Lisa Johnson, Unsung Communications, Toronto, Ontario Lisa Johnson, Unsung Communications, Toronto, Ontario

Lisa Johnson's experience, Unsung Communications, Toronto, Ontario

Unsung Communications is happy to be working with the following artists:

Lisa Johnson has written, done booking, and/or done other work for the following artists:

Lisa Johnson, Unsung Communications, Toronto, Ontario

Lisa has interviewed the following artists:

Andy Stochansky, photo by Lisa Johnson

Lisa Johnson, Unsung Communications, Toronto, Ontario

Lisa Johnson has reviewed and/or photographed the following live concert events:

Ember Swift, photo by Lisa Johnson

Lisa Johnson, Unsung Communications, Toronto, Ontario

Lisa Johnson has reviewed the following artists' CDs:

Julie from Flux, photo by Lisa Johnson

Lisa Johnson, Unsung Communications, Toronto, Ontario

Read Lisa’s rant about the history of women in music.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

ARLENE BISHOP

A sample from Lisa’s Arlene Bishop interview/feature:

I thought I knew how it would be when I sat down with Arlene Bishop one Saturday afternoon. Have you ever seen Robin Williams in an interview? It's best just to let him roam free in his tangents and not even try to focus or contain him. I somehow got it into my head that it would be just like that with Arlene, based on her live show. I was half right.

The first half hour was rather interview-y. I asked Arlene questions about her new album, Snarky Girl Pop, which she is officially releasing on Thursday, February 10 at C'est What on Church Street. An amazing album, Snarky Girl Pop is filled with catchy pop-rock riffs, insightful and memorable lyrics, and a vocal style similar to Kristen Hersh or Allison Outhit of Rebecca West.

Toward the end of our interview, Arlene's inner child began clawing at her insides. No topic or person is safe when Arlene Bishop is feeling riled up. My only regret is that this is a print interview, so her sarcastic tone, mannerisms, and facial expressions cannot be fully conveyed. Arlene careened into a side-splittingly funny story-time hour, regaling me with tales of dead boyfriends, inconsiderate audience members, and crappy jobs.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

CORDUROY LEDA

A sample from Lisa’s Corduroy Leda interview/feature:

Corduroy Leda, photo by Lisa Johnson Corduroy Leda isn't the most well-known or highly-acclaimed band in the Toronto independent music scene, but if the music has anything to say about it, that will change soon enough. This funk-rock four-piece has all the qualities of a truly scrumptious band: ripping lead guitar, funky-ass bass licks, powerfully emotive vocals, unrelenting beats, catchy melodies, strong lyrics, and an overall fun collective demeanor. With all of the band's assets, it's hard to see the forces working to keep Corduroy Leda from reaching rock stardom. But as is true of any indie band, it takes a lot of time, effort, money, talent, and hard work. The band members have got talent in spades as well as a truly admirable work ethic.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

JANINE STOLL

A sample from Lisa’s Janine Stoll interview/feature:

Most 20-somethings have abandoned their childhood dreams as unrealistic, but Janine Stoll has never been a quitter. Stoll has her eye on the brass ring and bleeds determination. She will create her own success story.

At 22 years old, Stoll is an independent Toronto artist with a debut album, everything you gave me, tucked under her belt. She writes her own songs, manages a band, plays many local shows, and tours across Canada. She also creates and manages Web sites for various other businesses and artists.

As if this weren't enough, throw in the altruism of helping music fans and fellow indie musicians by creating an online music resource. IndieVoice.com, Stoll's brainchild, became a full-fledged reality in January, 2000. Stoll began to work relentlessly on the endeavor with a tiny team of music enthusiasts. Three years later the not-for-profit site continues to entice more and more musicians and music fans.

Oh yeah, and she works a full-time day job at a publishing company, too.

How does she find the time and the energy to lead such a life? It's all in her drive.

"It's a cliché now, I know, but ever since I was a little kid I've wanted to lead this life. Well, not this current life, which is hellishly hard work, but a life like it!" says Stoll. "I've wanted to sing and make music, make other people happy, make sure I give back, and, if I play my cards right, make a living along the way."

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Lisa Johnson, Unsung Communications, Toronto, Ontario

LENNI JABOUR

A sample from Lisa’s Lenni Jabour interview/feature:

Lenni Jabour, photo by Lisa Johnson You cannot describe Lenni Jabour, because by the next time you see her, your description may be out of date. You cannot explain her, because she is an anomaly. You cannot pin her down, because she'll blow up her broken balloon and float away. You cannot do her justice, because no words could possibly succeed. I guess the best anyone can do is just sit back and experience her. And you must experience her, darlings, not simply "see" or "hear" her.

I first experienced Lenni in the middle of March because I had been reading and hearing so much about her. I figured I owed it to myself to check out her show, and I was blown away by the fusion of music, theatre, and comedy. It is in fact, a cabaret. And that's exactly how Lenni describes her music: "cabaret pop." I sat entranced, with a perma-grin on my face.

You will find, after spending no time at all with Lenni and her merry band of troubadours, that you not only speak like her (inserting French words here and there; adding "darling" to every sentence), but that your outlook on life may be altered a little. Because those over-sized glasses Lenni dons for "Oh Camille" — they're rose-coloured.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

LUKE DOUCET

A sample from Lisa’s Veal interview/feature:

Luke Doucet Veal is a three-piece Vancouver band that explores various styles from roots to rock to rockabilly to country. The band’s latest album, Tilt ‘O’ Whirl, is critically acclaimed and has brought the band much-deserved attention. The album was produced by Canadian music whiz, Michael Phillip Wojewoda, who is well known for producing Rheostatics records, the most famous of which is Whale Music.

Veal’s lead singer, Luke Doucet, has been compared to such artists as Tom Waits, John Lennon, and Ween. One reviewer actually said, “That guy must be the lost love bastard of kd lang and Tom Waits.” Aside from the fact that this is hardly plausible, it must be a great honour to be compared to such esteemed musical figures as these. Doucet denies, however, that such comparisons are necessarily suggestive of his music.

“Those are grandiose people in my mind because I think they’re fabulous,” says Doucet. “But I don’t think it’s a qualitative thing. I don’t think people are saying I have that quality, I just think that those are clearly some of the influences. So I don’t take it as, ‘Oh my God, people have these expectations of me;’ I just think that the influences are maybe obvious in some cases.”

These influences are perhaps subtly recognizable on Tilt ‘O’ Whirl, but the album definitely has its own sound. Veal’s press kit describes the band’s music as American music.” Why American music when this is clearly a Canadian band?

“I think that is a fairly far-reaching term,” explains Doucet. “When I say American, I come close to what is referred to as Americana in the sense that it’s not Brit-pop influenced….”

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Lisa Johnson, Unsung Communications, Toronto, Ontario

ANI DiFRANCO

A sample from Lisa’s Ani DiFranco feature/live review:

Ani DiFranco, photo by Lisa Johnson Unfortunately for all the Righteous Babes out there who feel they hold claim, Ani DiFranco is now a public commodity. She no longer belongs only to her die-hard, loyal fans who have nurtured and supported her from the very beginning. Ani has become (Oh no! Not the "M" word!) mainstream. Her face has graced the covers of Spin, Chart, and various guitar mags. She has been in People and Entertainment Weekly; has appeared on Conan O'Brien, David Letterman, MTV, and Modern Rock Live; and she is featured on major motion picture soundtracks. But here's the clincher: on May 10, a cartoon Ani guest-starred on the Fox sitcom King of the Hill!

