Critics and readers were delighted, but ennui sat naggingly on his shoulder.
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I'm sure that's not entirely true, but something about its selling points were naggingly preachy.
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Swimwear simultaneously epitomized everything I wanted to be and naggingly reminded me of who I actually was.
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The over-all effect is lurid, nasty, and naggingly memorable, not least for the splendor of Eastwood's leonine coiffure.
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Bell's identity isn't fixed to one gender: She's both the brawling, boozing detective and the tough-talking, naggingly concerned mother.
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"I Will Send Rain" obliges with a grim portrait of a family weathering the Dust Bowl as naggingly evocative as grit in your mouth.
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BRASILIA, Feb 22 (Reuters) - Brazil's central bank is not considering cutting interest rates as inflation remains naggingly high, central bank director Altamir Lopes said on Monday.
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Given that we are today a postindustrial society governed by a preindustrial document, thank heavens that the Constitution itself is often naggingly vague; it could not have otherwise survived.
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After signaling a 50-basis-point hike was a real option to curb naggingly high inflation, Tombini on Tuesday said the deepening recession was going to be considered in its rate decision.
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When Grace and Frankie neighbor Oliver walks back into the lives of Robert Hanson (Martin Sheen) and Sol Bergstein (Sam Waterston) in season 5, you might notice something naggingly familiar about him.
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On the flip side, though, there's something naggingly bleak about the idea that a good Instagram photo can make or break an animal's survival, a dynamic that eerily parallels our modern dystopia of crowdfunded health care.
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But it has also tapped into Germany's larger, naggingly uncomfortable relationship with migration — its sometimes strange and unfamiliar story lines, its quiet successes and potential perils — at a moment when the country is struggling to integrate its new arrivals.
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Her emo tendencies, dominant with Little Big League, still emerge in her music as Japanese Breakfast, most notably in her ear for a naggingly catchy tune, her knack for constructing spiky guitar hooks, and her delight in hiding spiky guitar hooks where you least expect them.
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But Drake's knack for turning specifics into naggingly memetic catchphrases (and rafter-shaking anthems, as on the unstoppable "Know Yourself") has never been more fine-tuned than it is here, and the persistent undercurrent of pettiness feels like him channeling the grievances of his city's long-ignored hip-hop community.
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BOSTON — It is a cat suit, not a thesis statement, and yet somehow the snug Rudi Gernreich garment — with its band collar, dot pattern and Julie Newmar aura — emblematizes both the promise and the shortcomings of "Gender Bending Fashion," a naggingly ill-defined survey of a century of gender blur.
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Harriet Gibsone of The Guardian described "Lush Life" as "naggingly catchy".
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The work consisted of Edith's verses, which she recited through a megaphone from behind a screen, while Walton conducted an ensemble of six players in his accompanying music. The press was generally condemnatory. Walton's biographer Michael Kennedy cites as typical a contemporary headline: "Drivel That They Paid to Hear". The Daily Express loathed the work, but admitted that it was naggingly memorable.
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The Times described the album as being "soft-rock nostalgia, with the odd nod to Justin Timberlake's crossover style". They noted that the "playground political" "Place in My Heart" was "pretty ace". Combined with the "naggingly catchy" "Move On" and the "positively Slavic" "Sun Goes Down", Set the Mood was summed up as being "enjoyably timewarped". "Love Song" was described by The Guardian as being "strikingly, struttingly Jacko-esque".
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" Philip K. Scheuer of the Los Angeles Times wrote, "As a story it seems naggingly improbable and, as drama, a nightmare from which the spectator constantly pulls away, struggling to wake up in a less disordered universe. No question, though, that it is at least fitfully effective." Edith Oliver of The New Yorker called the film "an idiotic and trashy movie with two terrible performances in the leading roles, and I had quite a good time watching it. There is something bracing about Hitchcock at work, even when he is at his worst.
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Although some writers called it gimmicky, "Trap Queen" was generally well received by contemporary music critics, especially rap critics. In particular, multiple writers praised the song's "infectious" quality. David Drake of Complex highlighted the song for the December 2014 edition of the publication's Bout to Blow feature, calling it a "sweet, chirpy love song" with a "great chorus and irrepressible cheeriness". Tom Breihan of Stereogum called it "one of the best out-of- nowhere rap anthems in recent history", noting its "stormy-but-melodic beat" and "naggingly catchy hook".
