Earlier this year, I received a promotional copy of a new Cyndi Lauper titled Shine. Shortly thereafter, I received an e-mail informing me that the release of the disc had been postponed due to the fact that there was a problem with the label ( a European outfit trying to break the domestic market ) . The CD was pretty good and I thought it was being released at the right time for a long overdue Cyndi Lauper revival. In the meantime, Shine's official release has been postponed. ( Memo to Madonna: Be a mensch and invite Cyndi Lauper to become a part of your Maverick Records family because you owe it to her. )
This is a good example of the daunting situation facing female vocalists of a certain age, many of whom are of little interest to major labels because, while they have a devoted "cult-level" fanbase, they can't achieve the inflated sales of a Britney or Christina. While we wait for Cyndi, here are some other discs by female artists that deserve your attention.
With the signing of Emmylou Harris, Sam Phillips ( whose Fan Dance ranks as one of the best albums of 2001 ) and others, the good people at Nonesuch are doing their part to make sure that some of these voices are still heard. Laurie Anderson's Life On A String ( Nonesuch ) illustrates that point. After being on Warner Brothers for almost 20 years, she was given a "retrospective" kiss-off and now she has landed gently at a new label. Like many of her later
Clockwise from
top left: Laurie Anderson, Cindy Bullens and Lina.
albums, Anderson continues to sing as much as she speaks on the new disc. Her affection for the violin and Herman Melville's book Moby Dick are two of the strongest components of this stunning disc. When the exquisite instrumental "Here With You" segues into "Slipping Away" ( a song about the death of her father ) , Laurie Anderson achieves tearjerker status of the highest order. In fact, genuine and personal emotions pervade the album, as on songs such as the aforementioned "Slipping Away," "Pieces And Parts," "Broken," "Statue Of Liberty," and the title track, giving Anderson's work a long overdue humanity.
Suzanne Vega's early work started out with a great deal of emotion and then over time, grew more and more distant, culminating in 1996's Nine Objects of Desire. In much the same way that Sam Phillips returned to her melodic acoustic roots on Fan Dance, Vega has also returned to her roots on Songs In Red And Gray ( A&M ) . As one of the few artists to have survived the reorganization of A&M, Vega earns her keep with this brave and honest new album. Divorced from her husband, former producer and sometime collaborator Mitchell Froom, Vega declares her independence in a few songs, including "Widow's Walk" with the lines: "Consider me a widow, boys/and I will tell you why/It's not the man, but it's the marriage/that was drowned." Their daughter Ruby is also the focus of a few songs, such as "Soap And Water" and the title track, showing a renewed sensitivity to Vega's work. Heartbreak, but worth hearing, Vega has made a bold return.
In a way, I'm selfishly glad that Kelly Hogan has remained an indie artist without the influence of a major label to cloud her creative vision. Whether she's recording for Amy Ray's Daemon Records or Chicago's insurgent country label Bloodshot, Hogan's work is distinctive and distinguished. Because It Feel Good ( Bloodshot ) is no exception. The 10 songs on this eerily stripped down album are hallowed and haunting, with Hogan's voice being the focus. From the chilling strains of "I'll Go To My Grave Loving You" to the belted bravado that builds over the course of "In Time" to her unforgettable reading of "Strayed," you won't believe how fast this album zooms by. Put your CD player on repeat and submerge yourself in the Hogan and Andy Hopkins original "No, Bobby Don't" ( with Andrew Bird's remarkable strings ) , the narcotic languor of "Speedfreak Lullaby," the Patsy Cline wail of " ( You Don't Know ) The First Thing About Blue," and the sweet, but subtle, hipshake of "Sugarbowl," to name a few.
If you overlook the album cover, Love, Shelby ( Island ) is the proper sonic follow-up to Shelby Lynne's acclaimed I Am Shelby Lynne disc from 2000.
