Taken as a whole, “The Poets’ Wives” is a fascinating, brave novel whose love of poetry breathes through all three sections.
The tunes on Joey Pizza Slice’s new LP are personal enough to leave many listeners scratching their heads, asking “Is this guy for real?”
The Lyric Stage Company’s thoroughly enjoyable production more than does “Into the Woods,” Stephen Sondheim’s un-Disneyfied version of fairy tales, justice.
Howard Hersh hails from northern California, and, as in John Adams’ “City Noir,” the music on Hersh’s album, “Angels and Watermarks,” embraces polyglot West Coast culture in various ways.
For once, in Ronald Reagan’s America, youthful talent and energy seemed able to trump everything else.
Boston’s MFA should be congratulated for screening these Technicolor musicals in way that does wondrous justice to their eye-popping colors.
At last — industrial music made by real industrial machines played in a real industrial setting.
The best corned beef in the Boston area by far is, get this, at an Italian lunch joint in Downtown Crossing, Sam LaGrassa’s.
The Black Keys clearly wanted to write moody, trippy, mostly hookless tracks, and as far as moody, trippy, mostly hookless tracks go, the ones on Turn Blue aren’t so bad.
While 1962’s Symphony owes a clear debt to Stravinsky and Britten (especially its last movement), it sounds like nobody but Irving Fine. This is a score that orchestras ought to be lining up to play.