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...years ago. Zakk Wylde, guitar God responsible for much of the music on Osborne’s last three albums, returns to lend his axe to the effort. While his unique funk/chunk distortion and timbre are evident, the lack of gratuitous pitch harmonic riffing, Wylde’s trademark, reveals one fact some may find disturbing—that the songs were written by committee. Mixer Tim Palmer (who has worked with pop-rock stars U2 and death metal mainstays Sepultura among others) and producer Marti Frederickson (the vocalist for the fictional band Stillwater in “Almost Famous...
...voice. Jackson’s voice is immediately recognizable the world over. It is a high-pitched, slightly feminine sound that approaches every note and every line in an incredibly mannered fashion. A forced exhalation and exuberant yell (“Ahh...woo!”) are his trademark sounds. And, for the most part, Jackson does away with all of them on Invincible. He demonstrates considerable vocal range, maturity and honesty. Emotions no longer struggle to filter through the mannerisms; they are laid bare in their entirety. Jackson strips away his image to reveal a new vocal crispness that...
...delicate ballads (“Drive You Home” and “So Like a Rose”). Certainly, Beautiful Garbage wanders stylistically at times compared to the Garbage’s previous work, but the band nevertheless show they can update their sound without sacrificing their trademark smirk...
...amid flashing beams, and Amos, clad in shoulder-padded white, hurtled onstage, straddled the piano and laid her fingers on the keys. Recent tours had seen her experimenting with a full band, whose bluster was in sharp contrast to the fiery solo piano that had been Amos’ trademark. The “Strange Little Tour,” as it was called, marked a return to the girl-with-a-piano paradigm. In that vein, only three of the songs Amos played that night were from Strange Little Girls, opting instead to grant a grateful audience their early...
...highlight here is “Film No. 13 (Fly)” (1970), in which a woman’s naked body is transformed into a surreal landscape as the camera takes on the perspective of the horsefly scouring her surface. Ono’s trademark vocal stylings provide the soundtrack. Though meek and childlike in conversation, her voice is fantastically visceral in art: Imagine crossing the frenzied whine of a boiling teapot with the grunts of a man raised by apes...