Following her best new artist Grammy win, Lynne is continually moving away from the country music career that first introduced to her fans. Working with producer Glen Ballard, Lynne rocks a little harder on "Ain't It The Truth" ( which recalls Bonnie Raitt ) and "Star Broker." The Beatles-esque pop of "Wall In Your Heart" complements her cover of John Lennon's "Mother." The infectious pop riff of "Killin' Kind" ( originally heard on the Bridget Jones Soundtrack ) exposes another side of Lynne's capabilities. For those looking for more of the smooth blues sound of I Am Shelby Lynne, you will probably find "Bend," "Close To You," and "All Of A Sudden You Disappeared," and "Break Me Open," to your liking.
Speaking of eagerly anticipated follow-albums, Neverland ( Artemis ) by Cindy Bullens is her first album since the heartbreaking Somewhere Between Heaven and Earth in 1999. The songs on ... Heaven and Earth dealt primarily with the death of Bullens's daughter Jessie ( who died in 1996 at the age of 11 from Hodgkin's Disease ) . Originally a rock-oriented performer ( take a listen to her 1978 debut album Desire Wire, if you can find it ) , she returns to her blues-rock roots on Neverland, as you can hear on songs such as "Sensible Shoes," "Hammer & Nails," and the title track. There are also a few of the singer/songwriter type songs that she did on ... Heaven and Earth, including "One Single Moment," "Right Kind Of Goodbye," and "Gravity & Grace."
Dar Williams is another artist with a sizeable cult following, among which are a considerable number of lesbians and gay men. Renowned for brilliant songwriting and original studio recordings, Williams is also a beloved live entertainer. Out There Live ( Razor & Tie ) features 16 of Dar's most cherished songs, including "The Christians And The Pagans," "The Babysitter's Here," "What Do You Hear In These Sounds," "When I Was A Boy," "Are You Out There," "February," "Iowa," "As Cool As I Am," recent tunes such as "Spring Street" and "I Won't Be Your Yoko Ono," and her cover of The Kinks' "Better Things."
It's been five years since I first heard Vanessa Daou's Zipless, a musical interpretation of Erica ( Fear Of Flying ) Jong's work, and now she has a new album titled Make You Love ( EQ8R ) . Still singing in her trademark breathy style, Daou ( who is married to her producer and arranger Peter Daou ) sounds as if she is also singing the praises of same-sex love, as you can hear on the tracks "Aphrodite," "Juliette" and "Honey In A Jar," to mention a few.
On her album Wing Of Mercy ( Great Northern Arts ) , Serah makes music that sounds like a combination of the new-age aspects of Sophie B. Hawkins ( who she appears to resemble in the CD art ) and Sting. On songs such as "Starmaker," Serah also includes elements of world music.
Daring debutantes
Call it "Britney backlash" or "Aguilera agitation"—a whole new flock of female singers have arrived to take back the mike. Owing more to Alanis Morrisette than Jessica Simpson, young singer/songwriters such as Michelle Branch and Lennon have something to say.
Producer ( and occasional co-songwriter ) John Shanks gives The Spirit Room ( Maverick ) by Michelle Branch a sheen that borders on the pre-fab sound that Branch's label seems to be protesting against. The rocking first single, video and opening track "Everywhere" is a bit misleading, because it would be good if the rest of the album was this strong. By the second cut, "You Get Me," she skirts Britney/ Christina territory, although there's something Alanis in her phrasing. Personally, I think it's the processed synthetic beats and the lapses into Star Search vocals that work against Branch, keeping her from separating herself from the teen scene. There are a couple of exceptions, such as "Something To Sleep To," "If Only She Knew," and "I'd Rather Be In Love."
