Female Vocalists

Susan Greenbaum performs intelligent pop with flair and effervescence. Her lyrics are often poignant, with a tint of irony and humor. Some of her songs have rock 'n roll flair, such as "Toscanni's;" others, "Everything But You" is a for instance, are more ballad-like. "Everything But You" is one of those songs that will resonate with anyone who feels that their life is complete -- except the one love who remains distant. It's rare to find a musician who can perform a wide range of songs with such consistent excellence. Take a listen: www.susangreenbaum.com. If you're just starting your indie music collection, "Hey! Hey! Hey!" isn't a bad place to begin at all. In fact, it's CDs like "Hey! Hey! Hey!" that prove how much, well, how much more terrific independent musicians are than what's on the top 40 list.

Beyond imagining: That's the best place to start with when it comes to describing Beth Patterson's music. How else can you describe an eclectic mix of Celtic-Cajun-Pop, with a heavy emphasis on the Celtic? Combine that mix with truly brilliant music and lyrics and you have Beth Patterson's two CD's Hybrid Vigor and Take Some Fire. Previously, Beth Patterson was part of the traditional Celtic music band, The Poor Clares. But Celtic music is an evolving form, and the direction that Beth Patterson has taken Celtic music is so brilliant and creative that the moment you put her CDs on your player, you feel compelled to stop everything and just listen. Hybrid Vigor, Beth Patterson's first CD, and Take Some Fire, her second both showcase Patterson's outstanding bouzouki playing. Forget the twelve string guitar, the electric piano, the Celtic harp, the violin -- the bouzouki is where it's all happening, especially the way Beth Patterson plays it. Hybrid Vigor has some songs in English and French as well as some instrumental tunes. On that CD you'll also find "Steer by the Stars," a love song that can make even the coldest hearts melt. But you're in for a special treat with Take Some Fire, which gives you a undeniable view of one of the Celtic music world's best musicians. You'll also get to listen to Beth's salty, mysterious and lush voice. Her website is www.littlebluemen.com/beth.asp Or you could pop over to www.cdbaby.com and buy her CDs.

Beth Patterson's 2005 release, "Caught in the Act," like her previous CDs, combines Celtic, Cajun and pop music with great flair. Many, though certainly not all, of Beth Patterson's songs are about love and loss, but the way she sings makes you feel good about feeling bad -- Beth Patterson's songs are high energy. "Caught in the Act" is a live album, but these songs were recorded just for this CD -- you won't hear them on any of Beth Patterson's other discs. If you've ever wondered what a bouzouki sounds like when it's played by a master, you'll find out on "Caught in the Act," which you should get if you're interested in hearing spirited music that has a story to tell.

What a gem! Her voice is sweet and silky; the lyrics reach to the depth of your soul, with strong mythological and historical roots. There are great stories embedded in her songs. She sings in English, but I have to say that if her songs were in Gaelic or some ancient tongue they would be just as beautiful. Yet not all of her songs are soft some, like Prodigal Son on her CD, May Queen, have an edge to them. Visit Heather Dale's website at www.heatherdale.com.

Eleanor McEvoy is a rising star. While promoted as an Irish singer, most of her songs have to do with affairs of the heart. The lyrics are innovative, and the music lively. McEvoy's voice is tougher sounding than many traditional Irish singers -- it has a edge. One of my favorite McEvoy songs is "Did You Tell Him?" a song about unrequited love, on her Snapshots CD. It's clear that she's not just singing words she writes, but like most good writers, she sings what she knows about. McEvoy plays both the fiddle and guitar during some of the songs -- and with extraordinary talent. Many of her songs that has a little Irish, a little country, and a little pop in them.. "Please Heart," also on the Snapshots CD, is zesty and creatively written.

Penny Flanagan's songs are like nouvelle cooking--unexpected ingredients that blend well together in surprising ways. Her music is best classified as pop-folk, but with a certain edginess, and occasional jazziness. Flanagan's lyrics are clearly sung: You can feel that she puts her entire self into her music. The songs on both Light Sleeper and Bravado are diverse, so you won't tire of the cds easily. Flanagan's lyrics and music play off each other, giving some of her songs a bit of suspense that makes the listener curious about what's coming next in the song. This is especially true about the first song on Light Sleeper, "Picasso With the Girl."

