Bond Villain: Simply Innovative

Lately, I have been listening to a lot of newer music. I go through phases. I generally listen to older artists. Sometimes I lose all hope in music being released today, then I find some kick ass artist that renews my hope in humanity. That happened.

From Bond Villain’s Instagram.

Last night, I tuned into Bond Villain’s Facebook Live. I recently heard their collaboration with Kimberley Locke on “Dangerous Woman,” and I thought it was legit music made with real talent (I’m also a sucker for anything Kimberley Locke lends her vocals too). Now it was time to give Bond Villain a shot on other material.

The first song they shared was “Dying Star.” This is one of their earlier compositions. In Bond Villain’s explanation, this song is about either a romantic relationship or about a family relationship. The song boils down to someone who is burning their life out. This is someone you love, yet they are toxic in where you are in your life right now.

When this song began I thought an army was marching, but then it transitioned to a simple piano riff that hooks you in. The vocals are the sinker. The song crescendos at the chorus giving way to a sound that was equally as epic, or more, as the beginning. The climax (bridge) of the song goes into a near military march of emotion, lyrically and musically, while ending with a simple piano. The song comes full circle.

Secondly, they shared “Body Like a Knife” This song is a little less heavy on lyrics while staying incredibly creative. This song is a mix of EDM, hip-hop, and pop. This song was made for the stage. It is filled with dramatic elements, including another epic bridge. Again, it’s the vocals that get you.

The next song “Let Me Go” is my personal favorite. This is a relatively new song for Bond Villain. He describes this song as a mix of emotions that are nostalgic, equating them to a place in your childhood. This place once meant something to you, but its meaning has changed. You find loved ones who had an impact on your life, but you now realize you are different now then who you were then.

For me, this song deeply relates to my life. I am upcoming on my one year anniversary of moving to New York from my childhood home of Oklahoma. As I reflect on the last year I have discovered a new person; a person, who I think is more of who I am. I have a lot of situations and people back home that I need to let go and that need to let go of me.

“Let Me Go” comes with another dramatic intro that immediately takes me home through its lyrics. I find myself walking the corridors of where my life once was (minus the cow patties). The chorus is mid-tempo, but the passion is astounding. It’s a precursor to what the song morphs into. The song then takes on a gospel vibe, with Bond Villain being joined by what sounds like choir. Locke lends her voice here to add some diversity in vocals, passion, and soul. This is the goosebump moment.

From Bond Villain’s Instagram

This song is a ballad in nature, yet it stretches the elements. “Let Me Go” moves ballads into a new era. It has the same sentiment of a ballad and the orchestration of the song has many of the same elements. What this song does is combine orchestration and vocals into one unit. You don’t hear a singer, then a piano, some beats, and back ups. You hear one full composition. This song is simply innovative. It’s moving into my favorite rack.

Lastly, Bond Villain shared the video of “Dangerous Woman” with Kimberley Locke. One would initially consider this song a cover of Ariana Grande, but really it’s anything but. Grande is the original singer, but Bond Villain and Locke make it completely new, bringing it a fresh identity through heavy piano and elastic vocals.

Tonight I listened to a lot of music. I always say my musical choices are a little ADD. I can go from one extreme to the other. That is what happened tonight, yet it came from one artist instead of many. This combination doesn’t show a lack of direction from Bond Villian, yet it creates determination. A determination that is willing to push music past it’s proper composition. A determination defined by a placement of a note beyond the staff. An idea that music is anything but restrictive.

Bond Villain is simply innovative.

———

Check out all his new songs here.

Visit Bond Villain’s official site here. (Seriously, buy a shirt)

Follow Bond Villain on Instagram and Twitter @BondVillianBand

Like Bond Villain’s Facebook here.

Cher: The Sonny Side of Cher, A Review

Anybody that knows me or has just steadily kept up with my blog knows that I am unapologetic Cher fan. I have nearly all her albums (at one point I had all, long story), read numerous books on this legend, and I continue to buy concert tickets whenever she performs. Naturally, I would have to write about her for Women’s History Month.

img_3489Tonight, for a little nostalgia, I decided to revisit The Sonny Side of Cher. This album is important to understanding Cher’s career trajectory and how she became the artist she is today. I truly believe she is one of the best, yet underrated, vocalists of our time.

The Sonny Side of Cher opens with Cher’s biggest solo hit to that time “Bang, Bang.” This Sonny penned tune is a tale of two lovers explained as children. I love this composition. I love the exotic feel this song brings. It sounds a bit country at times, it is definitely pop, it takes advantage of 60’s folk, and there is a little Scottish flare for fun. It’s easy to see how this song claimed the number 2 spot on the Billboard Hot 100.

“Elusive Butterfly” and “The Girl From Ipanema” are among Cher fan’s favorites from this era in her career, but the songs that really take the cake for this album are “Old Man River” and “Like A Rolling Stone,” a Bob Dylan cover.

