soul

As It Turns Out

admin — Wed, 04 Aug 2010 10:12:00 +0000

Melanie Flannery fronts a New York-based jazz ensemble called the Mel Flannery Trucking Co. Backed by bassist Matt Aronoff, drummer Danny Sher, and keyboardist and songwriting collaborator Lee Pardini, Flannery cultivated a sound that bridges pop, cabaret, jazz, and soul. Their latest offering, As It Turns Out, remains consistent with previous releases.

It also has little to recommend itself. While not unpleasant, the album did not capture my imagination. The arrangements are nice, if a bit too staid and preoccupied with conveying boho sophistication. Flannery and Pardini's lyrics tend to reflect on failed romance without tapping into new insights from such a well-documented subject in popular songwriting. Likewise, Flannery's alto is nice, but lacks singularity in tone or phrasing to set her apart from other jazz-inflected musicians who might grace Starbucks compilations.

Regrettably, I heard little variance between songs in As It Turns Out. I had difficulty telling the difference between "Something About You," "Lift Me Up, Tie Me Down," "We're Still Here," and "I Won't Say Goodbye." I do like Pardini and Sher's flourishes on "I Need You Here With Me," and "You Know What To Do." The latter also serves as one of the album's most appealing track, with Flannery cutting loose. I also appreciate the goofy lyrics in bonus track "You Are the Only One For Me." Flannery's biggest moment is "Gone," the album's proper closer, which boasts a lovely vocal performance brimming with emotion.

At times, the group's clean, slightly funky sound provides a jarring contrast with a song's content. This is most evident in "Running," a groovy slow jam about domestic violence. I appreciate Flannery and Pardini's efforts to represent a very real social problem from a survivor's perspective. This extends toward the album's liner notes, which provide information on the Human Rights Campaign and the National Domestic Violence Hotline. I don't think the song needs a foreboding sound to reflect the content. I just feel strange about the song having such a swing to it.

The group's talent is evident. I just wish I had more of a personal stake in the results.

Written by: Alyx Vesey, August 4th 2010

Downtown Church

admin — Wed, 14 Apr 2010 00:00:00 +0000

By Patty Griffin

EMI

It's nothing new for an artist to try different genres of music, but not many can pull off multiple styles in an original way — let alone a way that actually sounds good. Count Patty Griffin among those rare musicians.

I've been a fan of Griffin's since I picked up her 1998 release Flaming Red, a compelling mix of punk, pop, and what was then referred to as 'alternative' music. Griffin's newest release, Downtown Church, is wildly different musically, but no less great a listen.

While some critics—and Griffin herself—have deemed Downtown Church a gospel album, it's much more than that. To my ears, it's an eclectic mingling of soul, blues, gospel, and a couple of songs those of us who have spent some time in the southern part of the United States refer to as spirituals. Griffin's voice is equally enchanting on each of the fourteen songs on the album, whether belting out gospel numbers like “Move Up” and “Wade In The Water,” or crooning the hymn that ends the CD, “All Creatures of our God and King.” Griffin's voice fairly caresses you on the album's lone Spanish language track, “Virgen de Guadalupe.” Though Griffin fluctuates between the somber and the lively, the album's flow and pure woman-positive energy is uninterrupted.

Recorded in the historic Downtown Presbyterian Church in Nashville—hence the album title—Downtown Church features backup performances from country and gospel heroines like Emmylou Harris, Shawn Colvin, and Regina and Ann McCrary. Even if this isn't the kind of music you'd normally tune in to, Downtown Church is definitely worth the listen.

Written by: M.L. Madison, April 13th 2010

Lady Love

admin — Thu, 10 Dec 2009 01:07:00 +0000

By LeToya

Capitol Records

It's hard to believe that it's been over ten years since Destiny's Child released their first album. I was a teenager at the time, and as a big fan of bubblegum pop, I always enjoyed their music. One of my favorite Destiny's Child songs was “Independent Women;” their music had a sassy, you-go-girl vibe to it (although I'm sure many feminists prefer their empowering anthems to come from artists who aren't so “Bootylicious”). A decade later, not much has changed; I still listen to their music, now with a slight twinge of nostalgia.

