The hook is definitely tuneless but that just means that everyone sounds good yelling along to it.
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"It's a Kenyan pop song," she declares, heralding the tuneless yowls of an all-white junior choir.
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Surely the robot-voiced, tuneless protagonist of "Fitter, Happier" would now be uploading his daily exercise data to the cloud.
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Over tuneless, unts-unts electronica, an uncredited woman monologues about her selfie process, name-checking Instagram filters and workshopping her caption.
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And so the swallow is divorced Twice from her voice, her tuneless chatter, And no one asks her what's the matter.
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Deeds gives off little whoops as we watch and it's deeply infectious, even if I find the music to be tuneless, sexist noise.
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Her trumpet playing is redolent of Don Cherry, but bolstered by her own suite of extended techniques; it drifts from tuneless clouds to long, coagulated tones.
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But the Hong Kong police's parody replaces the audio with a tuneless version of the original ditty, as police officers (presumably) tell you to buckle up while miming the action in the car.
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The other two join in for the chorus, which is a tuneless thuck-thuck-thuck , repeated rhythmically, while they smash their fists against their palms and shuffle menacingly around the room, side by side.
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This one, similar in tone to Maurice Béjart's sexed-up version, makes the mentally deranged couples, tuneless vocalizing and pretentious oddity that fill the remaining sections of "Unknown Pleasures" seem more tolerable by contrast.
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"Obama" is a corroded, tuneless takedown of the titular leader and his failure to deliver on the hope his election promised; "Violent Men" takes the glacial tones of Björk's Vespertine and uses them to lament the omnipresence of said violent men.
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But the movies that she did direct endure, including "Ishtar," a loony, loopy blissout that stars Warren Beatty and Dustin Hoffman as two terrible, tuneless songwriter performers who accidentally end up in an adventure that crosses an old Bob Hope and Bing Crosby road movie with a blistering sendup of American empire-building.
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But the aged Chetonquin muttered to herself in a tuneless quaver, and shook her head doubtingly.
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Allmusic's brief retrospective review dismissed the album as "a colorless and tuneless collection of prog rock meandering".
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CMJ described the album as a "raw, alien, dense set of four tuneless almost-not-even-songs made of spattered guitar, drums and Tony Pinotti's wrecked, howling voice".
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The song of the African blue flycatcher is a series of slow, rather random and tuneless sibilant notes strung together in no particular order. Call is a quiet "tsip".
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The album appeared in 1970 with a cover on which the band poses turned away from the camera, their uncovered backs exposed except where covered with their long hair. A radio commercial that accompanied the album's release touted the band as "unisex, raw, together, and violent—just like you, fellow American". The staff of Rolling Stone did not like the album, stating that "there's nothing nearly that interesting" and that "the pretty stuff sounds like something Walt Disney had the good sense to leave in the can". Robert Christgau, in The Village Voice, rated it a C, explaining that it has very few of the "pseudo-decadent and -psychedelic charms" shown on Pretties for You, along with "tuneless singing, tuneless playing, tuneless tunes, and pseudo-musique concrete".
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And this is good. . . This is a pretty solid, surprisingly diverse sounding rock album—not a tuneless screech-fest by any means—and a record the band should be proud of. . . This could have been a shambles, and it's anything but.
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Jim Farber of Entertainment Weekly was highly critical of the album. Farber criticized the album's progressive metal riffs, calling them "tuneless bombast" as well as the dire nature of the lyrics. Farber concluded his review by calling the band members "relentless killjoys".
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Doctor's Advocate (2006). EW. Accessed July 1, 2007. Chocolate magazine said the track "lacks charisma and substance, and is filled with 50 Cent-style tuneless crooning, endless name checks for Aftermath, Eminem and Dr. Dre and empty lyrics".The Game: Let's Ride (Strip Club) .
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NME writer Tony Parsons commented: "tuneless, gormless, gutless... I like them a lot". The EP was praised in a less contradictory manner by other critics, including Mick Mercer. A second album, Close Up, was released in 1979. This received better, but still cautious, reviews from the press.
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Though allowing "the few moments of life contained on Trouble in Paradise are Souther's doing." He described Hillman's contributions as "three more variations of the same tuneless, unchanging song." Concluding "[w]hy don't SHF redeem themselves while they still can and just forget the whole thing."Scoppa, Bud.
