Word: vocalized
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Dates: during 1970-1979
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...fact the entire album stands up to repeated listening much better than most popular music, probably because six or seven different people wrote the songs. Harry tries out a variety of vocal styles; they're not all successful, but they are exciting, and you never know how she'll sound next...
...such a cut contrasts dramatically with a tune like "Have I Been Away Too Long." The song is a showcase for Daryl Hall's free-wheeling, bluesy vocal style. He scales to ear-shattering highs and teams with John Oates for swirling harmonies that sharpen the tonal disparity between their voices. It's a fine song reminiscent of many earlier Daryl Hall tunes, but it probably will be disliked by many listeners because of its loose sound...
Finally, John Oates follows up with an intriguing tune called "Pleasure Beach." Starting with a quiet, slow synthesizer backing Oates' soft, relaxed voice, the song shifts into the screams of a beach crowd mixed with a driving electric guitar riff that carries a vocal part adorned with a Beach Boys, teeny bopper harmony line. It's innocent, fun rock and one of the album's best offerings...
...songs from that album like "Five Years," leaving on the rock riffs and self-consciously-confused lyrics. The sound quality will strike fans of the vinyl Bowie as poor; his lushly-produced effects get stripped down to what a seven-man band can handle on stage. Bowie's vocal machinations, so clever and startling out of the studio, lose some of their sparkle when forced to follow one another in sequence. The side has a nightclub feel, like a good band at Jack's going through some of Bowie's old hits. Bowie doesn't even take a beat between...
...Heroes" leads off the final and most successful side. The Stages version, though it cannot approach the German-language studio import in poetry or sound, has a dramatic sound that showcases Bowie's vocal power effectively. "What in the World" and "Beauty and the Beast" are rockers which combine haunting power riffs with strong singing and enough electronic flourishes to give Bowie the feel...