Does this mean Ani has "sold out?" No. She is still a fiercely independent artist who continues to turn down one offer after another from major record companies. Her own independently owned and operated Righteous Babe Records (RBR) is flourishing, and she has been hailed as queen of the indies and the smartest businesswoman since Madonna. She has not artificially created the media frenzy that has ensued recently, but she is finally willing to embrace it….

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Lisa Johnson, Unsung Communications, Toronto, Ontario

ELENI MANDELL

A sample from Lisa’s Eleni Mandell live review:

Eleni Mandell is a singer/songwriter from California who swings by Toronto’s Ted’s Wrecking Yard every once is a while to give her Canadian fans a hit of her rustic sound.

Mandell plays a beat-up acoustic guitar with buzzing strings that perfectly match her dark and painfully emotive vocals, which are reminiscent of P.J. Harvey, Liz Phair and Fiona Apple. Her sultry voice can reach ominous lows and straining highs, and her songs are mesmerizing. She knows how to write a simple piece of music and make it seem complex without trying too hard. Mandell has no one to impress.

Eleni Mandell’s on-stage persona is difficult to describe. There is a self-assuredness, aloofness, an almost detachment, to her live performance; it’s as if she is not really there but is enjoying the show from a place the audience is not privy to.

There were times when she would sink away from the world before her and give disdainful glances – head lowered, eyes rolled back – toward nothing in particular. But then there were kindhearted smiles, knowing nods, and quirky comments….

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Lisa Johnson, Unsung Communications, Toronto, Ontario

HOLLY McNARLAND

A sample from Lisa’s Holly McNarland live review (Oct. 1997):

The Holly McNarland that many people have probably been subjected to is the snarling, moody, tattooed woman whose picture has graced many a magazine article and television promo. However, in the media, more often than not, you only see what the record company wants you to see. If you happen to get the opportunity to see Holly McNarland live on stage, you will discover a different side to the artist: sweet, funny, smiling, and kind of kooky.

McNarland’s lyrics are emotional, sexy, and uninhibited. At a time in music when many vocalists blend into one another with indistinct voices, hers is unique and unmistakable. She sears with gutsy shrieks, and emotes with passionate whispers.

One of many interesting tidbits about McNarland is that she seems to treat the stage almost as a shrine, removing her shoes before she steps up (on this night revealing one black and one white sock). And when she returned for the encore, the shoes came off again. Hmm....

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Lisa Johnson, Unsung Communications, Toronto, Ontario

KRISTEN HERSH

A sample from Lisa’s Kristen Hersh live review (Aug. 1999):

Kristen Hersh is a prolific singer-songwriter who has been in the music business for nearly fifteen years now – and critical acclaim has been a constant presence in her life the entire time. Hersh is perhaps best known as the catalyst for the band Throwing Muses. But after the band’s break-up in 1997 Hersh embarked on a solo career, taking her loyal cult following with her.

The Horseshoe Tavern was teeming with a wonderfully diverse crowd. This is one of the reasons record executives find it difficult to market Hersh: because she does not appeal to one single demographic. A 31 year-old mother, wife, and songwriter, Hersh writes songs that are sometimes brooding, often haunting, and always engaging.

On this night, fans were treated to a special intimate acoustic performance. The stage was stark, adorned with only a microphone, a couple of guitars and a stool. Hersh performed a variety of songs spanning fifteen years, including songs she wrote when she was “17 and stupid,” some well-known favourites, as well as her latest offerings.

As a singer who borders rock and folk, Hersh provided little of the folkie on-stage banter. When she did speak, though, Hersh was captivating and funny. A sporadic yet ongoing exchange with a drunk man at the back of the room provided some comic relief. And when her young son ran on stage for a moment, angry that the audience was taking his mommy away from him, Hersh remarked to the crowd, “He is not your friend right now.”

One must have a great deal of courage to undertake a show such as this. With only her vocals and her six-string, Hersh was naked before an audience of loyal followers hanging on her every note. But she performed nearly flawlessly with an intense, passionate, powerful voice that is simply an object of enchantment.

Kristen Hersh is nothing less than a musical treasure and a dynamic live performer. Because she is not heard on top-forty radio, she is not very well-known among the mainstream music-buying public. This is the way her fans like it.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

L7

A sample from Lisa’s L7 live review (Sept. 1999):

L7, photo by Lisa Johnson Those who have never seen L7 live might have a skewed perception of what the band might be like on stage. Rivoli billed L7 as “world famous chick rockers.” Rockers to be sure, but the band is very sweet when it comes to their fans. Suzi Gardner was extremely gracious, touching everyone’s outstretched hand and tossing guitar picks into the crowd. Meanwhile, Donita Sparks displayed her classic rock poses, at one point even climbing up onto a tower speaker and playing a guitar solo while adoring fans gazed up at her.

Along with L7, the punk-rock and grunge bands of the “riot grrrl” movement include Bikini Kill, Babes in Toyland, Lunachicks, and Hole. But many people don’t know that L7 came before them all – their first album was released in 1987. Although L7 may be the grand-mamas of riot grrrl, they are about more than a mere catch phrase; they are about great music.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

PATTI SMITH

A sample from Lisa’s Patti Smith live review (July 2000):

To those who know Patti Smith, it would seem odd to discover that many people have never heard of her. She is, in fact, one of musical history’s most poignant figures, not to mention a ferociously political, profound, and prolific songwriter.

A product of the punk revolt of the 1970s, Patti Smith emerged from the New York scene to release her debut album, Horses, in 1975. Rolling Stone recently deemed that album to be an essential for any music collection. Twenty-five years after her debut, Patti Smith brings us Gung Ho, her eighth album.

Smith performed in Toronto on July 4th as part of a tour in support of her latest offering. The concert brought the crowd together in comradery and gave the sense that, like in the 70s, revolution is lurking around every corner.

Old favourites such as “Dancing Barefoot” and “Because the Night” were juxtaposed with songs from Smith’s new album, such as “Lo and Beholden” and “Glitter in Their Eyes.” Smith also threw in a few spoken word pieces, which stirred the crowd into tingly breathlessness followed by roaring applause. There was even a surprise update of “Land: Horses” (A.K.A. “Johnny”). In her encore Smith asked, “Would you like to see Johnny step into the year 2000?” Without waiting for a response, she proceeded to belt out a modern version of the extended piece….

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Lisa Johnson, Unsung Communications, Toronto, Ontario

SARAH HARMER

A sample from Lisa’s Sarah Harmer live review (Oct. 2000):

Sarah Harmer, photo by Lisa Johnson In the past, I have called Sarah Harmer one of Canadian music’s best-kept secrets, predicting that she would not remain so for long. The joy in saying "I told you so" is only surpassed by the joy of seeing such a talented musician begin to really make her mark. Harmer has recently been signed to Universal Music and her debut solo album, You Were Here, has been re-released with slick new packaging and a major marketing boost.

Perhaps it was that she is beginning to experience some major label success, or maybe it was because her dad was in the audience, or then again it could be because CBC Radio was recording the show for national broadcast, but Sarah Harmer was in an extremely good mood when she performed for a full house in Toronto last week. I have never seen Harmer so spirited, funny, talkative, and full of life on stage.

Performing in a church seemed to bring out the imp in Harmer, who just barely resisted the temptation to tell a dirty joke. But she commented that the atmosphere also inspired feelings of unity and comradery in her. The crowd responded enthusiastically to each of the 20 songs Harmer performed from old and new albums. She played many songs from her days as Weeping Tile frontwoman, such as "In the Road," "Good Fortune," "South of Me" and "Basement Apartment." This last song originally appeared on Weeping Tile’s 1995 debut entitled eePee, but is ironically best known by newer fans as the lead-off single from Harmer’s latest album.