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During breeding season, males are busy singers. Their song is brief, rapid, and relatively tuneless and occurs in a series of short rising and falling twittering. Their breeding season occurs between December and May, but main activity is in January and February. These birds are monogamous and are fairly solitary and territorial.
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Close Up received a lukewarm response from critics, who were more enthusiastically about it than the band's previous album, Calling on Youth. NME reviewer John Hamblett assessed the album as "patchy, but promising", calling the Outsiders "a band with a future". Tony Parsons, on the other hand, reviewing for the same magazine, described it as "tuneless, gormless, gutless".
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Many people find that very > unsettling, but I'll say it as loud as anyone wants me to. In the first > instance the record itself was absolutely tuneless. One can have great > concern for the people of Ethiopia, but it's another thing to inflict daily > torture on the people of Great Britain. It was an awful record considering > the mass of talent involved.
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Worsley, p. 142Alexander, p. 153 After setting off on 24 April 1916 with just the barest navigational equipment, they reached South Georgia on 10 May 1916. Shackleton, in his later account of the journey, recalled Crean's tuneless singing at the tiller: "He always sang when he was steering, and nobody ever discovered what the song was ... but somehow it was cheerful".
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The Humoreske is for winds and percussion alone, almost athematic/tuneless and depending on rhythm. The composer, in notes he wrote for the first performance of the work, said of this movement that the wind and percussion "quarrel, each sticking to his own tastes and inclinations"; quotes extracts from a newspaper interview given by Nielsen Nielsen went on to liken this to the musical world of the time.
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Reviews for the song were mixed; Pitchfork Media rated it 3/5, stating "This is a tough call to make, because New Order are often at their best when they're impossibly aloof, but there's a fine line between effortless and tuneless, and "Krafty" isn't the former." When reviewed on the BBC Radio show "Roundtable", one reviewer rated it 5/10, another 6/10 and yet another 7/10.
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2, song 64A American field workers were also active in the Appalachians. A (tuneless) text for "On Top of Old Smoky", similar to what Memory Shelton sang, was published by E. C. Perrow in 1915, slightly before Sharp's fieldwork.Perrow is not clear on where he got the text from; his label says: "From North Carolina; mountain whites; MS. written for E. N. Caldwell; 1913". E. C. Perrow (1915) Songs and Rhymes from the South.
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The song overall has received mixed reviews. Between Kris Allen's version and Adam Lambert's version, Allen's has sold more digital downloads to date. Former American Idol producer Nigel Lythgoe described hearing the song as the "only downside" of American Idol's Grand Finale. Misha Berson of The Seattle Times called the song "perhaps the most tuneless, hackneyed earful of 'inspirational' junk that any American Idol has been saddled with in their last chance at victory".
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Many folk customs around the world have involved making loud noises to scare away evil spirits.Bartleby.com The Golden Bough (1922 edition), Sir James George Frazer, Ch 56 The Public Expulsion of Evils §1 The Omnipresence of Demons :op.cit., Ch 56 §2 The Occasional Expulsion of Evils :op.cit., Ch56 §3 The Periodic Expulsion of Evils Tuneless, cacophonous "rough music", played on horns, bugles, whistles, tin trays and frying pans, was a feature of the custom known as Teddy Rowe's Band.
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BBC Music writer Ruth Mitchell described the song as "epic", with a "glorious array of lush harmonies". A Daily Record journalist called it "beautiful" and a "brilliant pop gem which is laced with a luxurious gospel feel". Ian Hyland in the Sunday Mirror unfavourably compared McManus to previous Pop Idol winner Will Young, but nevertheless rated the single 7/10. Conversely, Fiona Shepherd in The Scotsman described the track as a "tuneless dirge", while an Entertainment.
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Kevin Courtney of The Irish Times found The Boy with the X-Ray Eyes to be "fatally flawed". British journalist Tim Moore criticised the length of its tracks as excessive, and called the album "persistently tuneless, repetitive and garbled". It was identified by BBC Radio presenter OJ Borg as the record he regrets buying. In 2017, Vices Daisy Jones ranked 15 "one-hit wonder" albums from history, naming The Boy with the X-Ray Eyes as the worst.
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The minuet is more assertive in tone, but its confidence is undermined by a plaintive, almost solemn, trio, again in B minor. The trio is "tuneless", similar to the Trio of the minuet in Symphony No. 29, and Haydn may have intended for a solo instrument to improvise a theme over the accompaniment. Many of Haydn’s symphonies contain more startling surprises than the one which has made his "Surprise" Symphony famous. The surprise here comes in the final movement.
