Again, it's buzzy and caffeinated, but this time Dean Allen Spunt's lines are more tuneful and Randy Randall's multi-layered guitars fizz around a little more.
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Not only is it more tuneful and exciting than it's given credit for, it served a higher purpose in rousing Bowie from the lethargy that he'd descended into.
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The Rondo was a more tuneful alternative to its predecessor and thus it was very popular with the audience; indeed, in the concert it was encored.
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"Cast in Stone is heavier than Metallica and more tuneful than Pantera," according to Vox. "A surprisingly listenable album that's maybe more old school metal than thrash, but aims a swift kick between the legs and truly delivers," concludes reviewer Jerry Ewing, giving the album 3 stars out of five.
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" The Guardian placed it at number 31 on their list of the forty best albums of 2013. Exclaim! named it the third best hip hop album of 2013. It was named the ninth best album of 2013 by Slant Magazine. They commented saying, "Drake, the Canadian master of confession-rap, cuts the usual sharp lines, and his lamentations have never felt so knowing, nor more tuneful.
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The yellow canary, with overlapping range, is also a known confusion species. The call notes of the brimstone canary in the south of its range are a trilled, deeply pitched swirriwirrit or chirrup. The song is a jumble of chirps, whistles, warbles and trills, with the same deep pitch as the call. Northern birds have a faster, higher, less jumbled and more tuneful version of the song.
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Eggs of Galerida theklae MHNT It nests on the ground, laying two to six eggs. Its food is weed, seeds and insects, the latter especially in the breeding season. The song is melodious and varied, with mournful whistles and mimicry included. It is softer and more tuneful than that of the crested lark, and may be sung during flight or from the ground or an exposed perch.
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12: The Cutting Edge 1965–1966 in 2015. Author and music critic Richie Unterberger has called the song, "one of the more tuneful and accessible tracks" on the album, with a prominent series of three descending diatonic chords providing the main hook. Critic Robert Shelton has described the music as soothing, so that the love expressed seems tranquil, even when images such as cloaks and daggers and trembling bridges are evoked by the lyrics. The tune and rhythm have a Latin feel and the lyrical rhyming pattern varies from verse to verse.
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" Roughstock reviewer Matt Bjorke praised the song for showing a different side to Lambert. "The lyrics are smart, the melody is moody and the vocal performance is just stunning. This is the kind of song Miranda's always had in her and while I love her rock 'tude, "Dead Flowers" shows us a softer, more tuneful side of Miranda Lambert that wasn't ever really shown to radio fans before." Frequency Magazine, who gave the song five-out-of-five stars, felt that it "may be the best song Miranda has ever done.
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The agents capture an alien pod and use it as trade. Whilst waiting, Brevis almost starts playing a song he wrote on the piano, but gets interrupted by the release of the captive. Suddenly, the alien pod starts to open to reveal ... Doblin the Goblin (Ilsa). A much more tuneful version of "There's Light at the End of the Tunnel" starts playing, Doblin sails down the river (the open alien pod now serving as Doblin's walnut-cum-boat), Sid the Squirrel follows, with all the rest in tow.
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Quickspace formed in London, originally under the name Quickspace Supersport. Tom Cullinan, vocalist and guitarist, was formerly in Th' Faith Healers but developed their punky sound into a more tuneful but experimental style. Quickspace formed their own record label called Kitty Kitty, but while releasing many of their records through this, also released on other labels such as Domino Records and Elefant Records. Their first single, 'Found a Way', was released on the Love Train label, followed later that year by Superplus, an EP released on Domino, which got into the Indie Top 40.
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In the past, epic poetry in Kosovo and northern Albania was sung on a lahuta (a one-string fiddle) and then a more tuneful çiftelia was used which has two strings-one for the melody and one for drone. Cultural anthropology researches revealed the antiquity of this tradition and how was it developed in parallel with other traditional music in the Balkans, while various archaeologists discovered finds dating back to the 5th Century B.C. such as stone paintings depicting musicians with instruments, notably the portrait of "Pani" holding an aerophone similar to flute.
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He added that the "overproduced luster" of the record "weighs down" a few "potentially solid tunes". Melodic reviewer Johan Wippsson found that it "does not differ in quality" when compared to Everything in Transit and The Glass Passenger, and said the album was more "uptempo and happy" in comparison to the latter. PopMatters writer Brice Ezell criticized it as being as generic as the words the album's title consists of, adding: "The people and things of People and Things are about as ordinary as they come." Ezell explained that the album simply serves to "add more tuneful tracks" to Jack's Mannequin's repertoire, being "fine for a casual listen, but that's about all that it demands".