And all the women of Destiny's Child have since become “independent.” Founding members LaTavia Roberson and LeToya Luckett left the group early on due to management disputes, and the other members eventually followed suit. Beyoncé Knowles is not the only member to have found success after Destiny's Child; Luckett just released Lady Love, her second solo effort. An R&B/pop fusion, Lady Love's upbeat cuts are infectious and fun. Standout tracks include the Rihanna-soundalike “She Ain't Got...,” the slow jam “Over,” and the funky beats of “After Party” and “Drained.” Lady Love is a radio-friendly record that will be likely enjoyed by pop and R&B lovers.

Some famous friends also provide guest vocals on this album—“Love Rollercoaster” features rapper Mims, “Take Away Love” co-stars British songstress Estelle, and Ludacris guests on “Regret.” I was very curious to see what “Regret” would sound like since Ludacris is not famous for having particularly progressive lyrics, but this is pretty restrained anthem about dumping a no-good boyfriend.

Indeed, this is the predominant theme on the album, with Luckett telling off a litany of lovers for doing her wrong. Some of that old Destiny's Child “Girl Power” vibe comes through on a few of the cuts, like when she chides an ex-boyfriend for spending all her money, I can't help but think of “Bills, Bills, Bills.” This is a rather interesting contrast to “She Ain't Got...” which is extremely catchy but has somewhat desperate lyrics threatening “that ho,” a woman competing for the affections of her partner. (“Does she cook like me? Clean like me? No, she ain't got sh*t on me!”) The “cheating men” theme gets a bit tired—but music is therapeutic, so perhaps this album was a way of working through some frustrations. And hopefully, she didn't really mean it when she sang about chasing “the other woman” with a baseball bat.

Written by: Beeb Ashcroft, December 9th 2009

Soul Power

admin — Mon, 10 Aug 2009 23:56:00 +0000

Directed by Jeffrey Levi-Hinte

Antidote Films

It is nearly inconceivable to think that Soul Power was made from the leftover footage of another documentary (When We Were Kings). This is not yesterday’s pizza.

The subject, like the film documenting it, was only the second ring in a two ring circus. Dubbed “Zaire ‘74,” this famed music festival was merely riding on the coattails of the Ali-Fraser fight, “the Rumble in the Jungle”. In this film about music, however, Mohammed Ali contends with James Brown—and loses.

The film's tone is very nearly preordained by James Brown's (and his backup dancers’) gyrating hips as Soul Power opens. The initial outburst of hips and rhythm gives way to village life in a non sequitur of a scene in which a woman slings her children across her back and chest, places a jug upon her head, and walks in a movement of labored routine. The thread of this unsensational female moment can be traced through the film, as the women are all industrious and the men, by comparison, seem laid back and forlorn.

As the acts fly together from the U.S. to Zaire, Celia Cruz is depicted singing throughout the entire flight as the men drink and bond—but mainly drink. Throughout the movie, there is a feeling conveyed that men claim their moments of rest and entertainment, while women possess movement and determination.

Soul Power displays all types of temptresses and peacocks. The backup dancers all pivot and twirl masterfully, and the singers dazzle with their flamboyance and charm. In one scene, Sisters Sledge demonstrates dance moves to local performers backstage; however, their Philadelphia “bump” is out-sexed by Kinshasa’s move, a swiveling and grinding of the hips that one might see in clubs now, but would have been “illegal” then.

As you watch the larger than life musicians of the sixties and seventies—BB King, Bill Whithers, Celia Cruz—dance across the screen, you are relegated to the position of spectator. The air of intoxication ebbs and flows throughout, pulling the viewer this way and that by the music. That is, until the Godfather of Soul, exhausted, closes the films with his words instead of his hips.