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Along with the Strokes, White Stripes, Hives and others, they were christened by parts of the media as the "The" bands, and dubbed "the saviours of rock 'n' roll", prompting Rolling Stone magazine to declare on its September 2002 cover, "Rock is Back!". This press attention, in turn, led to accusations of hype,C. Smith, 101 Albums That Changed Popular Music (Oxford: Oxford University Press, 2009), , p. 240. and some dismissed the scene as unoriginal, image-conscious and tuneless.
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According to the custom of the Sephardim and in British synagogues generally, it is congregationally sung at the close of Sabbath and festival morning services, and among the Ashkenazi Jews also it sometimes takes the place of the hymn Yigdal at the close of the maariv service on these occasions, while both hymns are sometimes chanted on the Eve of Yom Kippur (Kol Nidre). It is often sung to a special tune on the morning of both Rosh Hashana and Yom Kippur by Ashkenazi Jews at the beginning of services, but not at their conclusion. Because of this solemn association, and on account of its opening and closing sentiments, the hymn has also been selected for (tuneless) reading in the chamber of the dying, and in some congregations it is recited (subdued and tuneless) in the synagogue as a means of reporting a death in the community. It is likewise recited or chanted at the commencement of the daily early morning prayer, that its utterance may help to attune the mind of the worshiper to reverential awe.
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Their debut LP, Calling on Youth, was self-released on their Raw Edge label, and became the first UK self-released punk album. and won them their first unfavourable reviews: "apple-cheeked Ade has a complexion that would turn a Devon milkmaid green with envy", reported the NME. A single released that November, One to Infinity, was labelled as "tuneless, gormless, gutless" (again by the NME), but was praised elsewhere. It was followed by a second album, Close Up in 1978.
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During the 1890s, readers of Newton Heath F.C. match programmes may have seen advertisements to hear "Michael the Bank Street Canary sing," for a nominal fee. However, Michael was not able to sing, and nor was he a canary. In actuality, Michael was a goose and was an unwitting participant in the money- making schemes that the club were using during their financial difficulties. Understandably, the fans who had paid good money to hear a canary sing were rightfully unimpressed by Michael's tuneless honk.
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Bruce Kimmel is endearingly funny," as well as Bruce Williamson of Playboy ("A Mel Brooksian salute to porno chic") and Howard Kissell of Women's Wear Daily ("Funny, naughty, surprisingly charming. Ingenuous, bright performances". But it was panned by Janet Maslin of The New York Times, who described the concept of the film as "a losing proposition" and found the music "tuneless." Arthur D. Murphy of Variety wrote, "A few clever bits are downed in a larger sea of silliness, forced gags and predictable cliche.
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J. Freedom du Lac of The Washington Post chose it as one of the best songs on I Am... Sasha Fierce, calling it a "fun, [and] tuneless, gender-twisting play". Colin McGuire of PopMatters picked "Diva" as the highlight of the album, noting its "Lil Wayne-inspired beat" and describing it as "cheeky". He further wrote it shows the singer's "impeccable street side... with enough attitude to make it work".McGuire, Colin. (2009-02-09) Review: I Am... Sasha Fierce. PopMatters. Retrieved on 2009-11-11.
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At other times, Melman would give (pre-scripted) answers to unlikely audience questions, or appear at unexpected moments to heckle Letterman or the audience. Melman also appeared numerous times as "Kenny The Gardener," offering dubious gardening advice to home viewers, followed by a song performed in an inimitably tuneless-but-enthusiastic style. Occasionally, Melman would just simply wander onto the stage during Letterman's monologue as if lost, then leave without saying anything. A hallmark of the Melman character was his seemingly genuine lack of acting polish.
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The episode begins when Dougal has "Eurosong fever", weeks ahead of the competition. After initially rejecting Dougal's suggestion that they write a song to represent Ireland in the competition on the grounds that they are not skilled in songwriting, Ted discovers his nemesis Dick Byrne does have plans to enter a song. Ted decides that if Dick Byrne can write a song, he and Dougal can write a better one. After working all night, they come up with "My Lovely Horse", a tuneless dirge with ridiculous lyrics lasting less than a minute.
