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FEMALE VOCALS |
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Scroll down to check a long list of recent releases from Australia's wealth of singer/songwriters:
WHAMMO'S FEMALE VOCAL TOP 10 (End Of Year Chart For 2003)
TOP 10 FEMALE VOCAL ALBUMS
1.....LISA MILLER VERSION ORIGINALE
2.....HAYLEY WESTENRA PURE
3.....JANE CLIFTON THE MARRIAGE OF STYLE
4.....RENEE GEYER TENDERLAND
5.....LAURA IMBRUGLIA IT MAKES A CRUNCHY NOISE
6.....KATE CEBERANO THE GIRL CAN HELP IT
7.....JODI PHILLIS FOR LOVERS, ARTISTS AND DREAMERS
8.....LISA MILLER QUIET GIRL WITH A CREDIT CARD
9.....SARA MITCHELL THE GREY ROOM
10....RACHAEL KANE APPETITE |
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 GENEVIEVE MAYNARD
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If you believe the publicity, Genevieve Maynard’s new album Enter is a vast improvement on its predecessor Ghost Notes. While it's a great claim to be on the rise as far as quality is concerned, the truth is that Maynard is a consistent artist and both Ghost Notes and Enter are equally stunning albums. If you love listening to strong women singing honest lyrics over beautiful compositions, you've come to the right place. That's Genevieve's magic. If there's any disillusionment with the record industry, Maynard gets it out of her system on Take It On and you can't really get more blunt than calling someone a 'pen pushing star f**ker". Obviously this unique solo artist went through what we've all experienced: idiots standing in front of a stage like they own you, only to let you down after a long courtship. Enter proves that Genevieve is the one with talent regardless what the suits say and with songs like Don't Come Morning she displays an ability to tone down and hypnotise her listeners with yearning and warmth. The other end of the gamut is her 'fuck you' blaze' approach to the harder edged tunes that benefit from a great support cast of talented musos. By The Water, the opener, has a fantastic rubber-neckin' groove that sets the mood perfectly and its rich layer of textured sounds makes for a great stereo experience. Enter is far too good to be an indie album, but I don't really care how hard it is to get: I've already got a copy. You'll have to fend for yourself.
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 TANIA BOWRA
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Tania Bowra's albums are rare birds, so it's always interesting to see where this talented singer/songwriter is heading musically. Spending much of her time overseas where her talents seem to be more appreciated, Tania has learnt from her travels and enriched her lyrical depth. It's not my style of music, I'll admit, but there's no doubt that Tania is a serious artist that only heeds her creative urges and releases music untainted by market expectations. Place In The Sun displays real sentiment and honest performances, garnished by light acoustics, keys and unobtrusive rhythms. Someday's light groove gained my attention but consistency doesn't allow for these songs to shine in comparison to the rest of the tracklisting. In other words, Tania's music rarely dips or rises, drifting along with a similar intensity, relying on the power of emotive chord progressions and the blunt delivery of her fine voice. If Pete Murray can make a dint on the Aussie charts, maybe it's time to consider a well-honed talent like Tania Bowra; a talent that could only improve popular music.
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 MISSY HIGGINS
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Here's a singer/songwriter that deserves her reputation as a rising star; part of the new wave of rootsy acoustic crooners bumping TV-powered pop acts off the charts. Let's hope they completely succeed because, let's face it, if you like beautiful approachable and original music, a television will never be useful. Turn on your radio. Missy will be all over that medium within a few days with these finely tuned compositions, produced by John Porter (Ryan Adams, The Smiths, Los Lonely Boys) and mixed by Jay Newland (Norah Jones). The production is a major step up for Higgins, who's previous EP provided a warts and all introduction to her talents but lacked the polish of this effort. From brass to silky harmonies, the Scar EP shows the advantage of a top-shelf support cast and as for the songs, the title track is an absolute killer, closely matched by a consistent collection of b-sides. It's true that Missy's more colloquial moments - when the accent seems overdone - left me cringing, but that's what the Australian accent actually sounds like and it's time for us to accept it/embrace it instead of applauding wannabe-American parrots. Missy will be a massive and enduring star on the Australian scene and I'm guessing that her style - which swings between jazz, country and folk - will create a large and diverse audience; the type of fan base that is already leading to sold-out performances as she tours the country.