Written by: Elisheva Zakheim, August 10th 2009

Poseidon and the Bitter Bug

admin — Fri, 24 Apr 2009 16:50:00 +0000

By The Indigo Girls –

Vanguard Records

For more than twenty years, the Indigo Girls have been known for their gorgeous, close harmonies and riveting, emotional lyrics. Amy Ray and Emily Saliers are both exquisite singers and talented guitarists. Poseidon and the Bitter Bug is sure to delight fans with ten tracks of mostly-folk songs with pop, rock, and soul influences. The songwriting is top-notch and the award-winning duo has never sounded better.

The album starts strong with “Digging For Your Dream,” a heartbreaking, determined ballad with a chorus you’ll find yourself chanting along: "Every day that you get up and force your cards/ You’re playing your story in fits and starts/ You take your prospects and your pick axe and you trudge down to the stream/ And you bloody your hands digging for your dream."

“Driver Education” opens with the line, “I fell for guys who tried to commit suicide” and takes the listener for a compelling and quick-witted ride through high school nostalgia, crooning, “Where were you back when I had something to prove?” The naked self-criticism of “I’ll Change” makes it one of the album’s most stirring tracks. The singer compares herself to a snake that “bites the hand that feeds it,” and claims, “I’ve been running long before I learned to crawl.”

The most political track is probably “Sugar Tongue,” a hectic indictment of colonialism sung in vulnerable tones. Poseidon is not an overtly political album, even though the Indigo Girls are well known for their political activism on behalf of gay rights organizations and the environment, the rights of Native Americans, and the National Coalition to Abolish the Death Penalty.

A second disc is included which features acoustic versions of all the songs, plus a bonus track, “Salty South.” The band versions and acoustic versions aren’t radically different, but especially hardcore fans will enjoy comparing them, anyway. Every song on Poseidon is beautiful and you’ll want to listen to them again and again.

Written by: Kellie Powell, April 24th 2009

From the Heart

admin — Mon, 13 Apr 2009 10:29:00 +0000

By Etta James

Legacy Recordings

Discovering new music from a classic artist makes you feel like you’re getting to know an old friend a little bit better. The picture of them in your mind feels more complete and well-rounded. By compiling fifteen tracks of previously recorded songs in From the Heart, Legacy Recordings introduces us to new a new side of one of our old favorites, Etta James.

Unlike other recordings, this album exposes her more soulful R&B talents that are rarely associated with her. Legacy proves that there’s more to this expressive diva than her famous cover of “At Last.” This is most evident in her cover of “I’ve Been Loving You Too Long” and “Try a Little Tenderness.” James’ classic brassy baritone oozes over the smooth beats and creates sounds that are entirely different from her well-known jazz croon.

Don’t worry though, Legacy doesn’t skimp on the old stand-bys. Listeners will get their James jazz-fill with tracks like “My Man” and “My Funny Valentine.” Etta James is currently experiencing a second wind in the media spotlight because of the film Cadillac Records and a new, svelte figure. This album serves as just another reminder of how talented and versatile she is as an artist. Like a surprise phone call from an old friend, James is letting us know that she’s still here and remains one of the greatest female jazz and blues artists of her time.

Written by: Sara Custer, April 13th 2009

From the Heart

admin — Thu, 26 Mar 2009 23:29:00 +0000

By Aretha Franklin

Legacy Recordings

Aretha Franklin's From The Heart compiles sixteen love songs from the Queen of Soul's exhaustive, five-decades-deep discography. Ranging from the very sentimental to the very funky, it's too short to be a hits compilation, and too erratic for a proper seduction.

It's also largely rooted in the eighties, with several cuts culled from 1982's Jump to It and Get It Right. The former, her first entrance into the post-disco commercial pop sound, was also a celebration of her longevity, marking a transformation of sound and a renewed sense of vitality. This album's songs, namely "Love Me Right" and "I Got Your Love," embrace the funk, and Aretha sounds almost giddy as she playfully maneuvers within the new sound. The call-and-response of her big God-fearing voice and the Me Decade's signature slap-bass makes the listener want to saunter onto the dance floor and wrestle with a new formula herself.