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The band was known for its uncompromising musical ferocity, fueled by the band members' confrontational attitudes. Greg Kot wrote that they brought a level of "volume and violence that makes most rock bands sound tame."Trouserpress.com Their music was largely improvised; John Dugan wrote "Granted, one person's free improvisation is another's tuneless chaos, but Last Exit, due primarily to the skill of its individuals, only infrequently fell off the precipice into the netherworld of arty wanking ... The playing is intricate, wildly adventurous, frequently funny, and, perhaps most important, a tribute to musical democracy in action."[ Allmusic.
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In 2004, Blender magazine listed the song at number nine on the list of the 50 Worst Songs Ever, stating that Madonna "updates the 'Material Girl'-era satire of commercialism and spiritual emptiness ... with what is hands-down the most embarrassing rap ever recorded. Nervous and choppy, she makes Debbie Harry sound as smooth as Jay-Z." The magazine also said that the worst moment of the song is when after rapping, Madonna sings 'Nothing is what it seems' with no profundity. Stephen Thompson of The A.V. Club considered the song to be "jittery, tuneless, and shallow to the point of self-parody".
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Or it could just be another R. Kelly record." Jason King of Spin gave the album a five out of ten, saying "Black Panties also happens to be a serious musical step backwards from the melodious Write Me Back. The production is suitably retro 1990s-meets- contemporary-hip-hop: Synth strings and gated drums are matched to pitched- down, chopped & screwed vocals. But the songwriting is the big problem: These are serviceable but mediocre and tuneless slow jams. Then again, no one thinks of 12 Play's “I Like the Crotch on You” as lyrically or musically transcendent, either.
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" Billington praised Boyle, Devlin and Daldry, who had done a "tremendous job in lending what might have been orthodox Olympic rituals a blast of theatrical vitality." While Alexis Petridis writing for the same paper said that the lack of a "gasp inducing moment" spoilt the show. NZ Herald's Troy Rawhiti-Forbes wrote that there were "touches of brilliance, beauty, and bewilderment - often at the same time." However he called Russell Brand "tuneless", and during George Michael's performance he thought that "if there had been remote controls here in the stadium, people might have been reaching for them.
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" Mojo noted, "this is a slim volume rather than a blockbuster epic, but one exquisitely presented and rendered in the kind of creamy white clarity that will not yellow or crack. The natural timbres of live players are captured with intimacy and warmth." Pitchfork noted, "The rest of the band, dubbed by Forster the Magic Five, go tight or loose as the material requires, a marriage adapting to the times". The Guardian said, "He's very much an acquired taste, but lyric-driven songs that seem tuneless on the surface are the ones you find yourself humming later.
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Eric Greenwood of Drawer B called the song "moronic and embarrassingly tuneless," while also writing "I'd quote the lyrics, but they're so bad, I almost feel sorry for her. A 35-year-old woman singing about pom-poms and 'talking shit' in high school betrays such a delusional self-image that it's hard not to be taken aback. And on top of that, The Neptunes' beats are clunky and the production is senselessly bombastic." Nick Sylvester of Pitchfork also criticized the track, referring to it as a "Queen pastiche [...] which has about as much club potential as a 13-year old with a milk moustache and his dad's ID".
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On its release as a single, Ray Fox-Cumming of Record Mirror & Disc predicted the song would be a hit. He commented, "I was not convinced that this was the best track to be single number two from Timeless Flight, but now, edited down, it does make sense. It's still not one of Harley's strongest songs, but the funky guitar patterns, well-paced vocal and sterling production all help to make it man enough for the job of chart-breaching." In a review of Timeless Flight, Stewart Parker, for his "High Pop" column in The Irish Times felt the song was "aimless and tuneless".
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All songs composed by The Mekons (as per label). The BMI database lists all songs as composed by Tom Greenhalgh and Jon Langford. # "Memphis, Egypt" – 3:37 # "Club Mekon" – 3:29 # "Only Darkness Has the Power" – 3:28 # "Ring O' Roses" – 4:07 # "Learning to Live on Your Own" – 4:37 # "Cocaine Lil" – 2:51 # "Empire of the Senseless" – 4:35 # "Someone" – 2:44 # "Amnesia" – 4:31 # "I Am Crazy" – 3:28 # "Heaven and Back" – 3:16 # "Blow Your Tuneless Trumpet" – 3:56 # "Echo" – 4:33 # "When Darkness Falls" – 3:53 The American issue of this album omits "Ring O' Roses" and "Heaven and Back".