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Dominae opens with "Mistress", which writer Lee Wakefield of The 405 said it was Macomber's "seductive croon softening a somewhat gloomy declaration." "It's Only Love" is the second song on the album. In the words of The Guardian critic Michael Cragg, it is "Built around a bubbling bassline and swathes of crystalline synth riffs," and "slinks around icily for the verses before unfurling into a dainty but naggingly catchy chorus, Macomber's hushed voice the perfect match for Ford's intricate production." The third track is "Beast", which deals with the rush of getting to know someone, followed by two-minute and 30-second "Inside".
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Overall Mars-Jones thought that "James Bond is more like a low-tar cigarette than anything else – less stimulating than the throat- curdling gaspers of yesteryear, but still naggingly implicated in unhealthiness, a feeble bad habit without the kick of a vice." For the Canadian newspaper The Globe and Mail, Rick Groen wrote that in Licence to Kill "they've excised Bond from the Bond flicks; they've turned James into Jimmy, strong and silent and (roll over, Britannia) downright American", resulting in a Bond film that is "essentially Bond-less". Summing up, Groen thought "Actually, that dialogue ... ain't bad. The silence looks good on Timothy Dalton".
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" British morning newspaper The Independent called "Stole" Simply Deeps "strongest track [...] a lament for unfulfilled potential, especially that of smart kids victimised by dumb thug culture." Lisa Verrico of The Times noted the song "tells stories of shattered dreams through a series of fictional characters, has a naggingly catchy chorus and [...] shows Rowland as a strong, smooth, versatile singer." BBC Music editor Joy Dunbar found that the "Sade-influenced "Stole" which is about universal life experiences highlights Kelly's soulful, spine tingling singing voice." The Torchs Frank DeBellis remarked that "Stole" is a "single that truly expresses Rowland’s talent and represents the sounds of the entire album.
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"Black & Blue" received a positive response from music critics. John Bergstrom of PopMatters described it as "smooth, winning blue-eyed soul", and Neil Ashman of Drowned in Sound commented that its breathy vocals, piano chords and synth backing made it a "successful blend of melancholy and dancefloor-ready rhythms". Caroline Sullivan of The Guardian deemed the falsetto vocals and synths "naggingly infectious", citing it as the band's strong point: "the trio may be faceless, but they write a good tune". Sputnikmusic's staff reviewer Rudy Klapper felt that the "techno swirl" of the song "nail[s] the juxtaposition between Wyatt's moody lyrics and the irrepressible production".
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Stephen Thomas Erlewine of AllMusic cited "Semi- Charmed Life" as evidence that Third Eye Blind can "craft a naggingly memorable hook". David Grad of Entertainment Weekly praised the radio friendly sound of the song, calling it a "nice taste of Third Eye Blind's formula". James Sullivan of Rolling Stone referred to the song as "One of the most relentlessly sunshine-y songs of the Nineties". Justin Joffe of Observer praised "Semi-Charmed Life", commenting that the song is "both poppy and addressed some heavy shit", which gave the band "an edge over their radio- ready contemporaries that many would later imitate with less sincerity".
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Music & Media stated that it is a "strong composition" where the lyrics "are done more than justice by Linda Perry's impressive vocal touch." R.S. Murthi from New Straits Times called it "anthemic" and noted that it "is probably one of the simplest and catchiest pop songs to be produced in recent times." Carmen von Rohr from Rome News-Tribune noted "the amazingly down-to earth common sense lyrics" of "What's Up?" and added that Linda Perry "sings in her rich, soulful voice about the frustrations she feels as she tries to adjust to her place in the universe." Sunday Life wrote in their review, that the song is "naggingly memorable".
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The album only produced one hit, "Strange & Funny", the pair's last chart entry in the US, and they left Elektra to record for the Manhattan label. Their only release for the label, 1986's "Starbright," an ill-fated stab at the charts with little of their past sound, was barely released in the U.S., but produced a single, "Soul Love/Soul Man" that reached no. 58 in the U.K. Always popular in England, they headlined at the Royal Albert Hall in 1987. Their success in the UK and other parts of the world was rekindled in 1988 with the "naggingly catchy" single "Teardrops", taken from their fourth album (and first for the Fourth & Broadway label), Conscience.
