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Word: tempo (lookup in dictionary) (lookup stats)
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...mean to be like that. On the first album (Aurora), some songs were very melancholic, mid-tempo, dark and moody...teenage poetesque," Hanley ponders. "It's a mood thing on this album...fast-paced and rushing reflects what we were feeling...

Author: By Peter A. Hahn, CRIMSON STAFF WRITER | Title: Dear Cleo: Keep Up the Good Work | 10/10/1997 | See Source »

...Here's Where The Strings Come In bore the subtle marks of a potential breakdown. For a band that calls its publishing company All Songs Sound The Same Music, they displayed little awareness of how little difference down-tempo songs and complicated arrangements made to the record's sound. It wasn't bad (wasn't terrible, anyway) but people who bought the album, bought the hype and subsequently bought the back-catalogue noticed that Mac McCaughan's ragtag quarter sounded like a Superchunk cover band...

Author: By Aaron Y. Mandel, CRIMSON ALUMNUS | Title: Superchunk Ascends to the Next Level with New Album | 10/3/1997 | See Source »

Beginning with an elegiac, out-of-tempo introduction, the striking "Spiritual" becomes a mid-tempo, waltz-metered piece over a two-chord progression. Coltrane's bluesy soloing and Jones' ability to swing in spite of tempo contribute to the compelling mood of this composition...

Author: By Abraham J. Wu, CONTRIBUTING WRITER | Title: The Jazz Fortune Coltrane Left Behind | 10/3/1997 | See Source »

Hollywood rules. Moviegoers in almost every foreign country prefer American films to their own. They love our action pictures, with their size and tempo and assurance, and all those pretty people realizing outrageous dreams. Our directors know how to fulfill Alfred Hitchcock's aim: to make the Japanese audience scream at the same time as the American audience. Perhaps they know it too well. A manic roteness now envelops action films; the need to thrill has become a drab addiction. Isn't there more to moviemaking than having your finger on the pulse of the world public...

Author: /time Magazine | Title: CINEMA: ONE DUMB SUMMER | 6/30/1997 | See Source »

...self-interest (Use What You Got), sung by hustler-narrator Jojo (the excellent Sam Harris), and keeps topping itself. Lillias White, as an over-the-hill hooker, brings vivacity and soul to Gasman's clever lyrics ("I'm getting too old/ For the oldest profession"), and the driving, up-tempo number Why Don't They Leave Us Alone turns the hookers and pimps into the most inspired chorus line in town. The Life may, in truth, be just another kind of Broadway hustle, but when the con men are as slick as these, you drop your money with a smile...

Author: /time Magazine | Title: BRING IN 'DA TUNESMITHS | 5/5/1997 | See Source »

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