Word: tuned
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Dates: during 1990-1999
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...barrage that burdens much of disk fourto warn the fan that there are worse things thanprotest music. On "Goin' Cali," Springsteen showsthat even at his most tuneless, his leastpropulsive, his voice conveys remarkablycompelling, barely restrained emotion. And"Brothers under the Bridge," hearkening back tothe similar but incomparably awful 1983 tune ofthe same name, does demonstrate a certain amountof maturation: It is as powerful as "Youngstown,"Joad's cornerstone and Springsteen's bestnew song of the past decade. Even here, though, itfeels as if Springsteen has lead the listener to afalse conclusion: that the 1995 version of"Brothers" is a better...
This is Springsteen at his flawed best, reminding us of our youthful affection: adorable Bruce in his white undershirt, half-shaven. But in the middle of the catchiest tune on the album, "Seaside Bar Song," which shares with the '60s-infused swinger "So Young and In Love" and the second disk's "Where the Bands Are" the same attitude of giggly boardwalk fun that made the early albums special, Springsteen reminds us where he is going: out of the organs and saxophone comes the ancestor of The Ghost of Tom Joad's most recognizeable whispered refrain, "The highway is alive...
...Republican chairman Henry Hyde within minutes of the opening gavel and with Hyde clapping approvingly as Starr left the room 12 hours later. What should have been an uplifting display of American democracy at work had become so tedious and so illegitimate to the Americans who bothered to tune in that even Starr suggested he might rather be elsewhere. If not for his commitment to duty, the witness said in a rare moment of self-revelation, he would have packed up and moved to Malibu, Calif. That's where he had a teaching job lined up, he said, "long before...
...stopped paying attention to new classical music after Britten and Shostakovich died, it's time to tune in again. The famous flutist has put his weight behind one of America's most gifted "new tonalist" composers, with electrifying results. Liebermann's three concertos are custom-made for listeners who find 12-tone music ugly and minimalism simple-minded. The harmonies are savory, the scoring luminous--and, yes, you can hum the tunes...
...storyteller's confidence. His fingerings were uncommon, his attack was lively bordering on sadistic, and he seemed to be thinking orchestrally all the way. Here if anywhere, "large and in charge" was the apt phrase--the big man put a whole register in the bass out of tune. Blending the bombastic and the priestly, Ohlsson made the 1854 warhorse sound fresh...