Word: simon
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Dates: during 1990-1999
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...Merchant's days with 10,000 Maniacs is their Unplugged performance, particularly the touching cover of "Because the Night." Merchant continues to please and excite her fans in her first solo live release, Live in Concert, featuring the very finest performances from her sold out concerts at the Neil Simon Theater in New York City. Although Merchant's studio creations are enjoyable, the atmosphere created by a small audience is perfect for her stellar vocals. You cannot help but listen to every sonorous, sexy note. Her rendition of David Bowie's "Space Oddity" is unforgettable. Merchant seduces us with...
...like you've stepped into the famous da Vinci painting: a beaming Jesus presides over the meal from the middle of the table, with Judas the traitor seated on his left and faithful Simon (boyish good looks and all) seated on his right. But this is no Italian basilica--this is the Currier dining hall, and Jesus (Jeffery E. Fowler '01) is complaining about the service, Judas (Ryan P. Shrime '00) is cracking off-color jokes, and one of the apostles (but not Simon, played by Stefan H. Atkinson '03) is still nursing a hangover. Grab some of His body...
...terms used to describe mixed-race people are themselves problematic, writes Simon L. Sternin '00 in an e-mail message...
...what? A selection of painful-but-powerful music from female musicians, detailing the trials and tribulations of adolescent uprooting and the love-hate mother-daughter relationship? That's exactly what we get. The soundtrack includes a smattering of love and/or loss songs, featuring Sarah McLachlan, Lisa Loeb and Carly Simon (who, fittingly, is joined by her daughter in singing "Amity," an ill-conceived attempt at marrying folk, pop, a pinch of country and maybe a little blues). Loeb's "I Wish" and McLachlan's "Ice Cream" leave us wondering if the producers could have chosen something just a little more...
Interestingly enough, this is the first album the brothers Simon and Robin Lee have recorded together in the studio, their previous works having been created with one brother in Japan and the other in England. That internationalism pervades into the album, which layers African singing over jazz- and Latin-influenced four-four house beats, throwing in a touch of disco along the way. The production is flawless, and the percussion work and lush flute on "Kariba" is infectious. And their dance music credentials come to the fore when the album finds its groove, as it does with the deep vocals...