But more songs come from Get It Right, almost universally derided as mediocre. Where Jump to It's lyrical content took a backseat to Aretha's sheer presence, here the schmaltzy balladry is front and center–and Aretha doesn't seem too enthused. She coasts indifferently above cheesy and dated melodies, occasionally breaking into over-the-top vocal theatrics that fail to make up for the otherwise tepid delivery. Save "Every Girl (Wants My Guy)," in which Aretha smartly "breaks it down" to a girlfriend over the phone, the work from this album is, indeed, phoned in.

From The Heartworks best when it reaches all across Aretha's vast career, from the very old to the most recent. The selections off of 1998's A Rose Is Still a Rose, notably the Lauryn Hill-produced title track, find Aretha embracing a more urban sound, and establish her as a voice not only of empowerment, but wisdom. Elsewhere, the jazz standard "Misty" sounds almost appropriate for the Porgy & Bess soundtrack, the music bluesy and timeless, her voice guttural and raw. It's a side of Aretha I feel unacquainted with, and a side worth exploring.

The most memorable cut is possibly the least fitting. In her 1964 version of "Unforgettable," the ingenue sings over a full orchestra; while her voice doesn't carry the power she would develop later in her career, it's certainly evidence of things to come. The young Franklin's greatness is inherent, and the huge, swelling instrumentation seems simply fitting, elevating but not enhancing.

See, Aretha doesn't need help. She just needs to be inspired. Beside her gospel-trained voice, Aretha's longevity stems from her ability to own a song. Much of her best work, including the anthemic "Respect," is penned by men. By the same token, much of her best work is about men. In wrenching these simple love songs from other singers and showing them how it's done, she reiterates two-fold her power. She embodies the feeling, establishes her independence, and earns our respect.

From The Heart, however, doesn't quite capture this. Largely uninspired and listless, much of this seems from the pocketbook or from the depths of a too-long recording contract. Only rarely does it sound, truly, from the heart.

Written by: Sarah Jeanne Lombardo, March 26th 2009

To Survive

admin — Tue, 19 Aug 2008 23:27:00 +0000

By Joan as Police Woman

Cheap Lullaby Records

The name Joan Wasser is not well-known to most people, but it should be. Collaborating first with bands like The Dambuilders in the ‘90s and, more recently, Antony and the Johnsons, Joan Wasser first came onto the music scene as Joan as Police Woman in 2006 with her debut album, Real Life. The album was critically acclaimed for its haunting honesty and beauty, and her sophomore release, To Survive, fortunately sticks with that formula.

The ten tracks on To Survive are soulful. Wasser ranges from sounding like Kate Bush to Chan Marshall to Neil Young with a common thread of vulnerability. While Wasser’s lyrics are far from self-assured, their honesty is the most appealing thing about To Survive. She does not convey the voice of a strong woman, but one that life has kicked around quite a few times and is looking to hold on to something or for someone to hold on to her.

The album is hopeful and realistic. In the title track, Wasser conveys that life is not perfect, and in times of depression and loneliness, you must just find “the spark to survive.” For Wasser, that spark appears to be love. The album ends with “To America,” a duet with Rufus Wainwright in which the lyrics warn not to starve yourself of love because it will save you. This realization explains the importance and urgency Wasser places on love throughout To Survive and the beautiful, building duet is the perfect ending to an album about the imperfections and loneliness of life and the things that can rescue you.

