Anagram & Information om | Engelska ordet PARELES

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• Worrell was described by journalist Jon Pareles as "the kind of sideman who is as influential as some bandleaders," with his use of synthesizers particularly impactful on funk and hip hop.
• She's clearly superior to Roxette's uncomplicated, hook-crammed material"; Jon Pareles of The New York Times criticized their show for its "careful mimicry of MTV.
• The New York Times writer Jon Pareles said that Springsteen "turned inward" on this album, writing about "love gone wrong" in response to changes in his personal life, particularly his crumbling marriage to Julianne Phillips.
• Jon Pareles of Rolling Stone praised the Edge for his powerful guitar playing, "drenched in echo and glory", but said Bono's vocals were negatively impacted by him taking himself too seriously and that his lyrics were silly and clichéd.
• In his Blender magazine review of the album, Jon Pareles said that the band did their blues album different from most others because, instead of making "respectable" cover versions, they make quite unrespectable cover versions like "You Gotta Move".
• Jon Pareles, music critic for The New York Times, gave high praise to McKee's singing and the band's musicianship, but described the album as something of a disappointment in that "the band's songwriting has grown weaker": whereas the songs of the debut album were filled with "down-to-earth details that make country music hit home", those of Shelter "are much vaguer – they're about abstracted emotions rather than recognizable people".
• As the decade progressed, the Crawdaddy staff included Timothy White (senior editor) (later, an editor of Billboard), Mitch Glazer, Denis Boyles, Noe Goldwasser, John Swenson, and Jon Pareles, plus notable freelance photographers including David Gahr, Francesco Scavullo, and Ed Gallucci.
• " The New York Times editor Jon Pareles wrote a more mixed review, calling it "a come-on set to bare-bones electro from the producer Jermaine Dupri to stay contemporary, sometimes reducing her voice to the processed nasality of Britney Spears.
• Jon Pareles of The New York Times described the album as "blissfully pan-American", elaborating that "for Shakira it's all pop, taut structures for volatile passion".
• Jon Pareles of The New York Times stated that lyrically, Tin Machine "juxtaposes love songs with rants about current crises".
• " Jon Pareles of The New York Times wrote: "Beyoncé needs no distractions from her singing, which can be airy or brassy, tearful or vicious, rapid-fire with staccato syllables or sustained in curlicued melismas.
• Musically, "La Tortura" is a pop, reggaeton and dancehall song, The New York Times Jon Pareles observed the rock guitars and electronic blips present on the track, as well as an accordion and Sanz's "spry tres guitar", which provided a "funky cumbia feel".
• " Jon Pareles described "Dirty Diana" as 'reducing' Jackson to a "terrified whimper," while John Tatlock considered "Dirty Diana" as a "confused lumbering slog of a song," thinking that "Jackson was never convincing in this kind of role, a boy-child trying to write a song about the kind of woman he never meets in the kind of places he's certainly never been to.
• Lyrics from the song were used during an interlude on Madonna's 2019–20 Madame X Tour; a row of dancers "convulsed gracefully" to the song at the lip of the stage to irregular breaths, described as one of the concert's "most powerful dance moments" by The New York Times Jon Pareles.
• He believes the strength of the strings, the competent backing vocals, and the keyboard figures prevent the listener from convulsing with laughter at Jackson's "oh-so-pained delivery" and interjections of "Hold on" or "Oh my!" Jon Pareles of The New York Times called the track the "change-the-world-song" and wrote that the single "applies its grand buildup to one of pop's strangest utopian schemes," which was asking everyone to cry at the same time, at which point Jackson may answer their prayers.
• " In The New York Times, Jon Pareles credited the singer for bringing together "hip-hop realism and soul's higher aspirations, hip-hop's digitized crispness and soul's slow-building testimonies.
• In The New York Times, Jon Pareles wrote that Mama Said Knock You Out reestablished LL Cool J as "the most articulate of the homeboys", sounding "tougher and funnier" rapping about "crass materialism" and "simple pleasures".
• " Jon Pareles was favorable: "the pop-reggae of Stupid Girls snidely dismisses the bimbos she sees everywhere, though she apparently has studied their habits closely.
• Jon Pareles of The New York Times stated "What you get from this 18-year-old singer is a big smile, a little voice, gushes of sincerity, hardworking dance routines, shameless advertising and a determination to play both sides of pubescence for all they're worth".
• For The New York Times, Jon Pareles wrote that the singer "deploys her small voice shrewdly" on the album, creating a "jaded growl" on "You".

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