Word: vocalized
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...better, beginning with an interesting faux-oriental motif, and continuing on to tread more familiar pop rhythms. True to its title, it succeeds in conveying expectation and pregnant longing. As the track plays on, Mirwais adds further layers of nuance, utilizing scratches and other effects (including a poignant background vocal cry of “I can’t wait”) to abstract, smashing success. Connoisseurs of fine music are encouraged to avoid the ordeal of “Junkie’s Prayer.” Dramatic instrumental music is present—unfortunately it is obscured...
...longer in its loving lyricism, and Weigle’s charge into part two of the Queen of the Night’s big first act aria was a bit too fast for soprano Mary Dunleavy, resulting in an awkward adjustment as her coloratura fireworks begin. Nor was Dunleavy vocally perfect. In her Act II showstopper she seemed so obsessed with hitting those high Fs that the other notes of her arpeggios were just a bit sharp. Yet she nevertheless awed the audience and enchanted Tamino. The literal pyrotechnic flashes that accompany her appearance, and her equally pyrotechnic vocal part...
...It’s Over,” a song guest-starring and co-produced by Jermaine Dupri, may have the dramatics of Run DMC’s music, but is still powered by the percussive sounds and vocal special effects that are uniquely JD’s. Strangely, Run DMC’s rapping seems to adapt to this music, and Run DMC ends up sounding like one of JD’s protégés, not the other way around...
DIED. JOHN PHILLIPS, 65, founder of the 1960s hippie rock/folk band the Mamas and the Papas, innovator of the California sound and writer of such intricate vocal harmonies as the 1966 chart topper California Dreamin' and Monday, Monday; of heart failure; in Los Angeles. Following a brief reign atop the charts, the group split up in 1968 after Phillips' then wife and bandmate Michelle had an affair with fellow band member Denny Doherty. Phillips, a recovered drug and alcohol user, received a liver transplant...
...familiar--"Middle of Yesterday," for instance, features a verse structure highly reminiscent of 1997's "Superman's Dead." Catchy riffs and melodies characterize "Right Behind You" and "Made to Heal," but can't help them from feeling highly formulaic and forgettable. If it weren't for Kurzweil's vocal bytes interspersed throughout the album, the songs would likely run into one another...