While songs like "Basement Apartment" and "South of Me" were received with excitement, the most uproarious applause was for "Trouble In the Fields," a Nanci Griffith cover from Harmer’s Songs For Clem CD. Harmer performed this song masterfully, and it was so painfully beautiful that the crowd showed its appreciation by applauding for a full minute and a half after the song had ended. Harmer was visibly stunned and moved by this response.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

THE BE GOOD TANYAS

Lisa’s Be Good Tanyas CD review:

The Be Good Tanyas
Blue Horse
Independent

Hobo-erotica. Old-time aphrodisiac. That how the Be Good Tanyas described their own take on the bluegrass genre at their July 4th show in Guelph. Bluegrass is probably a description that hits closer to home for most, especially since the soundtrack to Oh Brother Where Art Thou? has made country-bluegrass not only a profitable, but a fashionable musical style.

But this Vancouver trio is by no means hopping on any bandwagons – hay-covered or not. The band’s roots music has such an authentic sound that at times it is difficult to differentiate between their original songs and their versions of traditional Appalachian folk songs, which have almost equal representation on the album.

Blue Horse is an extremely strong debut, and it’s no surprise that the Be Good Tanyas are currently being wined and dined by major labels. The band consists of Frazey Ford (guitar, vocals), Samantha Parton (guitar, mandolin, banjo, vocals), and Trish Klein (electric guitar, banjo, vocals). The layering of acoustic guitar, banjo, mandolin, and additional fiddle and double bass provide the aforementioned authentic bluegrass sound, which is different from the old-time country sound made popular recently by such artists as Oh Susanna.

The vocal arrangements and stylings are about as original as they come, with equal parts yielding whispers and audacious snarls. The killer ingredient in this sumptuous stew is the three-part vocal harmonies, best illustrated in the aching “Only in the Past.”

The album has its fill of back-porch, torch-light songs, such as “Rain and Snow,” “Momsong,” and “Lakes of Pontchartrain.” There are also a couple of infectious songs that break through the album’s murky (but beautiful) waters: “The Littlest Birds,” “Light Enough to Travel,” “Up Against the Wall,” and the borderline folk-rock/hillbilly hidden track.

Blue Horse is such an appealing album because it harkens back to a musical genre too long forgotten. Now you can put this disc in your CD player and be taken back in time to the deep south, the heartland. All you’ll need to complete the scene is a bottle of moonshine.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

BIF NAKED

A sample from Lisa’s Bif Naked CD review:

Bif
I Bificus
Aquarius

Bif Naked, photo by Lisa Johnson It’s the second release from the tattooed, lip-ringed rocker (third if you count last year’s spoken word album). Bif is back – with a few changes. First, she is no longer naked. The last name is conspicuously missing from this album. Is she cutting ties with the past? No, says Bif, she was just getting sick of people focusing on “Naked” rather than the music. Secondly, unlike her self-titled debut which runs the gamut from pop to rap to metal to beautiful ballads without missing a beat, this album is choc full of mainstream, radio-friendly, pop-rock anthems. From her first single “Spaceman,” which is getting extensive play on MuchMusic, to “The Peacock Song,” this album does not disappoint. Catchy hooks one cannot help but succumb to infiltrate this album and force listeners to sing along. Plus, there are a few love songs, of which “Lucky” is the strongest.

Bif has never shied away from writing provocative, up-front, and emotional songs; her debut featured “Tell On You (A.K.A. Letter to My Rapist).” In the same vein, this album delivers “Chotee,” a song lamenting an experience in which Bif, young and naive, got married, became pregnant, and had an abortion. The material is gut-wrenching, yet the musical background is infinitely up-beat, which is a contradiction in theory….

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Lisa Johnson, Unsung Communications, Toronto, Ontario

ERIN SMITH BAND

Lisa’s Erin Smith Band CD review:

Erin Smith Band
Get Your Own Sandwich
Independent

Energetic. Spirited. Enthusiastic. Peppy. These are all words that come to mind when listening to the self-described “funky-punky-folk-pop” sound of Erin Smith Band (ESB).

Erin Smith is a sprite whose dynamic vocals and aggressive guitar playing are pivotal to the power of her band’s music. Get Your Own Sandwich is the celebrated follow-up to the 1999 debut, Hey, Nice Pants! – a CD on which the exclamation mark in the title is quite representational of the album’s music.

Erin Smith Band is great because it is relatively inoffensive with catchy, hook-laden songs that are both singable and danceable. Liam Smith’s groovy bass licks have much to do with the funk element of the band’s music, while drummer Mike Chadwick throws down nice rhythmic beats to round out the trio’s energetic sound.

While all of the tracks on Get Your Own Sandwich are admirable, some stand out more than others. The disc starts off with a triple-shot of all the best things the band has to offer. “Little Army” has an acoustic guitar-driven groove that is joined by a dancing bass line and some fun drum kicks. “Catch & Fetch” has a Beatles feel to it and is the tune that will get listeners swaggin‘ on any makeshift dance floor they can find. This song also exemplifies how Erin can juxtapose honeyed vocals with gritty growls without compromising either vocal style. “Universe is Late” is a quirky song with an instantly infectious melody and a chorus that invites listeners to sing along.

There are a few ballads that balance out the dancy funk songs. “Goodnight My Dear” has dark guitars and pleading, passionate vocals; it builds slowly to a climactic haze of hand drumming and assaulting guitars. The solemn “Bad Dad” tells the (non-autobiographical) story of incest and abuse. The lyrical content is heartbreaking, and Erin’s voice is at its most plaintive here.

Ending the CD with a bang are the fantastic “Oh Boy” (a ’50s rockabilly tune that will make you want to jive) and “People I’ve Been” (a genre-defying song with a slow hip-hop beat and ghostly vocal layering).

Regular airplay on CBC Radio and campus radio stations (including CKMS) has proven that there is interest in and an audience for ESB. Erin Smith herself can be a cute and goofy person, as evidenced by her album titles and liner notes, but the talented songwriter is certainly no stranger to the harder edge of music. Erin Smith Band is a polished trio whose brand of music will be used as a ruler against which other indie folk-funk acts will be measured.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

JILL SOBULE

A sample from Lisa’s Jill Sobule CD review:

Jill Sobule
Pink Pearl
EMI

Jill Sobule is a complicated musical figure because she can stun listeners with brilliance as often as she can shun them with drudgery. Just as her musical repertoire has been up until now, her latest album, Pink Pearl, is hit and miss.

The songs on this album tend to be narratives (“Lucy at the Gym,” “Claire”), social and/or political commentaries (“Mary Kay”), or autobiographical in nature (“One of These Days,” “Mexican Wrestler”). Unfortunately, Sobule falters on many counts. Her narrative style is strained and repetitive, her social/political songs are trite, and her autobiographical sketches are somewhat bland. While there are attempts at meaningful sentiments within the songs, Sobule’s lyrics tend to lean more towards ineffectual than potent. What is lacking, for the most part, is emotional sincerity.

The production value and musical arrangements save the album. Lush strings, quirky horns, driving drums, and dancing bass lines prevent Pink Pearl from being mundane. Sobule’s sweet, bubble-gum voice is complemented by light and intricate guitars, while being simultaneously subverted by weird sound glitches and eerie piano….