Written by: Jill Hindenach, August 19th 2008

The Real Thing: Words And Sounds Vol. 3

admin — Wed, 21 Nov 2007 23:24:00 +0000

By Jill Scott

Hidden Beach

Jill Scott was introduced to the world on her aptly titled, brilliant, neo soul debut Who is Jill Scott? (Words and Sounds Vol.1). She co-wrote the classic Grammy winning "You Got Me," performed by The Roots with Erykah Badu, and we've been discovering more of her ever since. With soulful, hip hop poetry style here on her third proper studio release, she continues the trend, but with more jazzy flourishes. Having experienced the vagaries of fame, as well as a brief marriage in the last few years, her lyrics as ever are cathartic, and the sound more mellow.

Opening things is the brief, hip hop styled "Let It Be." The title track is full of wailing electric guitars, giving a lite-rock feel, with Jill declaring she is the real thing. Lead off single "Hate On Me," also guitar and horn driven and set to heavy hip hop beats, is her retort to those hating on her because of her fame. The airy, bouncy, bass heavy "Whenever You're Around" belies the lyrics of the song: "cause I'm lonely/whenever you're around." Other standouts are the quiet storm of "Come See Me," the brooding, spoken "Epiphany," bass heavy "Only you" and, as its name implies, heavily blues styled "Celibacy Blues."

Another classic from Ms. Scott, who always gives her fans the real thing!

Written by: Nse Ette, November 21st 2007

When Your Feet Hit the Stars

admin — Thu, 26 Jul 2007 12:57:00 +0000

By Carrie Biell

The first time I listened to Carrie Biell’s new album, When Your Feet Hit the Stars, I felt like falling asleep. All but nine of its ten songs are ballads. However, during the second listen I came to appreciate Biell’s smoky, soulful voice. The music is indeed mellow and great to listen to when you are stressed out. However, there are two songs that pick up the pace a bit. The sixth track “Parading” is a bit of a jolt with its driving drum beat because the first five songs are so mellow. “Bound to Be” is the last song, and it too is unexpected for the same reason as “Parading.”

When Your Feet Hit the Stars is folk music with bluegrass instrumentation (dobro, banjo, mandolin, pedal steel, upright bass). The lyrics are intense, but interesting. For example, in the song “Gone without Me” Biell sings about her blind mother:

My mother she said to me “I lost my eyes when you were a child and I never got to see you turn into a lady. I used to blame the Lord for doing this to me, but feeling bad for yourself don’t do a thing.”

If you like to listen to female folk singer/songwriters Carrie Biell is your girl, and When Your Feet Hit the Stars is the next album you should buy.

Written by: Gina-Marie Cheeseman, July 26th 2007

Poverina

admin — Sat, 21 Jul 2007 17:10:00 +0000

By Astrid Swan

Minty Fresh

Finland's own multi-instrumentalist Astrid Swan’s debut album, Poverina, was released on Minty Fresh Records on May 22. The opening track, "They Need You if They Think You Love Them," starts out gently with a tapping glockenspiel and cleverly transitions into Astrid's husky voice and piano. The arrangement is intense and dramatic at times with almost a full orchestra of instruments.

It is hard not to compare Ms. Swan with the much underrated '70s quirky-pop diva, Laura Nyro. Both women not only have sultry styles of their own, but each singer is able to blend together several musical elements of pop, soul, folk, show tunes and Swan's own influence, jazz. Swan says that "[j]azz was often played in our home, and although I used to say I hated it, it seems something has rubbed off onto my songs."

One main thing I noticed in hearing Swan's jazz influence in her music is the unpredictable chord arrangements. The music can be complicated with dynamic shifts in tone, which plays with our ideas of tempo and style. Swan uses her piano like a weapon at times. An example of this is the track "Second Chance," which has unexpected variations and intense lyrics such as: "he gave me broken wings/and told to fly/he said I have eternity/and time is an ocean/that I can fly over." The Bacharach-esque title track, "Poverina," is a catchy tune, which has fast dynamic musical shifts reminding me of Fiona Apple, and demonstrates that Swan's singing range is extremely versatile.

Astrid Swan's melodies are memorable, and, like Nyro, her voice is an acquired taste. It is not for everyone, but it works beautifully with her music.