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 VIA TANIA
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I can remember sitting with Kim from SPDFGH at an INXS press conference we were covering for a television show. She finally got her chance to ask Michael Hutchence a question and had the guts and audacity to blurt out the words: ‘Have you heard of my band?’ That’s what the SPDFGH were like, so it doesn’t surprise me that one the band’s core members, Tania Bowers, has been reincarnated has Via Tania- atmos-powered, laid-back diva of renown in her new home-base of Chicago. It’s an older, wiser Tania that emerges through the startling Dream Again, the opening song on her new album Under A Different Sky. The textured electronic bed that supports Tania’s breathy vocals, is a carpet of carefully sliced threads, woven through the dramatic ambience of a well-structured progression of chords. Tania’s roots are given the nod of respect when the harder-edged The Rising reminds us of the Aussie-rock that resides in all of us, but Tania now sounds at home in the melancholia of In The Deep and that’s where she makes her strongest impact. That’s the second one of our musical daughters that has fallen in love, travelled to the US and released a great piece of musical work this year (the other being Dana from Apsci) and with the quality music they’ve produced, let’s hope it’s a trend.
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 CHRISTINE ANU
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Lenny Kravitz-style riffing greets the listener on Christine Anu's new single, Talk About Love. The theme continues with growling, dynamic vocals from one of Australia's most charasmatic solo performers. Pasty, lifeless pop-tarts will hang their talentless heads in shame when they hear Talk About Love. Christine has naturally captured the best of En Vogue with the debut single from the forthcoming 45 Degrees album; that sugary mix of funk and rock that is so hard to master. The Jarrad Rogers-produced remix is a cut n paste effort that squeezes the funk out of the track while still celebrating the fine vocal effort. I've got a feeling Christine is about to meet previous expectations and easily surpass them between now and christmas.
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 SARA MITCHELL
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There's a mysterious edge to The Grey Room and I suspect it may come from the lady herself: Sara Mitchell. This gifted solo performer seems to write beautiful songs, then paint them black. The production, by The Church's Tim Powles and David Skeet, adds to that wonderfully oppressive atmosphere with cut n paste garnishes, approaching even the simplest idea with lateral visions. The result is a rich recording of hidden gems that unravel with each listen, all tied together with the resonance of Sara Mitchell's voice and the power of her emotive compositions. God Shaped Hole is the undisputed champion among the track listing, raising my eyebrows with its modern take on blues: scuffling loops and moaning, dirty bass. At times Sara hints at the attitude of PJ Harvey and in retrospective, sadder moments she transmits the unnerving beauty of Julee Cruise but there's no doubt that The Grey Room proves the existence of a unique voice. In truth, the eclectic nature of Sara's influences makes for a diversity that adds to the depth of this LP whether it's the simplicity of Little Sister or the driving rock of Hate My Heart. Sara Mitchell may represent the darker side of female solo artists in this country but there's no doubt that her haunting tunes have left a deep impression on this reviewer.
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 LISA MILLER
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Lisa Miller's Car Tape was one of those independent releases that clearly show us the inequities that still plague the industry. It was nominated for three Aria awards and should have topped the Australian charts but alas, the music media were too busy pushing pop tarts to notice the emergence of a credible star. Perhaps if Lisa had worn 20 outfits in a video clip with choreography by Paula Abdul, things would have been different. Here's our opportunity to make amends. Version Originale is a fitting title for a one-of-a-kind performer and songwriter of immeasurable talent. Her country-edged style is instantly comforting on the opening track, I Can't Tell - a duet with Tim Rogers of You Am I fame - which helped ease my Tuesday morning doldrums. Lisa injects a rock feel into New Record, which - and maybe it was a pre-arranged segue way - had that whimsical but beautiful feel that many of You Am I's downbeat tunes possess. But the majority of songs pivot on this outstanding artist's strengths: intensely personal and sparsely recorded songs from the heart (songs like Pushover, Eleven and Hold On). Shane O'Mara, once again, harnesses the energy of the artist with his famed skills as a producer and subtle additions of violin, harp, double bass, pedal steel and percussion add to the rural dimensions of the recording. Country fans should be taking notice of Version Originale but the unquestionable strengths in songwriting make this an album for everyone. Let's lift Lisa to the status she deserves: star.