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Lisa Johnson, Unsung Communications, Toronto, Ontario

TANYA DONELLY

A sample from Lisa’s Tanya Donelly CD review:

Tanya Donnelly
Lovesongs For Underdogs
Reprise

Lovesongs For Underdogs is the first solo effort from the woman that brought to life such previous (and successful) bands as Throwing Muses, The Breeders, and Belly. Tanya Donelly began Throwing Muses in 1985, but left in 1991 to co-form the Breeders. She later went on to be the driving force behind Belly, which only released two albums before it broke up in 1996. Now she is back, and fans of Donelly’s previous work will not be disappointed. This new album pays homage to many of her previous ventures, with jangly guitars, dreamy melodies, and surreal lyrics. Donelly has as much skill as a songwriter as she does a performer. Her lyrics can jump from quirky (“Goat Girl”) to poignant (“Manna”) in a matter of one song, taking the listener completely by surprise. Tannya Donelly is a breakthrough artist because she is not confined to, nor does she conform to, any particular style….

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Lisa Johnson, Unsung Communications, Toronto, Ontario

WOMEN IN MUSIC

Lisa’s rant/pseudo-history of women in music:

Alanis Morissette, photo by Lisa Johnson It's no secret that 1997 was touted "the Year of the Woman" in music. But in the words of Joni Mitchell on the night of the MTV Music Awards: "What? You mean all we get is one year?" The answer is no. Women have been and will continue to be a force to be reckoned with in music. And no, it did not all start with the riot grrls of the grunge era. In fact, many of the chart-toppers of the 1960's (before the British invasion) were so-called "girl groups" like the Shirelles, the Shangri-La's and the Ronettes. Who the hell are they, you ask? Well, have you heard of the songs "Will You Love Me Tomorrow," "Leader of the Pack," and "Be My Baby"? Of course you have. See?

By the early 1970's, feminism or "women's liberation" had emerged as a powerful social, cultural, and political force. The anthem of this movement was Helen Reddy's "I Am Woman." Although earlier hits such as Lesley Gore's "You Don't Own Me" and "Respect" by Aretha Franklin addressed the issue of independence, neither was as explicitly associated with feminism as Reddy's song. Coinciding with women's liberation was the singer-songwriter genre. Carole King, Joni Mitchell, and Bonnie Raitt are just a few of the many talented women who came to the forefront during this wave.

Kim Bingham, photo by Lisa Johnson The late 70s/early 80s brought us the true-grit rock and roll of ex-Runaways Joan Jett and the wannabe true-grit, but still musically viable, rock of Pat Benatar and Heart. (Here’s some trivia for you: Who was the first woman to own her own record label? Joan Jett.) But these rockers seemed to get bulldozed by the prevalent mainstream pop sound. The three biggest artists during this "MTV Age" were Madonna, Annie Lennox, and Tina Turner. Madonna in particular is performer whose success is unparalleled in the music business. She steam-rolled through bureaucracy and proved that a woman could be strong and sexy, in control and still vulnerable. She single-handedly revolutionized the way women would be thought of in the music industry.

Along comes the late 1980's/early 1990's and grunge: Hole, L7, and Babes in Toyland. Few bands survived this era with any notable mainstream success -- Hole being one of them. This was the age of the "angry white female," the lingering effects of which would touch later artists such as Bif Naked and Alanis Morissette. Although men previous to this had been "angry" in music, it was somehow socially unacceptable for women. The world had a collective hemorrhage when Alanis sang, "go down on him in a theater." But no one blinked an eye when, twenty years earlier, Aerosmith sang, "go down on a muffin." I assure you, they were not referring to blueberry.

Dar Williams, photo by Lisa Johnson Now here we are in the late 1990's. Ani DiFranco is a do-it-yourself one-woman phenomenon who continues to churn out great music that is insightful, political, edgy, honest, and emotional. While rockers like Hole and pop-rockers like Alanis Morissette are defining this stage of “women-in-music” history, so are Sarah MacLachan and born-again teenie-boppers the Spice Girls.

Women make up half of the population, and the time has come for people to stop referring to women in music as a trend and start realizing that female artists are no longer accepting tokenization. The opportunities for women determining the direction of music are virtually unlimited.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

ADAM BOWMAN BIO

Knee High to a Grasshopper

Despite being raised in the small southern Ontario town of Elmira, Adam Bowman is slick, cool, and world-travelled. This is only thanks to his musical proclivity and not to any inherent poise. Although his family was not musical per se, music was always a strong presence in Adam’s childhood. His mother was constantly spinning her record collection, consisting mostly of 60s, 70s, and 80s funk, soul, and R&B. Adam was instantly drawn to the smooth, infectious grooves from Detroit, Atlanta, and Minneapolis. By the age of three, Adam had mastered the family record player and the sounds of Michael Jackson, Kool and the Gang, The Gap Band, Prince, and all the Motown greats could be heard emanating from the Bowman’s living room. Shortly thereafter, Adam could regularly be hard pounding away on pots and pans. When tying Adam’s wrists to his ankles brought no respite to the family’s cooking implements (or ears), his parents got Adam his first drum set, which proved visionary.

Along Came High School

While attending Elmira District Secondary School, Adam was trained as a classical percussionist in the music program and performed in the school’s concert band, stage band, jazz choir, percussion ensemble, and countless theatrical productions. During this time, Adam honed his skills performing and recording with his first band, progressive rock outfit Olive Wide (1994-99) while taking private lessons with Canadian drum/percussion guru Gary Tomlin. It was clear that Adam had made a choice about the path his life was to take, and because he didn’t quite have a ballet dancer’s figure, he relentlessly pursued drums as a second choice.

College Dropout

In 1999 Adam attended the Humber College Music program and studied with some of the country’s finest teachers (Roger Flock, Don Vickery, Paul DeLong). The sharp environmental shift from high school in Elmira to college in Toronto opened many doors and gave Adam his first glimpse into the world of freelancing. Adam began performing with many bands, including Hamilton’s Flux and Guelph’s Corduroy Leda. He also kept busy with Humber’s many R&B singers and performers. The school’s jazz focus made “groove” players in high demand, and Adam helped reduce that demand (because interest began to wane once people learned that Adam was all the school had to offer).

Perhaps the most important connection Adam made during this period was with R&B vocalist Tanya Asaki, who gave Adam the opportunity to perform with Toronto funk all-stars Project F (featuring Carlos Morgan and Wade O. Brown). Under the constant tutelage and relentless brow-beating of musical director and keyboardist Billy Alexander, Adam heightened his groove and his understanding and appreciation of funk, soul, hip hop, and R&B. The year and a half he spent working with Project F was one of the most inspiring and encouraging periods in Adam’s training. But after finishing the first year of Humber’s program, Adam left the mostly jazz-oriented school in search of a funkier groove.

All the World’s a Stage

Adam continued working in a variety of bands ranging in style from rock, funk, and hip hop to country, blues, and jazz, and also performed in many musical theatre productions. Finally some projects came along that gave Adam the opportunity to tour internationally, including his own funk outfit The Motor Booty Affair. Currently Adam is working with Canada’s undisputed queen of the underground, independent musician Ember Swift. He also performs with Kitchener’s urban acoustic soul act Anxious Blue, while recording and performing with hip hop soulster Rufus and the no-holds-barred funk unit The BumpSquad.

Amazingly, Adam still manages to find time to practice his Pirouette piquée and freelance with many other acts that satisfy his never-ending passion for diverse musical styles. Hot beats and a cool stage presence have earned him the nickname “Smooth Operator” (along with his other nickname, “mocha-la-tatté”). Adam’s deep feel and tight grooves have been seminal on dance floors, in theatres, at festivals, and on recordings for years now, and he has toured extensively throughout Canada, the U.S., and Australia. And this funky drummer is just getting started….

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Lisa Johnson, Unsung Communications, Toronto, Ontario

ALANA KURTIS BIO

When songwriting is your passion, it helps to have an arsenal of interesting experiences to use as fodder. Alana Kurtis has no shortage of experiences to choose from. In fact, by the time she turned 21, she had back-packed through 17 countries.