Written by: MK Matson, July 21st 2007

Car Wheels on a Gravel Road (Deluxe Edition)

admin — Thu, 28 Jun 2007 12:04:00 +0000

By Lucinda Williams

Island Records

Lucinda Williams may be notoriously slow in releasing albums, but such laborious love for her craft is evident in her choice to reissue Car Wheels on a Gravel Road as part of a new deluxe edition set. The set, which combines a remastered version of the original album and live cuts from her performance at Penn’s Landing during the WXPN Singer Songwriter Festival, is a collector’s dream.

Outtakes and new versions of favorite tunes done live make the investment worthwhile. As always, however, Williams own gravelly, soulful tone combined with realistic lyrics (“conversation with you was like a drug…/cause there’s something about what happens when we talk”) easily remind us of our faults, our successes and why we love her in the first place. She could be us, singing about the troubles in life without bemoaning them or harping too long on the choices that brought them. Her musical gestures resonate similarly—perfect chords, never a note too long or inappropriately placed. Beautiful tone combined with the hearty ability of this songstress lulls you into retrospective bliss. This double CD set can bring you up, remind you why you’re down and can easily please a crowd of diverse fans.

Written by: Dr. Julie E. Ferris, June 28th 2007

Soul Sides, Vol. 2: The Covers

admin — Sat, 26 May 2007 02:35:00 +0000

By Various Artists

Zealous Records

Zealous Records continues to amaze with another brilliant compilation of classic soul tracks, Soul Sides, Vol. 2: The Covers. The 14 tracks range in style from old-school funk to smoother grooves. There are many highlights to the collection, but stand out tracks include Sharon Cash’s horn-inflected “Fever,” Antibalas Afrobeat Orchestra’s “Che Che Cole” and El Michaels Affair’s bass-heavy “Walk On By.”

The collection reaches its pinnacle with three tracks in particular, juxtaposed to showcase the reach of classic soul music. Al Green’s signature warmth is on full display in his rendition of “I Want to Hold your Hand.” Marcia Griffiths’ impeccable phrasing on “Here I Am (Come and Take Me)” compliments the lyrical simplicity to create a rich, emotional track. But it is Esther Phillips’ “Home is Where the Hatred Is” that steals the show. Phillip’s shows off her considerable musical gifts on this most emotionally raw song. All in all, the disc is a must-have for soul music lovers.

Written by: Ashvin Kini, May 25th 2007

Those Things

admin — Tue, 15 May 2007 18:54:00 +0000

By Miguel Migs

Salted Music

Miguel Migs' Those Things blends a fantastic mix of electronic, soulful, jazz elements together, complimented by stunning vocal performances, to make this follow-up to 2003’s Colorful You an instant favorite and leave its listeners wanting more! Quality musical performances highlighted on Those Things perfectly unite vocal performances with funky jazz riffs, bass, drums, sax, keyboards and guitar all into a groovy beat.

A native of Northern California, Migs demonstrates his multifaceted talents while writing lyrics and playing numerous instruments - including bass, keys, guitar and percussion. Migs was nominated in 2004 by the House Music Awards in London for DJ of the Year, and has had his music featured on the television shows Sex In The City, Six Feet Under, and MTV’s Road Rules and The Real World. Those Things is a must have for your collection.

Written by: Diana J. Fitzgerald, May 15th 2007

Ladyfest South (January 25-28, 2007)

admin — Fri, 13 Apr 2007 23:30:00 +0000

Various Locations

Atlanta, Georgia

Ladyfest South is always a blast because it is back to back lady talent for a good cause. Ladyfest South 2007 happened over four nights at four venues in Atlanta and featured over fifty music and spoken word acts. This year’s beneficiaries are The Rock N’ Roll Camp for Girls and The Fund for Southern Communities.