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 BARB WATERS
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They say “it's not what you know, it's who you know” and Barb Waters has the 'what' and the 'who' covered. Her own sweet voice and songwriting talents are well known but on Rosa Duets Barb has also managed to coral a talented posse of famous friends to write and perform collaborations which successfully fulfill her desire: to record an album of intimate duets that rely on the most human obsessions of longing, loving and losing. Duets with Cyndi Boste, Lisa Miller, Anna Burley and the Git Girls transmit a kinship and understanding that successfully survives the recording process to arrive, untarnished, at the final destination: speakers and headphones. It's that ability to record intimacy that instantly impresses. As for the boys featured on the album - Dan Warner, Kim Salmon, Rob Snarski, Matt Walker, Nick Barker and Ashley Davies - Barb's duets with these brooding songsmiths emit a tinge of tension which adds to the power of the recordings. For Barb and her mates, there's no need to scream in order to communicate the intensity of these songs; honest lyrics and the magic produced by these musical couplings consistently place the listener on a chair beside the performers; you truly feel that close. I hope the many Australian youngsters signing record deals get to hear this album and have first hand example of the power of simplicity.
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 RENEE GEYER
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Renee Geyer has done the impossible for an Australian vocalist: to be considered a world-class soul diva and living legend of the most human of crafts. 3 decades of highly emotive and touching renditions have deservedly placed her on a pedestal and Tenderland can only add to her status as the finest female voice in Australia. From the opener, Thieves In the Temple (Prince), Geyer's voice communicates pure soul with a bluesy backdrop of sparse instruments which always remain respectful, complimenting that voice and never overpowering the lady in the spotlight. This self-produced LP is the culmination of 30 years in the music industry and one listen immediately proves that Renee has continually grown as an artist, collecting plaudits and respect from the industry's finest players, many of whom appear on Tenderland: Steve Hadley (bass/drums), Bruce Haymes (keyboards), Ross Hannaford (guitar), Vika and Linda (backing vocals). If you love R&B-styles; grooves in your soul, Tenderland will satisfy and occasionally surprise with its eclectic choice of composition ranging from classic standards to forgotten contemporary gems.
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FOR LOVERS, ARTISTS AND DREAMERS
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 JODI PHILLIS
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Her distinctive voice instantly stylized the memorable tunes of past bands The Clouds and The Dearhunters but For Lovers Artists And Dreamers is pure Jodi Phillis, exposed and highlighted through minimal production and instrumentation. It's the perfect way to enjoy Jodi's typically strong songwriting and notice the intracacies of her melodies. Regardless of her many incarnations, the songs have always held a wistful elegance. The success and Aria award nominations Jodi received after In Dreams I Live may have applied some pressure; if so, it certainly doesn't show. In fact, For Lovers And Dreamers takes the plunge, providing an honest audit of Jodi's emotions and experiences, making this album - in my opinion - a very brave release. Songs like Little Sips and Ivy's Song show this artist's ability to peel away layers of self-consciousness and invite her fans to witness her experiences, both depressing and up-lifting. For fans of The Clouds, I can assure you that those same emotive chord progressions are still a feature of Jodi's songwriting but this time the conjured emotions tend toward hope rather than sadness. It's always satisfying to see an important Australian singer/songwriter continue to grow and Jodi has recently grown in more ways than one: recently producing a new baby and a special collection of music.
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 AMIEL
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Here at Whammo we love Amiel: we thought Addicted to Bass (1998) was a pivotal electronica track which paved the way for other Australian electronic artists towards mainstream notoriety; we enjoyed The Chase (1999) and jumped up and screamed with joy every time it was featured on cult-favourite Aussie drama Crash Palace; and we weren’t alone in considering Lovesong (2003) one of the pop releases of the year to date. For these reasons we were licking our lips in anticipation at the release of her debut album Audio Out, and for the most part we are very pleased with what we hear. Her oh-so-sweet voice is allowed to shine in a way that wasn’t so evident in those early electro releases. This is most prominent on tracks such as Amiel’s fable for failed relationships, Lovesong (which we all know), her cry for forgiveness from a boy, Missing the Music, and the victorious Final Piece. Josh Abrahams’ slick production values put the icing and the cherry on top: Theme For A One Night Stand’s synth rhythm and bass combined with Amiel’s dulcet-tones and rising and falling string parts make it ready-made for an airline commercial (in spite of the title). If you’re like us and you’ve been holding your breath waiting for this little gem, buy it now before you suffocate.