A self-taught guitarist and classically trained vocalist, Alana creates folky, alt-country, pop tunes that speak from her heart and showcase her awe-inspiring voice.

Early in life, Alana benefited from the creative influence of a painter mother and musician father. Her father was bass player for the Esquires in the '60s. The Juno Award-winning band toured with Roy Orbison and the Beach Boys, and is credited with making the first ever Canadian music video (which still airs on MuchMusic).

With the seed planted during her formative years, Alana’s close relationship with music only deepened over time. She studied piano at a young age and played tuba in elementary school. “I think I chose the tuba because I loved its bass quality,” says Alana, “and also because I was the only one big enough to play it. I was pretty tall for my age.”

Various musicals, plays, and choirs kept music in the forefront of Alana's life, but soon she cultivated an interest in dance; she began performing jazz, tap, and ballet. When she auditioned for dance and music at an Ottawa arts high school, she was accepted to both programs. Alana recalls having to make a decision between the two: "Honestly, I think a big part of it was that I didn't want to have to change in and out of dance clothes every day. That's a real pain in the ass."

The decision, if haphazard, proved fortuitous. Alana began studying singing with conviction, both in school and via lessons with the best vocal coaches around.

During high school Alana was also involved with several bands, including an all-female acoustic quartet that would rehearse in the school's hallways (great acoustics) and play midnight shows at local dives. They even managed to perform on CBC Radio.

Upon graduating from high school, the young singer travelled throughout Central America. While living with a family in Guatemala and talking to her mother on the only phone in town, Alana learned that she had been accepted to the California Institute for the Arts. She had to decide then and there whether to attend.

At 18, Alana returned home from a half a year in Central America, packed her bags, and moved to Los Angeles, where she lived for the next seven years. At CalArts, an internationally esteemed school, Alana studied classical, jazz, East Indian, and a host of other eclectic vocal styles. Although Alana knew that she was not going to be an opera singer, she studied classical music and trained in operatic singing to expand herself musically and become a more educated musician. Alana recalls, “Learning vocal repertoire, theory, ear training, languages, diction, posture, breathing, etc. was all great. I got really involved with singing French and German Romantic and Post-Romantic composers such as Debussy, Faure, Brahms, and Schubert.

“But being a classical singer is such an extreme lifestyle,” she continues, “your whole life is about your voice.”

After graduating from university, Alana remained in Los Angeles as a nanny and a vocal teacher before landing a job with a music publisher/producer who, in the '80s and early '90s, had worked with industry heavies such as Elton John and Leonard Cohen. Alana was the general manager of his company.

Alana's job was as eclectic as the vocal styles she studied in school: driving pop artists around, doing the company’s finances, working in the studio with recording artists, and so on. While it was an interesting and exciting job, Alana felt that she was constantly trying to make everyone else's careers happen but her own, and this had to change.

“Los Angeles is the nuttiest place you could live,” Alana says of her time in L.A. “It's the best and worst of everything in the world. There are a lot of angry, self-centered, career-driven people in L.A., and behind it all, many of these people are very unhappy. L.A. is big and everyone is very isolated. It can be a very, very lonely city.”

There are many positive aspects of Alana's L.A. experience, however: the amazing live music, the Hispanic population and influence on the city, the diversity of the neighbourhoods, the beach, the desert, the sunsets, and the wonderful friends and collaborators she met. Alana learned a lot from the people she spent time with in L.A.

Armed with her new arsenal of knowledge and experience, Alana set out to work on her songwriting skills. She had always had a strong voice and a gift for harmonies, but had trepidation about songwriting. In L.A. she was introduced to a very talented pop songwriter named Billy Steinburg, who wrote (among others) Madonna's "Like a Virgin" and the Divinyls smash "I Touch Myself." Billy became a mentor to Alana and taught her about the craft of songwriting.

Of songwriting Alana says, “I've always been able to write pretty melodies, but lyrics I have to work at. I edit my songs for weeks, sometimes months, until they feel right. I believe that a songwriter's role is to tell the truth. My goal is to best describe my own situation, and I'm hopefully describing what the listener is going through as well. Real human emotion is universal.”

According to the singer, she has written her best songs since moving back to Canada in 2002. "L.A. is a place where it's hard to complete anything because you don't feel complete yourself. I was living my life in a place that was not who I am.

“I'm glad I left L.A. when I did. Many people never leave there because they go there to 'make it,' and there’s a perception that leaving makes you a failure. I went through that a little bit, but I got over it, I moved, and I was happy.”

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Lisa Johnson, Unsung Communications, Toronto, Ontario

CHARLENA RUSSELL BIO

A powerhouse vocalist and adept multi-instrumentalist, Charlena Russell uses her musical/vocal training and penchant for poetry to create fiery, soulful acoustic rock and haunting, personal electronica.

Born north of Toronto and raised in Cambridge and Muskoka (Ontario), Charlena’s love of the violin began at four years old when she was awed every time she encountered the instrument. However, her mother — visions of Shirley Temple dancing in her head — put her into dance. So desperate was she to escape this fate that Charlena lied about aching feet and dance was squelched.

At the age of twelve she began playing trumpet in band class and continued lessons throughout high school. Yet Charlena knew she wanted to play violin (“I’ve never cried while playing trumpet”). Obtaining an old violin from a family friend, Charlena took lessons from her violin-major band teacher and at sixteen began studying with the Guelph Symphony’s Margaret Zack.

When she met her singer/guitarist friend Christina in grade nine, Charlena discovered music anew. She remembers, “I was at her house and I asked if I could play the guitar. It was like an orchestra coming out of this one instrument!” Charlena strung a beat-up guitar her mom had, taught herself some chords, and applied her poetry to guitar. Thus the songwriter was born.

“I started songwriting as therapy for myself because I had some hard-core issues, which we won’t get into,” laughs Charlena. “The more I wrote, the stronger I felt and the happier I got. I was always walking around looking up in the air because I could see musical parts in my head. I wanted to create those songs.”

After high school Charlena nixed a plan to attend university for trumpet and worked three jobs to save up for her life’s essentials: a computer, some instruments, a recording console, microphones, and a stereo. She learned computer-based recording software Cubase and began creating.

A fairy-tale trip to England followed, which informed Charlena’s biggest dream: to attend the School of Sound Recording in Manchester and someday have her own recording studio.

When she returned home, Charlena spearheaded a benefit show, Rocking Out Against Cancer, which was her first experience as a promoter. She has since gone on to promote and/or do sound for many shows. “It’s fun hand-picking bands, designing posters, getting hold of local press, putting up the sound, doing sound.... I figure if you’re going to do something, you may as well do it right.” Charlena constantly impresses with this hands-on, do-it-yourself ethic and as evidence of her notorious reputation in Kitchener-Waterloo, Songwriters’ Fest asked her to be a panelist on promotion, and in 2005 she was nominated for both a Kitchener-Waterloo Arts Award and a Bernice Adams Memorial Award.

Being a sponge for anything music-related, Charlena began working at Sherwood Music and live music venue/pub Fiddler’s Green, then moved to Kitchener and was soon asked to join the goth/electronic outfit Puncture Vine as an electric violinist and back-up singer.

She slept on a mattress on the floor of the studio for three months while Puncture Vine recorded its first album. She took it as an opportunity: “I learned a lot in a very short span of time because I was constantly in the studio.” Surprisingly, the band broke up shortly after a very successful CD release.

Charlena was also co-vocalist and trumpet player in the funk-groove band Six Foot Groove. The band did well, selling out venues such as the Starlight and opening for bands like The Pocket Dwellers. But there were, as always, deep-rooted band politics that led to the group’s ultimate demise.

