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Your Country’s Right Here: Lindi Ortega Talks ‘Cigarettes and Truck Stops’ yet Keeps her ‘Little Red Boots’ Firmly on the Ground

Lindi Ortega’s sound has taken a long dip into the blues, but she’s still got the soul of a country girl.

Talking by phone from her mother’s Toronto home, she talked about how her 2011 release Little Red Boots inspired her to more fully explore the roots of country music.

Noting that the first book she read was Lovesick Blues: The Life of Hank Williams by Phil Hemphill, Ortega discovered Williams was heavily influenced by the blues. “That’s when I started to see a real connection between blues and country. I tried to listen solely to blues for months at a time, right around the time I was writing the songs for this record.”

She enlisted Colin Linden, a renowned producer and blues guitarist who has an extensive knowledge of blues. Linden helped Ortega weave the blues into the outlaw-traditional-country-with-hints-of-rock sound she developed. In a significant way, Cigarettes & Truckstops is an maturation of Ortega’s music from her debut album Little Red Boots. Although her sound is now more sophisticated and blues based, it has the heartfelt sincerety that drew listeners to her earlier work. Continue reading ‘Your Country’s Right Here: Lindi Ortega Talks ‘Cigarettes and Truck Stops’ yet Keeps her ‘Little Red Boots’ Firmly on the Ground’

Vocal Points: What Makes A Great Rock Voice?

There are plenty of components that make up an outstanding rock band. From a great guitar sound, to a killer bass line, there is so much rock greatness out there to grab your attention. But what makes a great rock vocalist? What kind of singer can produce a sound that shapes a generation and even other singers to come? And most of all, what does it to take to have a voice that flat-out ROCKS? Well, lets look at a few of the most well-known, respected voices in rock history.

Freddie Mercury, Queen‘s phenomenal frontman, is one of the rock voices that has always impressed me. The texture of his voice, his low growl, and the ease that he would glide from one vocal register to another are all truly remarkable. Unlike many rock singers, Freddie Mercury had an incredibly versatile voice which was raw and ferocious, while still being incredibly melodic and listenable to a wide array of music fans. His voice was  huge part of what made Queen such a huge success, as well as the reason why they’ll continue to be an important piece of rock history.

Continue reading ‘Vocal Points: What Makes A Great Rock Voice?’

Tangled Up In Blue

blueVenus

“Imagine Fiona Apple and Janis Joplin joined by Neko Case and Radiohead for a Saturday night out,” reads the splash page of the blueVenus Web site. And although that suggests a supergroup fronted by three alpha women, blueVenus is in reality just one woman—singer-songwriter Andrea de Boer. That’s not to say the music isn’t larger than the sum of its parts. De Boer weaves a lot of ideas into each song, changing up time signatures and vocal parts like an actor trying on new characters. “Killing Time” introduces you to the warm brush of de Boer’s voice as she drifts through hypnotic, moody soundscapes. “Grin,” on the other hand, uses the wiry scrape of plucked strings and bleating horns to create a jazzy, Latin-infused number. Things may sound upbeat, but there’s distress lurking at the fringes. In “Happy Tune”—a creeper of a melody—de Boer tries to outrun her demons, telling herself “Instead of dark I’ll be light.” We hope she hangs on to a little of the darkness. Keeps things interesting.

“blueVenus” – Killing Time

Adele Proves That It’s Talent, Not Just Sex, That Sells

We’ve been fans of chart-topping British songstress Adele since her debut album 19—she’s hyper talented, likeable and something about her just seems… different. We couldn’t quite figure out what sets her apart until last week, when XL Recordings founder Richard Russell pointed it out: Adele sells music based on the merits of her songs alone. “The whole message with [Adele] is that it’s just music… there are no gimmicks, no selling of sexuality.” Russell told The Guardian, adding that this tendency to over-sexualize—as opposed to focusing on the music—has led to “boring, crass and unoriginal” songs from female artists.

