Word: outro
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Dates: during 2000-2009
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...austere plucking into any grander themes, as the best selections from previous albums have managed to do. On 2004’s “I’d Rather Dance With You,” still their most perfectly crafted pop song to date, a stair-stepping piano outro elevates a jaunty beat to perfection; on 2001’s “I Don’t Know What I Can Save You From,” a gorgeous, transcendental violin solo strikes up around the three-minute mark. Every song on “Declaration...
...crowd wants it, I’ll freestyle a bit. If someone wants to battle, they’re welcome to come up on stage and show what they’ve got.” Finally, Leiby will play DJ, mixing together the intro and outro of the performance, combining techno with rap. Arts First will mark the musicians’ first performance together. Banking on a good pub atmosphere, Freestyle Electronica hopes to wow the crowd with their sugarcoat-free rap and electronic beats...
...incorporation of disparate musical styles emerges. The instances are subtle: the bluesy snare drum break that gives momentum to the transition from chorus to verse, the folksy vocal melismas that make the chorus downright infectious, and the blissful, gospel-esque vocal solo that delivers the song to its outro. M. Ward’s excellent and intuitive songwriting is the glue that holds these various stylistic elements in harmony rather than in dissonance.On a consistent basis, M. Ward is able to integrate his eclectic instrumentation brilliantly as he does on the album’s best song...
...show him was pictures of my cribs.” His mother’s passing might also explain Kanye’s fatigue. Faint-hearted opener “Say You Will” is clogged by a slow, three-minute outro with life-support beeps and an awful synth choir. Wondrously bizarre electrojam “Robocop” sounds like a Spector production, and it could have been a year-end roundup highlight if it didn’t digress into a lazy rant against his ex.Vulnerability isn’t new for Kanye, who?...
...feature lyrics like, “You shimmy-shook my boat / Leaving me stranded all in love on my own.” Further signs of overproduction and underwhelming originality can also be heard on “17,” where church bells provide the intro and outro for a song not too different in subject matter from Winger’s track of the same slightly-seedy title. The album does have a few remnants of Kings of Leon’s former feel, however. It can be heard in the pulsing, scratchy bass hook...