Word: vocalizer
(lookup in dictionary)
(lookup stats)
Dates: during 2000-2009
Sort By: most recent first
(reverse)
...album begins with “Anala,” an old-school pop song, whose percussion section is comprised of muted clapping, snare rolls, and a bassy vocal line (“um bau bau, um bau”) provided by Khan. Floating above is Sultan’s voice, empathetically harmonizing with “ooh-aah” and very simple lyrics about girl troubles. The lighthearted pop sound continues through to the second and title track. It ups the fun notch by incorporating tambourines, seagulls, a distorted, power-chord based guitar backbone behind a melodic, single...
Unfortunately, what makes “Alter the Ending” an often dissatisfying listen is the uniformity of about half the album’s songwriting. Consisting of the same thick guitar lines, intense drumming, and vocal acrobatics of Carrabba’s wobbly tenor, the band’s newest efforts sound like weak facsimiles of “Hands Down” and “Vindicated.” The songs feebly retread old territory rather than covering new ground...
...gives a very effective performance as Aline. The role offers limited dramatic opportunities, but Medefind’s light yet textured soprano brings great charisma to the part, especially in the song “My Kindly Friends/Happy Young Heart.” Selowsky shines as Lady Sangazure, combining vocal agility with dramatic sensitivity. Her rich timbre and mature legato stand out particularly in her aria “My Child, I Join in These Congratulations” and her duet with Sir Marmaduke, “Welcome...
...album in the tradition of the television show that launched her career. As any follower of “Idol” will know, its judges and producers have always maintained a healthy distaste for melody or, indeed, music in general, preferring to applaud and highlight performances of vocal excess, culminating most often in “glory notes.” It is an aesthetic comprehensively rejected by the record-buying public, if the album sales of most “Idol” winners are any indication. The key to Underwood’s prior success was that...
...would be unwise to doubt the ability of someone with Carrie Underwood’s telegenic looks, extraordinary vocal gifts, and successful track record to, one day, become a global pop sensation. But if Underwood truly intends to crossover into the pop mainstream—or at least to an audience consisting of someone other than Randy Jackson—she will need to start by hiring a new set of songwriters. Taylor Swift might be a good start...