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...supple guitar riffs and fluid compositions of PAT METHENY are still the best evidence around that jazz-pop fusion works. But Secret Story is not just another eloquent instrumental statement. It is a "theme" album with a surprising subject: Pat Metheny. The tracks form an emotional though virtually wordless chronicle of his ill-fated romance with a Brazilian woman. Above the Treetops uses a sweet-voiced Cambodian women's choir to herald the excitement of new love. The intensity builds through the poignant Longest Summer (on which Metheny makes his piano debut). The wrenching finale, Not to Be Forgotten...
...three bullet-headed, blue-colored actors move about the stage in eerie, wordless unison. They bang away at kettledrums while squeezing tubes of paint onto the drumheads, creating volcanic eruptions of color. They stuff handfuls of Cap'n Crunch cereal into their mouths, then join in a symphony of amplified chomping. They entice an audience member onstage for a banquet of Twinkies; suddenly cream filling spurts out of their chests. By the end of the evening, with strobe lights flashing and electronic music pulsing, the audience is engulfed by a tidal wave of crepe paper streaming from the balcony...
...billboard seems just the right size for the American landscape, while its boldness seems the perfect mirror for the American sensibility. From the sentimental images that sold soap in the 1920s through the stark, wordless Nike billboards of today, this book traces the evolution of a quintessential form of American advertising...
...adopted city, Paris, where for decades he lived in an apartment overlooking the exercise yard of a prison. In such plays as Waiting for Godot, Endgame and Krapp's Last Tape; in novels, including Molloy, Malone Dies and The Unnamable; in verse and essays and the script for a wordless Buster Keaton film, Beckett distilled despair...
...Sentimental Thing" is a lovely ballad, in which Jackson wisely plays with lyrical lines of unequal lengths and correspondingly non-correspondent meters. The instrumental bridge is a string quartet; the coda is also counched in lush strings, with Askew contributing a haunting, wordless "Madame Butterfly" type aria. This segues into an instrumental, "Acropolis Now," which begins promisingly as a hybrid between '80s rock and Greek folk guitar, but it begins to maunder soon after and degenerates into a fairly close approximation of a jam session by a forgotten, early '70s band. The side closes with the title track, which reverses...