This pleased Charlena’s vocal teacher, who was concerned about the strain the band had taken on her voice. Charlena decided to take vocal lessons because, while she had a good voice, it was young, untrained, and “a little too rough around the edges,” she says. “I knew then, and I still know now, what sound I wanted to hear and the control I wanted.”

Years of musical training has led Charlena to become a music teacher herself, and she currently has 25 students in violin and guitar. Never one to rest, she continues to work at Sherwood while teaching and recording her debut album with Trevor Woodhouse. As co-producer, Charlena revels in learning about sound and recording techniques.

When asked how she envisions her musical future, Charlena shouts, “Small cult following!”

She will remain indie because she has no illusions of grandeur and great disdain for major labels. “The money they give you is a loan,” she explains, “and they end up owning your art. They won’t release your album if they don’t like it. Fiona Apple is an excellent example of that right now. It’s like taking an apple and a gag rag and tying it around your mouth. They silence you if you’re not ‘commercial’ enough.”

Charlena doesn’t strive for universal pop appeal. Likening songwriting to birthing a child, she says, “You send it out into the world and you want it to be successful and beautiful, but if someone doesn’t see it that way, then I don’t care. This is my baby.”

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Lisa Johnson, Unsung Communications, Toronto, Ontario

LISA WINN ALBUM RELEASE BIO

The new album may well be called “Out from Behind” rather than Out from Under, because she’s out from behind the frontperson, folks, and has taken centre stage.

Industry types throughout North America and Europe best know Lisa Winn as a most prolific and respected supporting vocalist; Winn has shared her stellar harmonies with such artists as Gordon Lightfoot, Shannon Lyon, Jacob Moon, Mike Trebilcock (Killjoys) , Rob Lamothe, and Jamie Oakes. With the release of 2000’s Mother Earth, however, Winn began to showcase her own songwriting skills by writing more than half of the album’s songs and creating a vastly beautiful record – with a little help from her friends.

But there are always humble beginnings. And while Winn may consider her current place a humble beginning in its own right, it doesn’t compare to paying dues in high-school musicals and short-lived Hamilton indie bands. In 1995, her career took a turn when she met and began a seven-year collaborative relationship with singer/songwriter Rob Lamothe, who produced Mother Earth.

Now it’s 2003 and Winn presents her sophomore CD, Out From Under. The production on this deeply atmospheric album sets the perfect scene for Winn’s inimitable, lush vocals. Her voice is pure, beautiful, and sweet, but equally rich, earthy, powerful, and haunting. The adaptability if Winn’s voice shows its magic as it drapes over gospel-tinged songs like silk, envelops blues-rock numbers like velvet, and cozies up to the folk-country tunes like a good pair of worn-in denim jeans. The striking voice that can simultaneously melt butter and electrify your skin – combined with poetic lyrics of the same capacity – make Out From Under an emotionally invigorating listen.

In addition to her solid solo career, Winn also enjoys a successful side project known as the Ladybird Sideshow, with fellow songbirds Melissa McClelland, Erin Smith, and Janine Stoll. Together the birds have enjoyed two groundbreaking tours across Canada and are now garnering record label interest. The talent of these four women is almost excruciating, and their four-part harmonies will break your heart while their bawdy on-stage antics will make you guffaw. The Ladybird Sideshow provides as dynamic and charismatic a live show as you are likely to see.

Lisa Winn has been a mainstay on the music scene for more than a decade, and her journey seems destined land her in a position to which many artists can only aspire: one of universal respectability and musical integrity. Establishing herself as a solo artist to be reckoned with, Winn has shared stages with a veritable musical who’s who: Holly McNarland, Emm Gryner, Damhnait Doyle, Oh Susanna, John Mann (Spirit of the West), Danny Michel, The Rheostatics, Martina Sorbara, Luke Doucet, David Francey, Tom Wilson (Junkhouse), Jackie Washington, Katherine Wheatley, and Lynn Miles.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

MADVIOLET BIO

Madviolet proves that when it comes to music, it doesn’t matter who you know, what you know, or even what you know about who you know. What matters is having good hair. Oh, wait…talent. Talent is what matters. A famous brother will only get you so far. A superstar producer is only half the battle. Being surrounded by stellar musicians is a great start. Being cute, well, that’s just icing on the cake. But the talent — that's what ensures success.

Brenley MacEachern and Lisa MacIsaac are the two talented musicians who make up the core duo Madviolet. While the musical melding is evident to anyone who has the pleasure of hearing these two perform, many might be surprised to know that they are also wonderful friends with a great personal symbiosis.

It all started with Brenley eavesdropping on Lisa's conversation in a café. After getting over her initial outrage and sense of personal invasion, Lisa quickly realized that she and Brenley have a lot in common, including the fact that their fathers were high-school buddies. So of course they had to start a band. As with most of the great bands the world over, it's all about who their parents knew in high school.

What may be an obstacle for other bands — musical incongruity — is in fact the very thing that makes Madviolet's sound so unique. Brenley, the former frontperson of an ambient pop band called zoebliss, provides the melodic rhythm for Madviolet; her acoustic and tenor guitars give a dark, unyielding element to the music. Lisa, a traditional violin player, stamps the music with dreamy fiddle and acoustic/electric guitar, which set the mood and weave listeners effortlessly into the heart of the songs. The two provide exquisitely intertwined rich vocals, with harmonies that add warmth and depth. Madviolet is as intimate as it is intense, as acoustic as is it electric, as organic as it is electronic, as retro as it is modern, and as traditional as it is eclectic. The songs are haunting, ethereal, and surprising; in the blink of an eye, you may find Lisa on electric guitar, Brenley on acoustic, or the two of them kicking out a mean synchronized belly dance.

Pre-Madviolet, Brenley shared stages with Tricky, The Wild Strawberries, and K's Choice, and toured solo throughout Switzerland and France. Lisa toured extensively across Canada and the U.S., performing with various artists, including Bruce Guthro, Mary Jane Lamond, Adam Gregory, and Ashley MacIsaac. In the summer of 2001, Lisa played the part of Michele Philips in the new musical Dream a Little Dream: The Nearly True Story of the Mamas and the Papas, with original "Papa" Denny Doherty. Together (at last), Brenley and Lisa have graced stages across North America and Europe, and performed at the infamous Montreuz Jazz Festival during their 2002 Swiss tour.

Madviolet recently returned from London, England, where they recorded their debut album with legendary British producer John Reynolds (Sinead O'Connor, Indigo Girls, Jah Wobble) in his studio, Ghostrooms. For two months, Brenley and Lisa worked with some exceptional musicians (Sinead’s former back-up band), and the result is Madviolet's soon-to-be-released self-titled album. With guest appearances by Jon Klein (Souxsie and the Banshees), Clare Kenny (Indigo Girls), Matthew Seligman (Softboys, David Bowie), and Kieran Kiley (Pogues), the album is sure to be a testament to amazing musicianship.

So right about now you may be wondering, What's next for this dynamic duo? Well, they will release their album, tour the world, rescue humankind from dastardly super-villains, and continue to delight fans and critics with their extreme belly-danci

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Lisa Johnson, Unsung Communications, Toronto, Ontario

MELISSA McCLELLAND BIO

Melissa McClelland is quirky, but not crazy. For instance, she aspires to one day have an entire room devoted to displaying her ever-growing collection of dollar-store Snow White figurines, which she collects almost obsessively. But, she can laugh at herself for it.

Quirks aside, McClelland is likely condemned to be lumped among the onslaught of fresh young pop voices to emerge from Canada. But here's the twist: this voice is actually saying something. With her new album, Stranded in Suburbia, McClelland is poised to ascend the ranks and overshadow those who may be considered her peers.