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For the revised 1982 version of the album, released as Island ILPS 7022, the tracks by Alan Vega and Charlélie Couture were replaced by tracks by The Three Courgettes – a British band featuring singer Barb Jungr, who recorded the song in London – and James White (later known as James Chance). The James White track has been described as a "droll, blasphemous, nearly tuneless piece of skronk". According to another source: The running order of the album was completely revised, and a radically shortened and remixed version of the Material track was used. The sleeve design was maintained but with an additional red star stating "Special 1982 Edition".
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Act III Five years later the friends return to Paris and attend the Circus des Bashibazouks where they are horrified to discover 'Madame Svengali', the famous concert soprano is actually Trilby who they later discover is in a trance induced by Svengali. Taffy attacks Svengali as he follows Trilby to the concert platform, and Svengali has a heart attack and dies cursing. At his death Trilby's voice returns to its former tuneless state, and she is led into the foyer in a state of collapse. Act IV Trilby is returned to the old studio in an attempt to help her recover physically and mentally from her ordeal.
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VOM was conceived in 1976 as a self-described beat combo featuring the renowned writer and critic Richard Meltzer on vocals, with Gregg Turner on second vocals and "Metal" Mike Saunders (under the pseudonym "Ted Klusewski") on drums. The band also featured Dave Guzman on "tuneless rhythm guitar", Lisa Brenneis ("Gurl") on bass guitar, and Phil Koehn on lead guitar. The name VOM was an abbreviation for "vomit", as their early live act was said by Meltzer and Turner to have included throwing various viscera, cow parts and food substances at the audience to provoke a reaction. Both Meltzer and Saunders had already contributed to music as a whole in distinct conduits.
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Second Coming was released to generally mixed reviews in the UK and US. Rolling Stone awarded the record two out of five stars, calling its songs "tuneless retropsychedelic grooves bloated to six-plus minutes in length." The Los Angeles Times were more positive, however, praising John Squire's "inspired guitar work" and concluding that "while the album's impact is undercut by some tunes that seem little more than fragments, the standouts offer a soulful earnestness as they speak of the search for salvation and comfort amid the tension and uncertainty of contemporary life." Select ranked the album at number twelve in its end-of- year list of the 50 best albums of 1995.
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It has retrospectively been labelled a "masterpiece". As one reviewer notes, the album is in "a place somewhere between metal and hardcore and post- rock, a place where crunching guitars and hoarse, tuneless vocals and slow spaciness all converge and create something big and mean and delightful". The change of style proved trying for some long-standing fans, but beneficial in garnering a greater fanbase and the Neurosis-Godflesh comparisons began to weaken. The eschewing of sludgecore elements, and increased focus on atmospherics and post-rock elements whilst still retaining metal and hardcore elements led to the album being labelled by many as post-metal, and essentially as being the genre's progenitor.
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Smith, Mark & Middles, Mick (2010) The Fall, Omnibus Press, The album's cover versions were less mainstream than some of their other recent choices: "War", originally by Henry Cow and Slapp Happy, "Shut Up!", originally by The Monks (whom The Fall had already covered twice on 1990s Extricate) and a bizarre version of "Junk Man", originally by The Groundhogs. According to Daryl Easlea's sleeve notes for the 2006 reissue, Mark E. Smith prevailed upon the group to deliver the song from memory and, as a result, was backed by minimal drums, bass, kazoo and some tuneless hollering from Burns. "Symbol of Mordgan" is based upon a recording of Scanlon discussing a football match by telephone on John Peel's Saturday afternoon programme.
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This is a musical joke, as previously Georgi Vinogradov had taken the vocal slide from drunks and tuneless club singers, and utilised it to showcase his own disciplined vocal skill and consistent vocal quality as he slid from one register to the next.As in the song Luchina (1940s) Kharitonov, in his prime, still has a consistent vocal quality across the registers at the age of 50 years,That is, he can sing up the scale without his voice suddenly sounding different as he goes from one octave to the next. and can surprise the audience by taking a technique which had come to represent sobriety, and hand it back to the music-hall toper. So this performance demonstrates the artistry behind the charm of a comedic bass solo performance.
