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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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 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? Thats what the SPDFGH were like, so it doesnt surprise me that one the bands core members, Tania Bowers, has been reincarnated has Via Tania- atmos-powered, laid-back diva of renown in her new home-base of Chicago. Its 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 Tanias breathy vocals, is a carpet of carefully sliced threads, woven through the dramatic ambience of a well-structured progression of chords. Tanias 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 thats where she makes her strongest impact. Thats 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 theyve produced, lets hope its a trend.
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 MISSY HIGGINS
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People like Missy Higgins intrigue me: so young yet so confident. Or is it pure courage? Either way it's impressive and after my initial thought of 'back off lady', I soon drifted into Missy's world; one which she courageously unveils for any willing stranger. This 20 year-old singer/songwriter is garnering industry approval, which is impressive considering that as I write this review she still hasn't officially released her debut EP. Her sharp tongue assertively communicates heart-felt sentiment and raw presentation seems to place the listener in the room with the artist. Sometimes layers can cover the raw talent of solo artists but The Missy Higgins EP removes the trimmings, proving Missy's talent and establishing the image of a strong, independent artist who - regardless of the level of production - can compel with just one instrument and her striking voice. A few people will find Missy's strong Australian accent abrasive just as we generally ostracize our local hip-hop MCs but people have to start being real and if you want to hear American accents I suggest you move there. The Missy Higgins EP will be the first of many releases for this young talent but after only a couple of listens I'm already believing Higgins has been on the scene for years; it's a sense of familiarity that will eventually transform me into a fan.
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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 werent 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 wasnt so evident in those early electro releases. This is most prominent on tracks such as Amiels 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 Stands synth rhythm and bass combined with Amiels dulcet-tones and rising and falling string parts make it ready-made for an airline commercial (in spite of the title). If youre like us and youve 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 dont 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 producers 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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OBSESSION (I LOVE YOU) (4 TRX)
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 AMIEL
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Following the debut hit Lovesong (recently awarded Platinum status), Amiel is back with another clever slice of intelligent pop. The words clever and pop arent always synonymous but Amiel is re-inventing the genre with clever songwriting; especially her sharp, honest lyrical content. You already know her voice from Josh Abrahams Addicted To Bass but this refreshing solo performer is fast becoming a star in her own right and her forthcoming debut LP Audio Out is set to be one of the largest local releases of the year. The connections with electronic music are still strong and in the lead-up to the singles release, both the Rogue Traders and Infusion remixes of Obsession have already entered the Aria Club Charts. Let's hope that Amiel is the future of Australian pop and that her artistic integrity, songwriting and talent become contagious. To watch the video for Amiel's Obsession click here
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