Thursday January 25, 2007 - Eyedrum Art Space

Phat Man Dee from PA is amazing and fun to see. She sports interesting costumes and sings cabaret camp and pop. Julia Carroll is a "hard folker" from Gainesville Georgia, an Ani inspired, in your face young lesbian who sounds a little like Suzanne Vega, and whose style is a la Johnny Cash talk/sing. Julia’s songs are fast paced and socially conscious. Julia has really grown in her voice, stage presence and guitar work. With her high cheek bones, thin frame, high energy and jeaned attire Nashville’s Steff Mahan slightly resembles Michelle Malone. Steff is country folk, plays guitar as hard as Amy Ray, and really blew the crowd away with her impassioned performance and songs from hard time experiences. "God, Are You Mad at Me?" was about a lousy 2006.

This writer always loves to see Renee Mixon, from Rome, Georgia. Renee is a teacher with a fresh, clean, look and attitude. Her songs of love and loss are timeless, have rhythm, and are always interesting. The Morgan Rowe Band from Decatur was in top form as usual. Morgan is an amazing talent with a great band who deserves a wider audience. Morgan is a great, undiscovered talent.

Friday, January 26, 2007 - If Coffeehouse

Sabrina is a folk singer with a sixties style, powerful voice and message songs. Sabrina has a strong, commanding presence and gives advice in "Say So," and, "What R Y Waiting For," a fast paced diatribe against materialism. Atlanta’s Barb Carbon is intimate folk. Barb draws us into her world. "I am not ok… the mystery of life is wearing me down.” "Start Again" is haunting. Rana, from D.C is philosophical folk and like Mary Chapin Carpenter has a dry sense of humor. There is something expansive about Rana’s style. Her voice reaches out with strong emotion and her guitar playing is clear, strong and simple.

Tiny Nicole Reynolds from Pittsburgh looks like a young Bob Dylan. Reynolds has a sweet, striking and very soft voice - like a whisper. Reynolds majored in jazz guitar in college, but her style is pure folk. She left her audience wanting more and "Wondrin," was amazing.

Friday, January 26, 2007 - The Earl

Box, a rock band from D.C. describes themselves as: “Really pissed off lesbians who drank a half gallon of whiskey… a pack of monkeys.” Box has a lot of fun onstage. Their sound is strong and clean, one can hear the lyrics, and the song, "Holier Than Thou" is awesome. The vocalist can be a little off, but their sense of humor is right on. Also performed was "Lezzie’s for the Lord," and "Mullet Head Girlfriend," all just right for the party atmosphere of Ladyfest South.

Oriflamme, from Gainesville, Georgia is a girl band with poppy punk electric guitars and two bass guitars. Their words are hard to hear, but the music is textured, interesting and not too hard. Atlanta’s My Siamese Self, is rockabilly and punk garage rock, and featured some great guttural singing by the bass player. "Shrug Shoulder Hero" is a fine example of their unique style.

Saturday, January 27, 2007 - The 5 Spot

Easyell was a last minute fill-in, who really grabbed attention. A soul and folk singer, Easyell’s voice and songs were haunting. Spoken word artist Ryka Aoki de la Cruz from Los Angeles also performed. Her poems address issues, such as abuse, and offer hope.

Sunday, January 28, 2007 - Eyedrum Art Space

Mare Wakefield from Nashville on guitar and vocals performed with her bassist. Wakefield is alt country with an attitude, as a mix of Natalie Merchant, Shawn Colvin and Dolly Parton. Wakefield blends sophisticated bluegrass, country and jazz with funny stories. Mare’s voice is good and has rhythm, and her playing complements her singing. Wakefield performed "Love vs. the USA" and a break up ballad, "You’ve Done Enough." David and Roselyn from New Orleans performed with the rumba box, banjo, harmonica, trumpet and tambourine. Small Framed Boy from Atlanta, "Experimental, Psychedelic, and Progressive," closed out the night and the fest with their blend of noise, funk, rock and Middle Eastern elements.

The call goes out to other strong women who will step up to the plate and organize this amazing festival next time.

Written by: Katie Klemenchich, April 13th 2007