Word: vocalisms
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...billion. It was an idea that he and then New Jersey Senator Bill Bradley, among others, had pioneered in 1994. When Kerry dusted it off this summer, unions balked, since many of their plans are worth as much as $25,000 a year. He convened some of the more vocal opponents last month. "I'm doing what Teddy Kennedy would do ... I'm finding a compromise to get a bill passed," he told the group. Kerry didn't win them over, but they did pledge not to oppose the proposal. (See the most notorious presidential pardons of all time...
Still, considering the buildup to this weekend's town-hall meetings (the President has one more, on Saturday afternoon in Grand Junction, Colo.), the proceedings within were civil. Outside the hangar, angry vocal exchanges erupted, but no one got physical. (Read a story about Montanans gearing up for Obama's visit...
...High the Moon For all the attention paid to Les Paul the technical innovator, not enough was paid to his skill as an arranger of guitar solos and vocal parts. Similarly, Ford didn't get her due as a singer. She looked the way she sang: smooth, clear, pretty. Her voice, tripled or sextupled in harmony, was the vocal version of his slide-guitar style. Her glissandi were intimate, as if she had been singing inside the microphone. (She was, in fact, the first vocal artist to sing not a foot or so away from the microphone, as most studio...
...Moon" - not a chore, since the song provides as much musical exhilaration now as it did when it was released, in March 1951. It encapsulates the lithe popular art of all those Les and Mary singles - the density and clarity, the distinctiveness of his guitar voice and her intimate vocal instrument, the heart and the fun. It's a number that expresses the choral lilt of early-'50s pop and the electric drive of mid-'50s rock, as if "Mr. Sandman" had married "Peggy...
...softening also leads smartly into Paul's solo. He feeds out of Ford's vocal with a wah-guitar wail that seems to hunch the shoulders of a note, then relax into some fleet picking in Paul's trademark bubbly style as if he's somehow playing underwater and the notes have quickly risen to the surface to pop in the clear air. That's the first chorus. The second features a lot of the power chords that later rock guitarists would borrow. It climaxes in an ascending "aaaah" from the Ford voices that transports us into the third instrumental...