Found this on The Word website - which I used to regard as a reasonably sensible publication....
It's not clear exactly who transformed the saxophone from a bit-part actor during the '60s and '70s into the centre-stage spotlight-hogger it became in the 1980s, all overwrought vibrato and audacious bends up to the note. But it's someone's fault. The sax solo quickly became inescapable - invariably blaring at disproportionate volume, often too long and frequently breaking the mood. Baker Street and Careless Whisper are the classic examples, but every other track on early Now That's What I Call Music compilations seems to have one - T'Pau's China In Your Hand, Tina Turner's Simply The Best... Need we go on?
http://www.wordmagazine.co.uk/40noises-3
It's no 25 they object to apparently.
I suggest a campaign of hate-mail and threats to never buy one of their ridiculous magazines
SAX POWER - YOH!!
It's not clear exactly who transformed the saxophone from a bit-part actor during the '60s and '70s into the centre-stage spotlight-hogger it became in the 1980s, all overwrought vibrato and audacious bends up to the note. But it's someone's fault. The sax solo quickly became inescapable - invariably blaring at disproportionate volume, often too long and frequently breaking the mood. Baker Street and Careless Whisper are the classic examples, but every other track on early Now That's What I Call Music compilations seems to have one - T'Pau's China In Your Hand, Tina Turner's Simply The Best... Need we go on?
http://www.wordmagazine.co.uk/40noises-3
It's no 25 they object to apparently.
I suggest a campaign of hate-mail and threats to never buy one of their ridiculous magazines
SAX POWER - YOH!!