Word: soloed
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Dates: during 1990-1999
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...Stomp consists of a seamlessly interwoven series of such acts. All have their basic conception in common--the creation of dynamic sound and movement from strong bodies and everyday objects--but there's surprising variety among those numbers. One long-haired, bandanna-wearing cast member performs a high-powered solo number for two feet and two brooms; four ornery performers challenge each other to outdo one another in playing matchbooks like maracas. We get solo tap-dancing in heavy work boots, a symphony with drugstore-issue plastic bags and an impressive spotlight number in which a single dancer drums...
...simple, but the orchestration is incredibly rich. As the performance went, there may have been a textual imbalance on the side of too much brass, but Susan Gim '01 played her flute part superbly, and there were plenty of opportunities for the strings to generate a beautiful sound. The solo by Concertmistress Jen Burney '99 was one of the best parts of the first movement and, incidentally, authored the most entertaining program note: "young Antonin's musical talent was discovered early during his apprenticeship as a butcher." Was this a rhythmic knock-the-ham-hock knack? Or did Dvorak...
...goal of the majority of the songs on Tear it Up is "Sweet Lady." This song succeeds in providing a pleasant "soft" ska feel. The ska rhythms are present but the song is very reminiscent of soft rock. In addition, the song features a pretty saxophone solo, making "Sweet Lady" the most promising of the songs on the album...
...Middle East, Lord teased the audience by starting her set with a Ween cover, and then moving on to two new original pieces--"His Lamest Flame" and "Western Union Song"--which may or may not appear on Got No Shadow. Although Lord played both songs solo, either could easily be adapted as band material, especially "His Lamest Flame," an upbeat and gregarious sour grapes song which wouldn't easily be adulterated by backup accompaniment. The audience responded enthusiastically to the new material, crowding up to the stage for the first time during the sequence of bands that evening; they also...
Unfortunately, Brown's new solo album, Forever, is unlikely to shift attention back to his music, mainly because it's simply a bore. Starting with the cliched title, Brown seems to see the record as an opportunity for image rehabilitation, not a chance to recapture some of his old musical magic. He devotes nearly half the 11 songs to crooning about home and family. Inspiring subjects to be sure, but Brown takes them beyond heartwarming into a realm only a spin doctor would love. She's All I Need is a heavy-handed affirmation of fidelity. The capper, though...