Quine's corrosive electric guitar, Sweet takes sentiments that could have been morbid...
...flavor of each exotic locale or scene and watered down by an attempt at showy, Disneyesque flair for the mass palate, each song is performed in neat, self-contained gobbets. Fogg's first number, "A Man Who Likes to Get Things Done," is accelerated from an already brisk tempo to create the sense of rush and meticulousness in which Fogg prides himself; this anal-retention is in direct contrast to the next number, Gitano's "Improvise," which feels more licentious and uninhibited, with a Spanish rhythm. This mood music then gives way to a series of clipped scenes, each with...
...pianists, exulting in the sensuality of Romanticism and the vertiginous, almost orchestral possibilities of the piano. Two CDs demonstrate his superb musicianship and rare virtuosity: Chopin: 4 Ballades -- 4 Scherzi and Earl Wild Plays His Transcriptions of Gershwin (Chesky Records). Chopin's works vary widely in mood and tempo, yet Wild sustains the long singing lines that provide their pulse and shape. That singing -- with wit, warmth and Lisztian heroics -- defines Wild's Gershwin, especially his extended Fantasy on Porgy and Bess...
...tempo, fervor and construction, the piece resembles rock video. There is little plot and less sequence: it is hard to distinguish the present from the profuse flashbacks, yet it doesn't seem to matter. This may not be a cohesive play, but Frank Pugliese, 29, has the distinctive voice and emotive power of a true playwright. His unifying theme is race. Before the action begins, the boys have fatally stomped a black man who invaded their turf to buy a sandwich. They seem capable of redemption: the brightest (Adrian Pasdar) falls passionately if shamefacedly for a black woman (Cynthia Martells...
...Magazine, for example, sung in an arid yet passionate rasp, Edwards muses on how literary works have been replaced on people's bookshelves by visually slick magazines featuring everything "from the absurd to the obscene." The haunting, slow-tempo Yellow Brown recalls the cyberpunk film Blade Runner; synthesizer bass notes drip like fat raindrops, and the sounds of droning machinery resonate. Edwards laments ecological destruction caused by technology: "In the city air, in all our seas, you can see every other color bleed into/ Yellow brown. There's nothing to save us from ourselves...