Born and raised in Burlington, Ontario (just a stone’s skip from “steel city” Hamilton, also known affectionately as the armpit of Ontario), McClelland inevitably had a storehouse of fodder to choose from when making Stranded in Suburbia. While she did not begin with a theme in mind, there it was: an album representing the scope of her life from childhood to present. Suburban life comes with its trials and chains, and the experiences here are as real and honest as the songs.

This, McClelland’s second full-length release, paints a vivid and detailed picture of the perils of growing up in suburbia. Nothing escapes McClelland's keen brush strokes; the record includes sardonic nods to alcohol and drugs, basements and rooftops, factories and cars, curfews and runaways, parents and adolescents, violence and vandalism, and of course sex, love, and futile dreams.

Melissa McClelland’s music has been described in contrasts: “simple and beautiful,” “complex and moving,” “dark and moody,” “fun and twisted.” Perhaps because of these contrasts, McClelland appeals to a wide range of listeners who are drawn to her rich vocals and melodic songwriting.

McClelland began to create her own songs by the wizened old age of four, armed with a tape recorder bestowed upon her by her parents as a distraction. At seven years old, McClelland became involved in a children's theatre group, performing in such productions as Cinderella, Peter Pan, and Sound of Music (she was Gretel).

At the age of eleven, McClelland once again started creating her own songs, this time on the piano. While she took violin lessons for ten years, McClelland has no other formal musical training. The violin lessons employed the "Suzuki method" of learning music, which focuses on training the ear. This training is the foundation of McClelland’s self-taught skill on the piano and the guitar (her primary instrument and writing tool).

After recording her first professional demo in a Hamilton studio, McClelland employed the talents of a young upstart named Ryan Corrigan (now Hawksley Workman), who recorded McClelland’s next demo in his kitchen sink. But it was prolific singer-songwriter and talented producer Rob Lamothe who recorded McClelland’s sparsely beautiful, debut full-length album (2001). This self-titled release coincided with McClelland’s first major North American tour, which took her to California and throughout western Canada.

The relentlessly hard work of slugging it out in the independent music world did not dissuade McClelland from continuing to pursue music, her greatest passion. And the work paid off. When Luke Doucet (Sarah McLachlan, Chantal Kreviazuk, Oh Susanna, Delerium, Danny Michel) climbed on board to produce McClelland’s second full-length release, Stranded in Suburbia, it was because he saw something special in McClelland. Aside from her dazzling talent, he likely saw a person whose personality and drive destine her for success.

Not long after recording Stranded in Suburbia, McClelland signed a record deal with a label in its infancy called Orange Record Label. Melissa McClelland is one of Orange's debut artists, along with Jim Bryson and Lindy. “I'm so proud to be a part of Orange,” says McClelland. “It was scary signing a deal because I've been independent for so long, to give up that control and to believe in and trust a label was hard. But I'm thankful that all the people I've hooked up with have turned out to be very honest, talented, and down to earth. I haven't encountered all that bullshit you hear about in the music industry.”

Like a good trail mix, the lyrics on Stranded in Suburbia are sweet and salty. And the music is reflective of that. Headed by musical chameleon Doucet, the players on this record are a who's-who of the Canadian musical landscape. Paul Brennan (Elton John, Sarah McLachlan, Big Sugar, Veda Hille, Wild Strawberries) lays down the beats on drums, while the grooves come courtesy of bassist Jay Gordon. Strings (McClelland, Sahra Featherstone, Anne Alma, and Eric Mackinnon) and keys (Todor Kobakov) round out the lush musical backdrop for McClelland's robust songs. And it’s all tied together and mixed by Michael Phillip Wojewoda (Barenaked Ladies, Ashley MacIsaac, Rheostatics, Kim Stockwood, Jane Siberry, the Supers, Mia Sheard, Kurt Swinghammer, Tara MacLean).

Even with all of this musical artistry, the heart of the songs remains McClelland's songwriting and crystalline vocals. With a well-chosen cover thrown into the mix (Bruce Springsteen's "Factory"), what listeners are treated to is a cathartic journey, an emotionally and musically satisfying CD that can be spun again and again without growing tiresome.

McClelland is not hard-pressed to ream off a list of artists who inspire her, and many of these are the very independent and local artists she has met along the way. (“There are so many. So many.”) Her side project, the Ladybird Sideshow, is a collective she formed with Toronto and area independent artists Erin Smith, Janine Stoll, and Lisa Winn. “All of them have totally blown me away,” McClelland says emphatically. “The Ladybirds are really gaining momentum, and I don't want that to fizzle out.”

Knowing fully what other people’s music has done for her in her own life, McClelland seems at a loss, initially, to explain what she wants her music to do for other people.

"When I'm writing, it's not a conscious process. I didn't write this album with a suburbia theme in mind; it just came out that way. It wasn't until I had the whole album together that I thought, 'Wow, it is a story.' And it's the story of my life, really.’

“This album is very personal to me, but it touches on a lot of universal themes, so I hope that people can relate to it in some way or another. I hope that my album does the same things for people that music does for me: I hope it inspires them and makes them think and feel."

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Lisa Johnson, Unsung Communications, Toronto, Ontario

MELISSA McCLELLAND ALBUM PRESS RELEASE

Pre-release, the Luke Doucet-produced Stranded in Suburbia is already creating a buzz

Melissa McClelland is likely condemned to be lumped among the onslaught of fresh young voices to emerge from Canada. But there's a twist: this voice is actually saying something. With her new album, Stranded in Suburbia, McClelland is poised to ascend the ranks and overshadow the major-label-orchestrated, image-based songstresses who may be considered her peers.

The songs on Stranded in Suburbia are about real experiences and leave listeners with no doubt that McClelland's stories and insights are heard-earned. Being born and raised in Burlington, Ontario does not preclude McClelland from having a storehouse of musical fodder. Indeed, as the title suggests, suburban life comes with its own trials and chains.

McClelland's second full-length album paints a vivid and detailed picture of the perils of growing up in suburbia. Nothing escapes McClelland's keen observation; the record includes sardonic nods to alcohol and drugs, basements and cars, factories and rooftops, curfews and runaways, parents and adolescents, violence and vandalism, and — the big three — sex, love, and futile dreams.

But Stranded in Suburbia is more than a snapshot of suburban turmoil. It also contains brilliant odes to city life — truly, to life in general — like the ironic "Glimpse into Hell," which explores the imagined reality of an all-too-real building that is half church and half strip club.

Like all good trail mixes, the lyrics on this album are sweet and salty, and the music is reflective of that. Headed by musical chameleon Luke Doucet, the players on this record are a who's-who of the Canadian musical landscape. In addition to taking producer credit, Doucet (Sarah McLachlan, Chantal Kreviazuk, Oh Susanna, Delerium, Danny Michel) offered his skills on backing vocals, electric and acoustic guitar, keyboards, toy piano, and percussion. Paul Brennan (Elton John, Sarah McLachlan, Big Sugar, Veda Hille, Wild Strawberries) laid down the beats on drums, while the grooves come courtesy of bassist Jay Gordon. Todor Valdimirov not only played keys, but scored and arranged the string section that rounds out the lush musical backdrop for McClelland's robust songs. This is all tied together and mixed by Michael Phillip Wojewoda (Barenaked Ladies, Ashley MacIsaac, Rheostatics, Kim Stockwood, Jane Siberry, the Supers, Mia Sheard, Kurt Swinghammer, Tara MacLean).

Even with all of this musical artistry, the heart of the songs is always McClelland's songwriting and crystalline vocals. With a few well-chosen covers thrown into the mix (Bruce Springsteen's "Factory" and Suzanne Vega's "Tom's Diner"), what listeners are treated to is a cathartic journey, an emotionally and musically satisfying CD that we can spin again and again without tiring of it.