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On a similar note, Highsnobiety critic Jake Boyer observed how the singer "has delivered a seven-minute, spellbinding piece of breathy electronica." Spin found the song "sprawling" and "melancholic", while Daniel Kreps of Rolling Stone called it "mesmerizing". NPRs Robin Hilton praised the song's composition and compared its "warped electronic" to the work of dubstep artist Burial. Jon Pareles of The New York Times found the track "simultaneously bold and intimate". On a different note, Rich Juzwiak of The Muse expressed a negative review of the song, calling it "utter tuneless" and criticizing the singer's vocal delivery, stating "it increasingly sounds like she’s just singing to herself as she goes about her day, without a care in the world, including whether listeners will actually want to hear her sing-song the same handful of words".
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While in the UK and attempting to enter the local market, the group's members "were doing odd jobs, illegally, to keep afloat and getting steadily more miserable in the process". In the book, Seymour also describes this album as "an unmitigated disaster; an awful collection of tuneless songs full of twisted invective (mine, mostly) and apocalyptic moaning... The whole exercise was excruciatingly juvenile and a tragic waste of what could easily have been an international breakthrough record." The album did not reach the top 50 in Australia, peaking at No. 77 on the Australian Kent Music Report Albums Chart but it did reach No. 46 on the New Zealand Albums Chart. NOTE: Used for Australian Singles and Albums charting until ARIA created their own charts in mid-1988.
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" Village Voice critic Robert Christgau wrote: "You suspect at first that these standard riffs and reliable rhythms are designed to support the lyrics rather than accompany them. But the homespun sarcasm of singing that comes on as tuneless as the tunes themselves soon reveals itself as an authentic, rather catchy extension of Nashville and Appalachia--and then so do the tunes, and the riffs, and the rhythms." Writing for Allmusic, critic William Ruhlman says of the album: "A revelation upon its release, this album is now a collection of standards...Prine's music, a mixture of folk, rock, and country, is deceptively simple, like his pointed lyrics, and his easy vocal style adds a humorous edge that makes otherwise funny jokes downright hilarious. In the original album's liner notes, Kris Kristofferson marveled, ""Twenty-four years old and writes like he's two-hundred and twenty.
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When the rest of the group arrive, they all, over the first act, reveal what they are working on. Grace shows her illustrations for her children's story "Doblin the Goblin" (with friend Sid the Squirrel), Jess tells her of her vision for her period romance, Vivi explains how her latest detective novel is darker than the last three, Brevis plays a (somewhat tuneless) song "There's Light at the End of the Tunnel" from his musical adaptation of The Pilgrim's Progress, and Clem reads out an extract from his science fiction story (or, as Clem sees it, "science fact", with names changed to protect identities). All the writers have obvious weaknesses with their writing. Grace's children have long since grown up and her ideas would be confusing to the age this kind of story is aimed at.
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Williams' Luke the Drifter recordings were often characterized by bleak recitations and "Help Me Understand" is no exception, addressing the theme of divorce and specifically the effect it has on the children growing up in broken homes. "One word led to another," Hank sings, "and the last word led to divorce," a line that would be all too prescient for the singer, who would be divorced from his wife Audrey Williams in 1951. Audrey actually cut the song for Decca five months before Williams recorded it, and the pair would perform the song as a two-part piece; Hank would narrate while Audrey would sing the little girl's part, what country music historian Colin Escott deems "a rare occasion when her tuneless singing actually worked." Williams cut his version in Nashville on August 31, 1950 with Fred Rose producing.
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Marty Tobin from Quai Baco wrote that "Qui peut vivre sans amour?" is a "Celine Dion rock song" with a little saturated guitar in the chorus and many layers of violins which makes it closer to Mozart, l'opéra rock than "Killed by Death" by Motörhead. According to Evous France, "Qui peut vivre sans amour?" is a rock ballad with an energetic vocal, a little similar to "Et s'il n'en restait qu'une (je serais celle-là)". Geneviève Bouchard from La Presse criticized the track because of the rock sounds which dominated the song and Bernard Perusse from The Gazette called it a "quasi-arena-rock showcase" with a "strangely abrasive, tuneless chorus". After the single "Qui peut vivre sans amour?" was announced, Evous France criticized this choice, preferring the release of "Je n'ai pas besoin d'amour," "Une chance qu'on s'a," "Celle qui m'a tout appris" or "L'amour peut prendre froid".