(review by Ink-Rhys)
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RENEE GEYER
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Renee Geyer has done the impossible for an Australian vocalist: to be considered a world-class soul diva and living legend of the most human of crafts. 3 decades of highly emotive and touching renditions have deservedly placed her on a pedestal and Tenderland can only add to her status as the finest female voice in Australia. From the opener, Thieves In the Temple (Prince), Geyer's voice communicates pure soul with a bluesy backdrop of sparse instruments which always remain respectful, complimenting that voice and never overpowering the lady in the spotlight. This self-produced LP is the culmination of 30 years in the music industry and one listen immediately proves that Renee has continually grown as an artist, collecting plaudits and respect from the industry's finest players, many of whom appear on Tenderland: Steve Hadley (bass/drums), Bruce Haymes (keyboards), Ross Hannaford (guitar), Vika and Linda (backing vocals). If you love R&B-styles; grooves in your soul, Tenderland will satisfy and occasionally surprise with its eclectic choice of composition ranging from classic standards to forgotten contemporary gems.
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 MONIQUE BRUMBY
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Signal Hill is the second album from Melbourne based singer-songwriter Monique Brumby and after a long hiatus the award winning singer/songwriter has released a delectably tuneful collection of country-influenced pop. Monique possesses the uncanny ability to canter along in a sweet and sensual way, whilst holding the power of PJ Harvey firmly in her grasp, with raw, raspy vocal abilities on demand. Driving Home brought on memories of Australian icon Wendy Matthews at her peak while Nobody's Perfect is a track that the aforementioned Harvey would be proud to call her own, with both showcasing the pop sensibilities that won Monique ARIA Awards for Best New Artist in 1996 and Best Female Artist in 1997. Its been a fair while between drinks, but the parties only just beginning.
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 BECCY COLE
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You simply don’t win two consecutive Golden Guitar Awards for Best Female Vocals without being a top-quality Country talent and Beccy Cole is quickly becoming one of the outstanding shining lights of the genre within Australia. The local growth of Country is a direct result of the number of fine acts emerging over the last few years and with songwriting support from Gina Jeffreys, Rod McCormack and Marie Wilson, Beccy is fast developing her own sound and style. Once again, Rod McCormack is at the producer’s helm and with crystal-clear clarity he exposes the wonderful voice of Beccy Cole on Little Victories.
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DUSTY SMILES & HEART BREAK CURES
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 CATHERINE BRITT
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She came into the scene with her track That Don't Bother Me, co-written with Kasey Chambers released on the Open Road Vol. 3 project. Catherine holds much promise for the future while delivering this sensational debut album with 7 originals songs. Her style is even more traditional than Kasey, and where KC dips and lashes into alternate styles for her songs, Catherine is pretty straight down the line.
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INNOCENT EYES (SPECIAL EDITION)
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 DELTA GOODREM
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Life has been good for local girl Delta Goodrem. Born To Try was a number one smash hit single, clocking up over 200,000 in sales while her follow up Lost Without You debuted at number one and is selling by the truck load. Both are included here on Delta's debut album Innocent Eyes. Fourteen tracks make up this long player with the piano playing a major part in the production; a trend that seems to be making a welcome return to the charts of late. Delta has co-written an impressive 11 tracks on the album and 2 are self-penned. An interesting note needs to be made on the other writers. Both Cathy Dennis and Kara DioGuardi have both written songs for Kylie, so Delta stands in good company. The production on this album is outstanding. The Tori Amos-inspired rockier tracks are by John Fields while ex-Take That member, now producer, Gary Barlow teams up with hit maker Eliot Kennedy for the more pop/middle of the road tracks. Tracks like Innocent Eyes, This Is Not Me and Predictable offer the listener a more mature sound with epic style production complete with beautiful string sections- a welcome inclusion to the album. Not Me, Not I, In My Own Time and the simply beautiful A Year Ago Today are gorgeous ballads with Delta's stirring vocals providing warmth and power. The more up-tempo tracks like Throw It Away, My Big Mistake and Running Away provide a platform for Delta to really get into the tracks and lift the pace a fraction. For a short time only the album comes in the form of a limited edition with the most gorgeous packaging I have seen in years. The beautiful fold out collection comes with a little notebook and the album booklet complete with wonderful photos of Delta. A Bonus DVD provides the videos for both singles, behind the scenes footage and a wonderful live performance of Born To Try. This album is a wonderful listen and I felt proud that our Aussie girl has made an album with international quality songs and production. It's going to become the album of the year without a doubt.
(review by Leo)
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