When Vienna Teng's first MP3s entered my memory circuits I listened to it almost non-stop for a very long time. Waking Hour, is absolutely marvelous. With superb piano play, a lush, melodic voice, and smart, heart-warming lyrics, I'd say that Vienna Teng should be at the top of any music lover's list. Waking Hour is as brilliant a debut album as they come. If you buy her CD, don't miss “Between,” a song about love that's been broken apart. “Between” has a rhythm that varies as the song goes along, keeping in close step with the song's changing emotions. What's especially wonderful about Waking Hour is how the music by itself carries so much passion. “Lullaby for a Stormy Night” delicate song that calms a child's fear of a unsettled night. But the song is more than a mere lullaby, and through her exceptional writing, Teng turns the song into song about life and nature and childhood. And good thing she has a second CD that's now available!

Like many musicians, Veronica Charnley's songs are a mix of more than one genre—her CD is a folk/pop hybrid. Veronica Charnley has a crisp voice. It's a pretty voice that carries a smoothness that's ultimately very soothing to listen to. The accompanying guitar and bass are light and tranquil, letting Veronica Charnley's delicate voice carry the song. She sings mostly about love and loss. The lyrics aren't overly sophisticated or innovative, but they are both pleasant and heartwarming. The eleven songs on Veronica Charnley's debut CD, Deeper Still, are primarily about the marvels and anguish of love. In the song “Still” Charnley wonders if the person she has her eye on is simply happy to know her from a distance. She taunts her potential lover by saying that there are some things in her life that he could never get close to -- maybe he could, but he'll never know if he doesn't try. You won't find the lyrics to Veronica Charnley's songs on the CD packaging—and you won't find them on her website either. No matter: Through her crystal voice it's easy to hear the words of her songs. My favorite song on this CD is “Pull,” a song about being utterly overwhelmed by love: “You call me over…now I'm falling into your smile.” Listen to this CD and you're likely to be pulled in by Veronica Charnley's music.

I usually like making comparisons. For one thing, it helps me clarify how much I like a particular artist. For another, it makes it so much easier to say, “If you like so-and-so, you'll like this CD, too.” Well, I've been scratching my head and looking through my vast MP3 collection to find an apt comparison, but I can't. If you were to take a little bit of Joni Mitchell, mix it with Suzanne Vega and add a dash of Fisher you might get a sense of what Katy Tessman is like. But only a sense. Fall, her debut (and so far only CD) is distinctive enough to make Katy Tessman a hard musician to compare. The music is enchanting. With touches of rock and jazz, the songs on Fall take what's often called “urban folk” into brand new areas. Especially appealing is the variety of instrumentation and melodies on the CD. Every now and then there's a touch of melancholy in the music, too. With ample use of acoustic guitar, bass and even cello, this CD is a treat. Katy Tessman has a lovely voice. She's a delight to listen to, not just once, but over and over again. In fact, I have to say that Katy Tessman's Fall is possibly an acquired taste. On the first listen you might say to yourself, “Hmm, this is different. Sounds good, but not quite what I was expecting.” Then you listen again, and you realize that you're hearing somebody who's different because she's not only talented, but willing to venture into new territory, by combining her superb voice with innovative music. Jazz, folk, blues, pop -- you'll hear all of them on Fall.

Every now and then you come across a CD that's simply pleasurable to listen to. Not “fierce,” not “intellectual and thought-provoking,” not “complex and engrossing.” But simply nice, pleasing and enjoyable. Music you put on when you're in the mood to listen to something just plain good. This isn't to say that “Marks on My Heart,” doesn't touch your heart —that it does—but Shannon Karen's CD is, more than anything else, a delightful album to put on the stereo. Listening to the songs for a second or third time (something you'll want to with this CD) creates a certain level of comfort, as the songs take on a satisfying familiarity. Part of Shannon's songs likeability comes from her straightforward, almost conversational style. It's like you're sitting down with Shannon for a cup of coffee, discussing joys and losses in your respective love lives. Combine this with a perfectly exquisite voice—solid and rich—and you've got a CD that's a joy. Shannon's instrumentation and melodies are also direct and harmonious: The music, pop with an occasional element of jazz, never overshadows her beautiful voice; the two are well balanced. As a bonus, you can actually understand all the words in her insightful songs, something you can't say about every, or even most, albums.

Terami Hirsch is worth a listen, that's for sure. Comparisons are often difficult, especially with someone as delectably creative as Terami Hirsh. But since comparisons can be helpful, you might say that Terami Hirsch's music is a cross between Kate Bush, Suzanne Vega, Tori Amos and Paul Simon. Terami Hirsch's songs are clever, catchy and confessional. The piano work is delightful, but it is Hirsch's lyrics that are the best part. Her songs tell stories, which are introspective, and often quirky. As you listen to her music you get a sense that you are being drawn into her life. It's important to mention that, while expressive, her songs are not the traditional heart-felt kind of song that often permeates pop music. No “la-la” lyrics here. Rather, “All Girl Band” is an intimate portrait. The first time you listen to “All Girl Band,” you might enjoy it for the piano playing (Terami is a classically trained pianist), but the second, third and fourth times you're going to listen for the words. And I should mention that Terami Hirsch has an exceptionally lovely voice.