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After leaving the Stone Roses, Squire had a lasting feud with ex-bandmate Ian Brown, with the pair not having spoken in over a decade since Squire's departure from the band. In a 2005 Q magazine article, Squire blasted Brown, claiming "When he (Brown) was stoned, he was at best a tuneless knob and at worst a paranoid mess" (this was in response to queries about what had gone wrong with the Second Coming recording sessions, and the state of Brown's vocal due to his cannabis intake). Although both Brown and Squire performed Stone Roses songs in their solo gigs, a band reunion seemed unlikely. Squire was interviewed in June 2007 by Dave Haslam on XFM Manchester radio and discussed his current work as an artist, and claimed that even if Brown phoned him and suggested a Stone Roses reunion, he would turn the offer down.
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Writing for Pitchfork, Mark Pytlik described Kala as "clattering, buzzy, and sonically audacious", but said that, because most of M.I.A.'s lyrics gave the impression they were written "in the service of the rhythms", her allusions sounded more "rewarding" than what she literally had written. Andy Gill of The Independent found her lyrics unclear in their message about money and social concerns, while remarking that the gun references on "World Town" and "Paper Planes" blemished "an otherwise fine album". In The Guardian, Alexis Petridis wrote that Kala was still a "unique" listen in spite of occasionally tuneless songs. Writing for NME, Alex Miller acknowledged that the record's music polarised opinion, claiming that some members of the magazine's staff had "fed several copies [of the album] into the shredder claiming aural abuse", although others went on to praise the album for its innovation and referred to it as M.I.A.'s masterpiece.
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An audiophile reviewer commented that the recording balance was inconsistent and that the bass sound on the first two tracks was "fat, tuneless woof, as if the instrument were stuffed with a large, very fluffy bath towel". The AllMusic review by Ken Dryden awarded the album 4 stars writing "Action represents some of Peterson's earliest work for Brunner-Schwer; these sessions were recorded before an invited audience in the studio, with the pianist's working trio of Ray Brown and Ed Thigpen. The group seems extremely relaxed and inspired by the small group of loyal fans, with a brisk waltz treatment of "At Long Last Love" and an extended workout of fellow pianist Billy Taylor's ballad "Easy Walker" starting things off with a flourish. Their approach to "Tin Tin Deo" is remarkably subtle, while Peterson is at his most lyrical during a pair of Gershwin selections, "I've Got a Crush on You" and "A Foggy Day.
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Shakey Jake circa 1980 Shakey Jake (sometimes “Shakin’ Jake”) (August 24, 1925 – September 16, 2007),Campus Characters, University of Michigan Heritage Project born Jake Woods in Little Rock, Arkansas, was a street musician and storyteller well known to students and residents of Ann Arbor, Michigan, from the time of his arrival there in 1973 until his death. Woods, who had moved as a child with his family from Little Rock to Saginaw, Michigan, travelled from Saginaw to Ann Arbor for a brief appearance at the Ann Arbor Blues Festival in 1973, and decided to stay.“Shakey Jake Movin’ On”, WFMU, Beware of the Blog, Sept. 23, 2007 Jake could be seen regularly on the streets of Ann Arbor in his unconventional clothing, strumming his guitar and singing (generally tuneless) songs to passers-by.Weekend Edition, NPR, April 15, 2006"Remembering Shakey Jake", Sept. 18, 2007, Michigan Public Radio He also sold cassettes and CDs of his music, and T-shirts and bumper stickers bearing the slogan, “I brake for Jake”.
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Despite its commercial performance, critical response to Short Stories, both upon release and in retrospect, has been mixed. A Smash Hits journalist put the blame entirely on Anderson for making the album "entirely unlistenable"; he jokingly described his lyrics as "the kind of 'cosmic' drivel that gets hippies a bad name", and felt that the "tuneless" melodies were written by just coming up with notes and pitches at random. In a retrospective review, AllMusic reviewer Dave Connolly called the record "underwhelming", saying that it had very few "nearly memorable moments"; he criticized it for being more focused on melody than making the arrangements less "amorphous" and "paper-thin", an issue also present on the last Yes album Anderson sang on before working on Short Stories, Tormato. Gary Graff, who wrote a mixed review for The Beaver County Times, mainly criticized Vangelis' musical work on the record, feeling it was much more of a Vangelis album than a collaborative LP between him and Anderson and would have been more commercially successful if only he was credited on it.
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