Word: uprightness
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Dates: during 1990-1999
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...hard-driving "Silvio," unleashing his band and raising the intensity yet a few notches more. The lights dimmed, as they did after every song, and when they came back on, Dylan had replaced his electric guitar with an acoustic. The band followed suit, with the bassist picking up an upright bass and the drummer switching to brushes. It was well-timed transition; soon the audience was swaying to the country-tinged "Cocaine" and the waltz-time "Lonesome Death of Hattie Caroll." The true audience-pleaser, though, was a wonderful acoustic rendition of "Tangled Up In Blue," the most well-known...
...snappable, apparently useless leather pouch which hides beneath and in back of the seat. Nothing may be carried in these baskets. The seat is either in black or tan leather and is most often eaten away at the edges by some sort of decades' old fungus. Handlebars must be upright in "cruising fashion," and the number of speeds may not exceed three. A "bell" is optional and coveted...
...NOFX's never unsatisfying punk evolution from hardcore hopefuls to High Priests of Pop Punk Rock, the comfortable lull has finally arrived with this new release. So Long treads no new musical territory--prepare to sit back and relax, don't wait to be jolted upright by anything exciting or surprising. Instead, happily settle into this boldly unexpansive album with its unwavering familiarity as it dips into mellow grooves and blasts out edgy numbers that have all been heard at some point. The end result is a dulling immediate satisfaction that never quite makes any sort of indelible impression...
...Yeah, It's That Easy frustrates the G. Love fan who has been acclimated to the loose, raw groove of his earlier work. Listen to the intro of the first single, "Stepping Stones": acoustic guitar chords ring out (good), followed by spacey-sounding slide (not so good), then the upright bass enters the picture (very good), followed by background singers crooning "na na" (what the...?). The rest of the album is maddeningly uneven in the same way. Catchy, funky numbers are buffered by colorless, inarticulate rants. Promising compositions are deprived of vitality by slick production and extraneous instruments and vocals...
...relief of some listeners, McBride picked up his upright bass immediately after finishing "Twenty-Seven Summers," and the trio launched into a swinging, up-tempo 12-bar blues. With McBride walking up and down his bass and Redman offering some bluesy riffs, the audience got right back into it and afterwards applauded enthusiastically as the trio took a collective bow, arms over each others' shoulders...