Like Branch, Lennon ( Murphy ) writes her own songs and recorded her debut disc 5:30 Saturday Morning ( Arista ) while still in her teens. Unlike Branch, Lennon rocks harder right from the start. "Property Of Goatfucker," the album's opening, is a direct punch in the gut. For the remainder, it sounds as if Lennon has been living on a steady diet of PJ Harvey ( "Brake Of Your Car," "I Hear" ) , Hole ( "My Beautiful" ) , Tori Amos ( "Asking You," the title track ) , and Marilyn Manson ( "Couldn't Breathe" ) . Once she secures her own musical identity, as she begins to do on "Thank You," Lennon could have a lengthy career.
Also going by one name, Lina has a sound that combines contemporary vocalists such as Macy Gray and Erykah Badu with Josephine Baker and Billie Holiday for one the most refreshing debuts of the year on her album Stranger On Earth ( Atlantic ) . Jazzy and sassy and soulful and playful, Lina goes for the retro vein ( with vintage samples ) while pumping street language throughout. Red hot and blue tracks include "Playa No Mo," "It Ain't Me ( SOS ) ," "Don't Say Nothin'," "I'm Not The Enemy," the thumping "Watch Your Mouth ( Baby Blue ) " and the single "It's Alright."
David Lowery, of Cracker fame, produced Heart Shaped Scar ( Koch ) , the debut disc by female rocker LP. LP belts out one number after another on this varied album. She has a bit of Maria McKee's vocal twang, especially on the more country-rock oriented tunes. LP also leans towards a spunky modern blues-influenced rock style on the title track, "Love Somebody," "Shut You Out," and "Follow Me Down."
"Free And Lonely Life" and "The Old You," the first two songs on Believer ( Extasy ) by Laura Dawn are so different that it's almost hard to believe they were written and performed by the same young woman. "Free And Lonely Life" is a gorgeous and revealing bluesy acoustic number. The crunchy pop-punk tune "The Old You," opens with the lines "I remember you when/before you did all that cocaine and turned into an asshole," and is a wonderful plea for a return to the past. Dawn moves easily back and forth between the unplugged and plugged worlds.
Two of the best albums of the year, Eliza Carthy's Angels & Cigarettes and Shea Seger's The May Street Project, are debut discs by female artists. The Herethereafter ( Virgin ) by Miranda Lee Richards comes the closest to the Carthy and Seger discs in creativity and quality. It's a blend of smart folky numbers, songs with stunning string arrangements, unique instrumentation and pure pop energy. Richards' vocals reminded me of Karen Perris ( The Innocence Mission ) on a couple of tracks, but for the most part she is a distinctive talent, with a touch of the post-modern hippie.
While I wait patiently for mainstream country music lovers to look beyond the Faith Hills and Shania Twains of the world and see ( and hear ) artists such as Kelly Hogan and Neko Case, I am given hope when I hear a disc such as My World ( Capitol ) by Cyndi Thomson. Thomson co-wrote eight of the 11 songs, including "I Always Liked That Best," which was co-written with Jennifer Kimball ( formerly of The Story ) . Thomson doesn't go in for showoff vocals, instead she lets songs such as "What I Really Meant To Say," the pop crossover of "Things I Would Do," the beautiful ballad "If You Could Only See," speak for themselves, with her as the vessel.
The seven-song self-titled EP by Canadian Sarah Slean ( Atlantic ) features three new songs including the wonderful "Sweet Ones" and the bizarre cabaret style of "Book Smart, Street Stupid." It is, however, on the four songs ( including "High" and "Me & Jerome" ) culled from her self-released albums Blue Parade and Universe that a better idea of Slean's complex musical personality emerges.
The Be Good Tanyas are a roots/ Americana trio ( Frazey Ford, Trish Klein and Samantha Parton ) who, like Sarah Slean, first received recognition for their work in Canada. Their debut, Blue Horse ( Nettwerk America ) , features their effortless harmonies and timeless original and traditional folk-oriented songs such as "The Littlest Birds," "Broken Telephone," "Only In The Past," "Don't You Fall," "Up Against The Wall," and "Oh Susanna," which may give the album a longer shelf-life than some of those by artists mentioned above.