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The album primarily featured co-production between Dr. Dre and Mel-Man and was generally well received by critics. AllMusic writer Stephen Thomas Erlewine noted that Dr. Dre had expanded on the G-funk beats on his previous album, The Chronic, and stated, "He's pushed himself hard, finding new variations in the formula by adding ominous strings, soulful vocals, and reggae, resulting in fairly interesting recontextualizations" and went on to say, "Sonically, this is first-rate, straight-up gangsta." Entertainment Weeklys Tom Sinclair depicted the album as "Chilly keyboard motifs gliding across gut-punching bass lines, strings and synths swooping in and out of the mix, naggingly familiar guitar licks providing visceral punctuation". NME described the production as "patented tectonic funk beats and mournful atmospherics".
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Writing for Sound on Sound, Tom Doyle described the song as "naggingly catchy and knowingly daft". In a 2013 Red Bull Music Academy article, Angus Finlayson implored readers to "listen beyond the nonchalant synth pop bounce, you may detect a note of poignancy in this tale of an aging pop star still dining out on the success of his first hit." The song was featured in the "Gatherings" episode of Edgar Wright's sitcom Spaced, first broadcast on October 1, 1999, with Jessica Stevenson's character Daisy mis-singing the chorus as "Hot dog, jumping frog, almond cookies." The 2020 Netflix series I Am Not Okay with This features a scene where Wyatt Oleff's character lip syncs and dances to the song.
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His huge hands and powerful shoulders allowed him to bowl a lethal combination of in-swingers and leg-cutters off a short run-up and only Keith Miller - briefly - was able to cut loose from his control. In 1950-51 series he did have the support of his captain Freddie Brown, another big medium paced bowler, who surprised everybody by taking 18 wickets (21.61) despite celebrating his 40th birthday on the tour. There was also Trevor Bailey who took 14 wickets (14.14) with his naggingly accurate out-swingers that mirrored his monotonous batting as he settled on containing batsmen, but could be dangerous in the right conditions. After these three the quality of the England bowling dropped dramatically, for which the selectors must bear the brunt of the blame.
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" Evie Nagy of Rolling Stone wrote, "There's unguarded joy in the British quintet's mix of synthed-up grooves and pop songfulness on tracks like 'Don't Deny Your Heart'. Their communal vocals are always warm and nuanced, with leader Alexis Taylor merging Davy Jones' innocence with the mirror-ball yearning of Erasure's Andy Bell." However, Slant Magazines Kevin Liedel felt that the album "feels like a cut-and-paste job, with whole parts either lifted from previous Hot Chip tracks [...] or blatant counterfeits of their '80s-era influences", while stating that "[t]he only reliable human standby amid the parade of dreary automation is Alexis Taylor's voice, which remains as pristine and angelic as ever". Thom Gibbs of NME expressed, "From start to finish, it has an educated and intense eye on the dancefloor, and it sounds fantastic", but concluded by saying, "Lively and upbeat, but naggingly sterile.
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When Muthu comes to inspect their progress, he notices Ah Tan's medicine cooking and, citing a real wartime scenario, naggingly scolds the three soldiers for inadvertently exposing themselves to enemy fire by cooking in the field. Knowing that their training area is reputedly haunted, Ah Tan and Ah Lei attempt to spook their sergeant-major in the night as they encountered the same incident where two soldiers saw a buried human hair, leaving Ah Tan alone digging while still badly ill. Later that night, when Muthu returns to his field-post, he encounters the same ghost as at the start of the film, and while running away encounters disguised Ah Nan and Ah Lei (dressed up as long-haired ghosts), frightening him even more and leading him to inform Lieutenant Chua of his encounter with the spirit. Chua dismisses his claims and later meets with the trio (Ah Tan, Ah Nan and Ah Lei), where it is revealed that Ah Tan's illness gets worse and Muthu takes charge of sending Ah Tan back to the camp's medical centre (the medic attached for the exercise had reported sick previously).
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