We’re sure Russell doesn’t mean to say that Adele isn’t sexy—anyone who’s seen her rock a microphone knows for a fact that she is. But the way she’s marketed her success on her rise to the top is almost exactly the opposite of the way other female stars conduct their business. Need proof? Look no further than your nearest magazine stand and check out the past several months of Rolling Stone. Rihanna graced the April 1 issue in shorts that, quite honestly, could have been painted on, and Katy Perry wore nothing but underwear and a come-hither stare in her most recent cover feature, “Sex, God, and Katy Perry.” (Yeah, why even make a mention of the music?) Either of these images would be right at home in Playboy, but isn’t RS a music magazine? Shouldn’t the focus of these cover stories be on these ladies’ songs and not their other, um, assets? Not to get all neo-feminist on everyone’s asses, but we doubt that the editors were asking Keith Richards to strip down for his cover shoot. (And actually, thank God for that.)

In an earlier interview with Q Magazine, Adele pondered her career and how sexifying it just wouldn’t work. “I can’t imagine having guns and whipped cream coming out of my tits,” she said. “Even if I had Rihanna’s body, I’d still be making the music I make and that don’t go together.” The girl’s got a point—revealing photos and ridiculous costume choices aside, her reign at the top of the charts goes beyond promotion and into the music. Like her image, the entire message of her runaway success 21 is contrary to most of the women who dominate Top 40 radio. “Rolling in the Deep” is a song of power and liberation, a stark contrast to RiRi glorifying bondage in “S&M” or J. Lo’s party anthem “On the Floor.” Come to think of it, there may only be one other Top 40 female who regularly keeps it PG while owning the charts, and that’s everyone’s favorite country sweetheart Taylor Swift.

Maybe it has to do with talent. After all, no offense to Rihanna and Katy Perry, but these are the facts: Adele is on a completely different plane when it comes to her writing ability and vocal range. Perhaps there’s a sliding scale of sexism in pop where talented female musicians prove their worth through music, and hot girls who can carry a tune get dressed up in barely-there outfits, hide behind a layer of vocal effects and rely on publicity stunts like making out with chicks onstage to promote their new material. You have to wonder: Is the world missing out on the next Janis Joplin or Chrissie Hynde because they don’t want to prance around in a thong and machine gun bra?

While we’re hopeful that Richard Russell is right and Adele will help alter how the industry markets female acts, change is slow in the music industry so it’s hard to be optimistic. But at the very least she’s stepping in the right direction, forcing label execs to look beyond the spandex-clad size zeroes for hit songs and to give consumers a little more credit. There’s nothing wrong with a fluffy pop song, and sure, sometimes it’s funny to watch people squirt whipped cream out of their tits. But maybe Adele will help spawn a new generation of songstresses who write less about getting sleazy and more about things that matter. Because while no one is arguing that sex sells, sometimes skill sells too.

Tour De Force: Lady Lamb The Beekeeper

Aly Spaltro, the force behind Lady Lamb The Beekeeper, is a perfect example of the adage “great things come in small packages”. Although she stands a mere 5’2″ in stature, her huge voice and poetic lyrics make her seem at least six feet tall. After seeing her live at TT the Bear’s Place in Cambridge, MA (check out pictures of the show taken by Kathrynoh below) it’s hard to say what exactly her strengths are. I was equally blown away by her vocals and her lyrics, as well as the fact she could completely rock on the electric guitar. She stood up by herself with an assortment of instruments—acoustic and electric guitar, banjo and harmonica—and absolutely killed it. Although she didn’t have a backing band, I never felt the performance was lacking, probably because she plays not only with her instrument but with her entire being. She makes you feel each song, even if  you don’t want to.  I’m pretty sure she is Janis Joplin and Bob Dylan’s love child.
Continue reading ‘Tour De Force: Lady Lamb The Beekeeper’

 


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