Please visit www.melissamcclelland.com for details.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

MIRANDA STONE ALBUM PRESS RELEASE

What’s Your Favourite Sin? Miranda Stone releases 7 Deadly Sins with her own unique flair

Critics are calling Miranda Stone’s third album, 7 Deadly Sins, her best work to date. On February 20th at the Rivoli in Toronto, the public and press had the chance to hear for themselves, while participating in some of the antics of the themed event. Free CDs and other prizes went to those who properly listed all of the seven deadly sins and who had the most creative response to: “What is your favourite of the seven deadly sins, and why?”

7 Deadly Sins is a record about personal vices and dragon slaying, life and loose change. It wouldn’t be too far off to call the music folk in wolves’ clothing: these songs are terribly intimate, but they’ve got bite. Countering much of the rambling and self-absorption that tends to cramp some folk music, Miranda Stone’s songwriting shines in the same way that Bruce Cockburn’s, Joni Mitchell’s, and Ben Harper’s does, illuminating the stuff of life. The album was produced by Miranda Stone and Andrew Horrocks (Northern Pikes, Mary Simon) and features some inspiring musical performances by Tim Bovaconti on guitars and mandolin (Kim Stockwood, Ron Sexsmith), Mark Abraham on bass (Enter the Haggis, Mary Simon), Robin Pirson on drums (Mary Simon), and Peter Wiebe on cello (the Windsor Symphony). Trumpet, hammond organ, keyboards, and percussion complement the already stellar rhythm section.

The music isn’t the only impressive thing about 7 Deadly Sins. Just open up the CD booklet and you’ll be confronted by the unique artistry that is Miranda Stone. The lyrics for each of the 12 songs are presented in individual and inimitable ways: carved into a tree, embroidered into a scarf (a months-long process), painted with mud onto the chests of children, and etched into the back door of an abandoned school bus on a Maine hilltop — to name a few. Some still cannot fathom that Miranda delivered such an incredible feat. Miranda admits, in hindsight, “When I reached the half-way point during the artwork, I realized I might have bitten off more than I could chew. I think I spent about the same amount of time recording the album! I wanted to quit, but I knew I couldn’t half-ass it.”

This artistic integrity and sense of “whole-ness” is consistent with all of Miranda’s work. Her design sense is obvious in her music, in her artwork, on her Web site (which is unique in its low-fi on high-fi, cut-and-paste-meets-china-town-cardboard artwork), and even in her touring van. This ain’t your grandpappie’s Dodge Ram! A long, wooden kitchen bench contains two butane stoves and drawers stocked with enough spices to make Martha Stewart jealous. A bookshelf displays an Asian tea set. Sleeping quarters for three create a clean and modern, yet third-world feel. The delicate Nag Champa incense and the Persian rug imbue visitors with a sense that they have stepped into another world.

Truly, they have. Any time people enter the world of Miranda Stone, they are greeted with something they have never before known. The name Miranda means “strange and wonderful,” and this is no surprise for anyone who knows this earthy folksinger from Toronto.

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Lisa Johnson, Unsung Communications, Toronto, Ontario

UH HUH HER BIO

The bio Lisa wrote for Uh Huh Her:

To Whom It May Concern,

We are applying for the position of band. We realize there are many candidates to choose from, but we strongly feel that Uh Huh Her will add a great deal to the lexicon of contemporary music.

You’re probably wondering about our name; mostly, we just like the way it rolls off the tongue. Our sound is pretty eclectic, and we genuinely like listeners to interpret our music for themselves. We don’t like to presumptuously compare ourselves to other bands. Each of us has our different styles and influences, and Uh Huh Her is what we got when we threw them all into the musical blender.

We met in a holding pen. Leisha Hailey had been in a bar fight (and won), Camila Grey had been caught bicycling drunk (again), and Alicia Warrington had been picked up with a bunch of sorority girls (to this day she won’t say what happened)….

Okay, that’s a fun lie. Here’s the boring truth: Leisha wanted to start a new band and had been waiting to meet someone who inspired and interested her. That’s when Camila rode in. Cam knew and loved Alicia’s work from when they were in Kelly Osbourne’s band together. (Oh, there are Osbourne stories. And Cam does a great Ozzy!).

Though we may seem (and are) fun and parenthetical, rest assured that we are extremely accomplished professional musicians with approximately 40 years of experience among us.

You may know Leisha (synth, guitar, vocals) from her previous musical endeavors (THE MURMURS, then Gush) and as an actress (All Over Me, The L Word). Her acting talent allows her to let go of her inhibitions on stage (more so, or differently, than alcohol would). Leisha bakes blueberry muffins and might be considered the soul and the muffin of the band.

Leisha does not have a “favorite child” between acting and music. She did, however, decide to move to New York to attend The American Academy of Dramatic Arts, where she met her MURMURS partner. They played together for a dozen or so years and were signed with MCA Records. When they disbanded, Leisha concentrated on her acting again, but has missed music and is raring to go. While Leisha is proud of her past achievements, she does not like to harp on them. (That being said, is there a cooler claim to fame than that Pamela Des Baares once hung out with the band?)

Camila not only sings and plays bass, synth, and guitar, but she produces Uh Huh Her; she is recording our EP herself, save drums, which will be done in a studio with an engineer. Cam juggles, and is working on incorporating it into the stage show, but only if she can do everything at once.

As a six year old, Cam floored her mother by playing the piano backwards after seeing the film Mozart. She was enrolled in Suzuki music school, quashing her dreams of becoming an astronaut (she gets dizzy anyway). After graduating from Berklee College of Music, Cam went to Los Angeles. One bad experience at a record label later, she was working as a session vocalist at (then) Media Ventures, co-owned by Hans Zimmer. She can be heard on the soundtracks to Something’s Gotta Give and the TV show Nip/Tuck. She also did un-credited work on Catwoman and Dirty Dancing: Havana Nights (although she’s pleased about her no-credit status on these). Cam has worked with Dr. Dre, Kelly Osbourne, Melissa Auf Der Maur, Busta Rhymes, Tricky, and is a member of Mellowdrone.

Alicia has been playing drums for over 14 years. When she was 12 she discovered her uncle’s 16-piece kit and taught herself to play along to 80s hair-metal bands. Her ability in various genres, from pop to R&B, rock to funk, makes her the ideal drummer for Uh Huh Her. Alicia has been performing since she was 15 (Purgatory, Dropping The Messiah), and at 16 she accomplished nine tours and two CDs in the span of three years with Fudgegun. She moved to L.A. in 2001 and played with The Otterpops and Maps to Great Speed before becoming a member of Kelly Osbourne’s band, with whom she toured over 13 countries; appeared on The Tonight Show with Jay Leno, MTV, American Music Awards, and Regis & Kelly; and performed on an album and DVD. In 2005 Alicia joined Canadian band Lillix, which by 2006 had a video in high rotation and hit singles topping radio charts. Alicia can be seen drumming on the TV series Hannah Montana, which features Miley Cyrus (daughter of Billy Ray).

We urge you to consider us for band because, as you can see, we are certainly experienced. Plus, we’re confident people will like our music. We are pleased that there is a great deal of buzz and anticipation about Uh Huh Her, and that is why we’re ensuring that every step we make is the right one for us. This band is extremely important to us. As Cam would say, “We birthed this band; it’s ours.”

Sincerely,
Uh Huh Her.

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Lisa Johnson, Unsung Communications, Toronto, Ontario
Lisa Johnson, Unsung Communications, Toronto, Ontario
Lisa Johnson, Unsung Communications, Toronto, Ontario

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