It's been about three years since Terami Hirsch's (www.terami.com) last CD, "To the Bone," but her music just keeps getting better and better: "Entropy 29," which came out in 2005, is in a class of its own. Dreamy pop melodies with a touch of electronica, and edgy lyrics (one of Terami Hirsch's trademarks) are part of every song on this stellar CD, which fully engages your brain. It's always helpful to be able to compare a musician to somebody else, at least to give a frame of reference. But there are no close comparisons to singer-songwriter, Terami Hirsch: She does her own stuff, and oh so fantastically well. This is the CD to buy if you've been bugged lately by the eternal question, "why?"

Mary Fahl's astonishing voice is unlike anyone else's, but since comparisons are often helpful, you might say that she sounds a little like Annie Haslam mixed with Sloan Wainwright and Pamela Morgan (formerly of Figgy Duff). There's a purity and evocativeness in Mary Fahl's voice that simply can't be compared to anyone else's. It is the quintessence of beautifully haunting. Her voice is an instrument unto itself. It's lush and sensual. Hearing Mary Fahl sing for the first time is like stepping outside just after dusk and seeing the Aurora Borealis shimmering in the sky. Her singing enthralls you willingly.

We're talking amazing, here. Loreena McKennitt plays Celtic harp and sing with the most spectacular voice you've ever heard. Her songs are often sad, about love lost, and they always touch the soul. We're not talking about a Cilene Deon here, who seems like an amateur musician in comparison. You can visit her music at www.quinlanroad.com. Let me suggest her CD, The Visit, to start with. You probably find Loreena McKennitt's music at many music and bookstores, too.

If Judee Sill were alive (she's said to have over dosed on heroin in 1979 at the age of 34) she would be on the top ten Ecto list. Judee Sill had an amazing voice (silky and with perfect pitch) and wrote brilliant, spirited, somewhat mystical and even cryptic lyrics that are hard to describe in an email.

Judee Sill's music was recently re-released on a double album entitled "Dreams Come True," but it is her album, "Heart Food," (available again at www.rhino.com) that destroyed several needles on my turntable before it was released on CD. Run, don't walk, don't even skip, and get "Heart Food." It's a keeper. The song, "The Phoenix," is one of my desert island tunes. The other songs on this CD are also on the far side of incredible. Here's an excerpt from "The Phoenix:"

The sun was red and the fires were roaring
Stars aligned and our webs were spun.
I could have sworn I heard my sprit soaring.
Yes, I'm always chasing sun, hoping will we soon be one
Till it turns around to me and I try to run.

For more on Judee Sill: http://www.kneeling.co.uk/pages/jsill/default.asp.

Should Brigid Boden be "classified" in Celtic or Female Vocalists, or possibly even her own genre? I think that Brigid Boden deserves her own category --her music is so refreshingly original-- but for the sake of my own sanity, I've placed her here. When I first bought her CD, "Innocence is Not a Crime" it went through heavy rotation on my CD player (and now occupies a prime position on my iPod's playlists.). Brigid Boden combines traditional Irish
music with hip hop and a dash of techno and does it well, indeed. I especially like her rendition of "Who Wants to Live Forever." "Who Wants to Live Forever," originally performed by Freddy Mercury, of Queen, has been imitated, but no musician, until Brigid Boden, has done it nearly as well -- and in my opinion she sings that song as well, or better, than Freddy Mercury did.

Lori Lieberman has a graceful and passionate voice (she truly has one of the most wonderful singing voices of any folk artist or pop singer in America. Adjectives don't do Lori Lieberman's voice justice, but just imagine Mary Fahl or Judy Garland as a folk singer and you'll have a sense of exactly how wonderful Lori Lieberman sounds. Lori Lieberman has a perfect voice -- both fresh and refreshing.

The lyrics to many Lori Lieberman songs are soft, and touching. She sings about love and life, and her songs, while often sweet and mellow, have the ability to elicit a tear or two when you hear them. If you're lucky, you can find some of Lori Lieberman's vinyl LPs, which, unfortunately, have never been turned into CDs, but which are outstanding. Fortunately, some of Lieberman's older songs are on her CDs.

