Kirchner's Quartet No. 4 is his most tuneful, although here, as in his First Quartet, instruments often seem to sabotage one another's melodies as they jostle for attention.
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Pound for pound the most tuneful and raucous old-school metal band in Seattle, Substratum are already a headlining local act and have been tapped for a slot on the Ragnarokkr metal fest—even though they've only got a single demo to their name.
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The piece contains some of Rubens's most tuneful music, and the production was mounted with spectacle in its settings, costumes and large chorus of beautiful girls. The show was much like Lonsdale's previous success King of Cadonia, but with the sexes reversed. Famous songs from the show included "Wonderful World" and "Dear, Delightful Woman".
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9 In 1934 Hesketh Pearson rated the libretto among Gilbert's best.Pearson, p. 135 In a 1937 review, The Manchester Guardian declared, :It is incomprehensible that Ruddigore should ever have been considered less attractive than the other comic operas in the Savoy series. The libretto gives us Gilbert at his wittiest, and in the music we hear Sullivan not only in his most tuneful vein but also as a master of more subtle rhythms than he commands elsewhere.
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Channa Vithana, wrote comparing the NAIT, , and in the October 2007 edition of Hi-fi World: > ...the original NAIT had the best musical timing with precision tempos. The > had the most tuneful bass with a much quieter musical background in > comparison to the NAIT. The had clearer sound overall than all the others, > and opened out the music superbly by being the most free flowing. The was > easily the most refined, yet was more immediate too.
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"That's All Right"or "That's Alright"A different "That's All Right" "That's All Right Mama" was written by Arthur Crudup and covered by Elvis Presley. is a blues song adapted by Chicago blues singer and guitarist Jimmy Rogers. He recorded it in 1950 with Little Walter on harmonica. Although based on earlier blues songs, music writer John Collis calls Rogers' rendition "one of the most tuneful and instantly memorable of all variations on the basic blues format".
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Roth pondered if McMahon listened to Vanessa Carlton, since he pushed the songs "one step further into an adorable trip of melodic euphoria." The Phoenix writer Sean Richardson wrote that with North, the band "continue to prove themselves one of the most tuneful outfits in modern rock." Richardson noted that halfway into the album, when the songs' "middling tempos start to bleed together," the group sounds "as if they were striving for a level of maturity that’s not quite within reach." Punknews.
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It ran over a year because of its simple- minded story.Lombardi, Laura "Oscar Hammerstein II", Pennsylvania Center for the Book, 2005, accessed February 3, 2016 The New York Times opening night review stated erroneously that the show "contains the most tuneful score that Rudolph Friml has written in a number of seasons" and never mentions Youmans or Stothart. The review goes on to say: "To be sure, it is practically never funny, and now and then even a little dull.""Wildflower Is Melodious", The New York Times, February 8, 1923, p.
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The Huffington Posts Holly Cara Price described the group as "one of the most tuneful and tasty garage rock bands of the era. Avid fans of pop, R&B; and 60's garage punk, their predilection translated to great punchy songs". The Stems line-up of Mariani, Lane, Matthews and Shaw played a reunion gig in Fremantle in late February 1997. Adam Connors for The Australian recalled that; "since the disbandment their simple yet unassailable songsmithery endeared them to a huge European music public and propelled them on to play the final Countdown".
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The song 'I Guess It Had To Be That Way' was omitted from the released print of the film. Sam Coslow and Arthur Johnston also wrote 'Two Aristocrats' for this film but it was not used. Kitty Kelly is seen singing 'Black Moonlight' but the dubbed voice was actually that of Barbara Van Brunt. Although Crosby did not sing it in the film, and it may not have been the most tuneful of songs, his commercial recording is a prime example of his singing and style at that period.
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German musicologist Peter Niklas Wilson said the album may have been the most tuneful and commercial-sounding of his career at that point. The album's clean mix and relatively short tracks were interpreted as an attempt for radio airplay by Mandel, who described its production as "the surface consistency that would put it in the pop sphere". Of Human Feelings had no success on the American pop charts, however, only charting on the Top Jazz Albums, where it spent 26 weeks and peaked at number 15.; Because the record offered a middle ground between funk and jazz, McRae argued that it consequently appealed to neither demographic of listeners.
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" Gary Leboff of Vox called the album "another collection stuffed with melodic treats and lyrical wit, for consumption by an audience significantly smaller than they deserve." He highlighted the last two songs as the best on the album. Despite a score of two and a half stars out of five, Chris Woodstra of AllMusic was favourable, saying "the classic sound is still there" and concluding that it was "[a]nother in a series of commercial sleepers, but definitely worth a listen." Mark Caro of the Chicago Tribune hailed the album for "[providing] room and reason to dig" compared to the band's previous few albums, writing that Tilborok and Difford "have brightened up musically while maintaining the crown as pop-rock's most tuneful and trenchant observers of romantic breakdowns.
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Given its sophisticated opera-going audience "the composer could experiment with musical and dramatic forms in ways that would have met with incomprehension elsewhere." Preceding as it did Maometto II and Zelmira, "in its variety of moods, of forms, of vocal styles, of orchestration, it [La Donna del Lago] is one of the most engaging operas Rossini ever wrote [....] and is Rossini's most tuneful opera." In summing up the musical and creative significance of this opera in Rossini's overall career, Gossett suggests that while Malcolm's two arias and Elena's final "tanti affetti" are "bel canto" at its finest, in this opera Rossini: :embraced all musical techniques known to him, pushed into dramatic and structural territory largely uncharted in Italian opera, explored the riches of the orchestra, redefined the nature of the chorus, created, in short, a tradition to which later composers who still knew these works could only look back in awe. Charles Osborne notes that the music of Act 2 "remains on a high level" (when compared to the structural innovations of act 1) but several aspects draw his attention.
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