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In the past, epic poetry in Kosovo and northern Albania was sung on a lahuta (a one-string fiddle) and then a more tuneful çiftelia was used which has two strings – one for the melody and one for drone. Kosovar music is influenced by Turkish music since the entire region spent 500 years as part of the Ottoman Empire but the Kosovar folklore preserved originality. Archaeological researches tells about how old this tradition is and how it was developed in a parallel way with other traditional music in Balkan. Many roots were found in the 5th century BC like paintings in stones showing singers with instruments (In the famous the portrait "Pani" was shown holding an instrument similar to a flute).
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Female near Kuranda, Queensland, Australia When the male begins to display, he erects the feathers of his throat and sides to accentuate the bright colours of his plumage in the shafts of sunlight that pierce the dimness of the rainforest. He curves his rounded wings above his body and tilts his head back to expose his chin and throat to the light, and then moves from side to side in a fashion that looks almost mechanical. The female is attracted to the male's display post by his raspy 'yaars' call, which becomes softer and more tuneful during the display. The pair then face each other closely, and each bird raises and extends its wings forward alternately in an increasingly rapid rhythm.
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Halfway into 2014, Music for the Uninvited was included on NPR Music's "25 Favorite Albums Of 2014 (So Far)", with Otis Hart calling it an "old-school labor of love by one of the most promising young minds in dance music, nostalgic and next-level at the same time." It was also on Pitchfork Media's staff list of overlooked records of 2014, with Patric Fallon writing that "it's unlikely that you'll find a more tuneful and invigorating dancefloor album released this year." Music for the Uninvited was also on several year-end lists. When it was listed number three on XLR8R's best releases of that year, Chris Kokiousis opined that Vynehall bravely made an artistic statement with the record, which is what other producers have failed to do.
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This new art form, the classic rag, combined Afro-American folk music's syncopation and nineteenth-century European romanticism, with its harmonic schemes and its march-like tempos, in particular the works of John Philip Sousa. With this as a foundation, Joplin intended his compositions to be played exactly as he wrote them – without improvisation. Joplin wrote his rags as "classical" music to raise ragtime above its "cheap bordello" origins and produced work which opera historian Elise Kirk described as "...more tuneful, contrapuntal, infectious, and harmonically colorful than any others of his era." There are many inconsistencies between the titles of compositions, their subtitles and their respective cover titles, which was seen by the editor of the collected works as reflecting "an editorial casualness" on the part of the publishers, and indicating a genre in which many dance-steps could be performed interchangeably.
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In the following five months, the Rejects played with Wire, Generation X, the Jam, Eater, 999 and Sham 69 on multiple occasions, with Wizard becoming increasingly confrontational (though no more tuneful) to their audiences. Performances routinely descended into violence, with dates at the Albany in Deptford and Barbarella's in Birmingham confirming the band as a bad risk for PA hire companies. In the summer of 1977, Hazzard was dropped from the band, going on to form the proto-thrash group Auto da Fe. Wizard recruited Jim Welton on bass for a new lineup of the Rejects, which included David Dus on drums and occasional itinerant guitarists, including Stevie Savage and Jerry Wigens. Dus was the drummer for Wayne County (later to become Jayne) during their 1977 tour of the UK. Wizard set up auditions to find a permanent guitarist, and Anton Hayman was recruited.
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Liner notes Critics reviewing the album often noted the improbability of combining the band's influences and political intentions, and generally praised their success.Kiser, Matt. Review: The Red Sea CMJ In the Chicago Tribune Jessica Hopper said: "The Red Sea', is a visceral work...their moody songs are redolent of a time in the early '80s when punk fractured into something more tuneful and complex...a political band whose music is as strong as its message is a rare treat.' Venus Zine said: "On paper, this band sounds like a train wreck, but in real life they are completely arresting....Old- world romance elegantly intertwined with riot grrrl piss and vinegar onstage...A lot of valid arguments have been made against overtly mixing politics and music — it takes the focus off important things like rhythm or, worse, excuses a band’s lack of talent or imagination. But those arguments don’t apply to bands whose politics become inseparable from the emotive quality of their sound.
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