Here's a bit of music trivia: the original version of the hit '70s song sung by Roberta Flack, "Killing Me Softly," was written by Lori Lieberman. After seeing Don McLean perform "American Pie," at the Troubadour in Los Angeles, Lieberman wrote a poem, expressing her feelings about seeing McLean and "American Pie."

If you find a Lori Lieberman CD or LP (especially "Becoming" and "Letting Go,", buy it. Don't miss an opportunity to treat yourself to such a wonderful musician.

Chris Sohre's voice is enjoyable to listen to. She has a good command of the higher ranges, but can also drop down low, which is something that not all singers can do so well. I've heard some comparisons to October Project and Renaissance. I don't think she sounds either like Mary Fahl or Annie Haslam; however, like them she has a voice that stands out on its own. Sohre could be Happy Rhodes meets Enya. (Minus Enya's Celtic style; I can't think of a Mediterranean Enya, but the comparison works otherwise.)

Sohre's music is hard to classify. There's a strong classical music presence combined with folk music in Who Will Know, along with occasional sound effects. Her music is innovative and refreshing, but certainly not contrived. The music and vocals are well balanced--each takes center stage at various times in the different songs. Musically it's quite complex, which makes listening to Who Will Know over and over again a treat--you may discover something new the next time.

At first I felt that the Native American sounds on "Just Another Day" (the CD's first selection) were out of place, but the more I listened to "Just Another Day", the more I felt that the entire song--and CD--has a certain cohesiveness that stems from its uniqueness.

One aspect of Who Will Know that I especially like is that while Sohre's songs are folky or new-agey in terms of their subject, her songs all are pretty energetic, and certainly not, what's a good way to put it, "la-la" sounding. She creates nature-moods (again for a lack of another way to put it) well. The words give you pleasant visual vistas without any sappiness. She's a very spirited musician.

Chris Sohre's second album, Makria, is high-Ecto. It's pop with jazz, folk, and classical components, plus a few live-recorded sounds. Makria was recorded in Thessaloniki, Greece. The CD's cover shot has one of the most spectacular photos of the Parthenon. As with her first CD, there are strong world music influences. You can hear the Middle Eastern textures in many of her songs.

Chris Sohre has a lovely, lush voice. Her style is original.

Makria makes for good background music--and I'm not saying that in any negative way. Makria is simply a pleasant CD to have on while you're doing something else, but it certainly doesn't stop there. The music, while lyrical, is also complex, with interesting combinations of instruments and non-instrumental sounds. Many of the song's lyrics are poetic, ethereal and make you wonder about the world. Take a list yourself at http://www.chrissohre.com.

One of the most disappointing things in a music fan's life is when a brilliant band breaks up. That was the case with the progressive British rock band Karnataka. (Their CDs are still available -- snatch them up while you can.) But fortunately one member of Karnataka, Anne-Marie Helder, one of the band's vocalists and multi-instrument player, has started her own solo career with a stellar CD, The Contact. Full of energy and rhythm and, the songs on The Contact range from the edgy song "Murder" to the melodic, passionate and lamentful song "Exodus" about loss and leaving. If you like female rockers like Chrissie Hynde of The Pretenders, pop over to Anne-Marie Helder's website and get a copy of The Contact.

Shauna Burns' "Every Thought," which is available on her website, www.shaunaburns.com, is another brilliant debut: delicate, lush instrumentals combined with haunting and emotional lyrics. Shauna Burns' songs are the kind that can stand alone without the vocals, or you could just read the lyrics as great poetry -- but put the two together and you have high-Ecto. Get this CD if you want to have your soul touched.

There's a lot to like on Annagrey's CD "Temporary Contentment." When you listen to Annagreys songs you feel as if she's telling your life story. Her songs, and mix of rich pop with tinges of country come at you with a zest, but they maintain a wonderful balance between Annagrey's superb guitar playing and melodic voice.

There are two kinds of songs in the world: Songs that are straightforward and where it's easy to understand what the song is about, and songs that remind me of my English classes in which I had to interpret ages old poetry. (I did enjoy those classes, but I rarely got the interpretation right.) There's something refreshing about knowing what it is that the sing-songwriter is trying to tell you, and that' what Annagrey does. In her song "Old" Annagrey laments about the loss of childhood ; in "Can't Try Any Harder" Annagrey describes the near-universal feeling that we've all experienced in a relationship where we've done all we can and now it's time for that decision.

I've only had a chance to listen to her first CD, but don't let my limited review stop you from buying her other album.