“Old Man River” comes in at number 1 on this album for me, right behind “Bang Bang.” When I hear Cher sings this song I just picture tears streaming out of some bodies deeply wounded eyes. I literally feel I can reach into this song and drench myself in emotion.

If you have any interest in Cher’s career or the culture of the 60’s, this album is essential. As a bonus, this record is sprinkled with Phil Spector’s fingerprints as Sonny Bono, once Spector’s employee, produces the full album. This is pre “glam” Cher, but post “I Got You Babe” Cher. This small era in her career was a gem in her soon to be legendary status.

Key Tracks: “Bang Bang (My Baby Shot Me Down),” “Elusive Butterfly,” “The Girl From Ipanema”

Deep Cuts: “Old Man River,” “Like a Rolling Stone,” “Where Do you Go”

 

Feeling a Little Dusty: Dusty Springfield, Dusty

Another week is upon us which only means one thing…it’s another week to celebrate female musicians for Women’s History Month!!

For my second installment to celebrate women’s history, I bring you the blonde haired, blue-eyed soul of Dusty Springfield.

Dusty is consistently on my list when I record shop. I discovered her a few years ago when I was in a job that was not personally fulfilling and I desperately needed an out. I can not even remember what brought her to my attention, but thank goodness for neglecting my duties!

img_1617Tonight, years later, I find myself sitting and listening to the first Dusty Springfield album I ever purchased. It was her second album she released in the United States, but it was really her first record she released in Britain. In the United States, this album is known as Dusty and in Britain, it is known as A Girl Called Dusty.

Although this album was not met with as much praise as her first release, Stay Awhile/I Only Want to Be with You,it is still filled with some of my favorite Dusty tunes. For starters, it has her modest pop hit “All Cried Out.” This song blends 1960’s soul and pop seamlessly, which is exactly what Dusty did perfectly.

The album possesses some great covers of Dusty’s soulful contemporaries including “Can I Get a Witness” by Marvin Gaye and “Don’t You Know” by Ray Charles. There are some great Dusty originals here as well like the mysterious “Guess Who” and “Nothing.”

Then there is the commanding and dramatic ballad, “Summer is Over.” This song has some of Dusty’s best early vocals. It shows how she isn’t merely a little singer, but that she can belt and deliver a song with the best of them. This song was co-written by her brother Tom Springfield.

dusty_springfield_youngWhat I found extremely interesting was the elegant soul she brought to this album with the songs “My Coloring Book” by the famed Fred Ebb and John Kander, and “I Just Don’t Know What To Do With Myself” by Burt Bacharach and Hal David. Both of these writing combinations have become staples in today’s cabaret, ballad, and American Songbook ethos.

“My Coloring Book” was originally recorded by Barbra Streisand and Dusty’s version differs drastically. Where Barbra sang it proficiently, Dusty’s vocals brought a childlike perspective to the song while maintaining its sad tone. Dusty’s version of “I Don’t Know What To Do With Myself” is by far my favorite. It is the impeccable mix of classic vocal style with 60’s pop.

The album Dusty began to truly shape her future recording career, while providing an innovative style in a time when music desperately needed to find itself.

As if Dusty’s music wasn’t enough, she also created an iconic image with her bleach blonde bouffant style hair and her excellent showmanship. Add on a lot of eyeliner, and you have one of the biggest influences on popular music. She is the original Adele and based on their voices, they could be mother and daughter.

Sadly, Dusty left this world in 1999 due to breast cancer, but her influence will continue to live on both in what she was and her innovative image and vocal combination. She pushed the envelope in a doo-wop society and helped bring soul music to the forefront of American and British culture.

To say the least, all my pop and soul vinyl post-1963 is a bit Dusty…

 

An Accomplished Fire: Leslie Becker

Vinyl and its sound is a culture. As I have gone through collecting vinyl and the many artists that have albums, I have noticed that only certain voices are deserving of this medium.

slowburncoverfrontThis medium only does justice to true performers and musicians. Vinyl has depth and soul that reads artists correctly. Some musicians today haven’t been pressed on vinyl, but are truly deserving of this vinyl culture. One of these artists is Leslie Becker.

On the surface, Becker is a theater extraordinaire. She has a vast resume in musical theater playing roles that are accolades just to play. Once one digs deeper into her career, they quickly discover her songwriting and her many recordings. This performer’s talent does not stop when the spotlight is off. I recently had the chance to sit down with Leslie Becker in New York City to talk about her work and her vast array of talents.

From the moment we sat down, I was taken aback by the warmth of Becker’s personality and her genuine sincerity. I had to begin talking about one of her latest accomplishments, her song “Slow Burn.”

“Slow Burn” is currently sitting at around 20,000 spins and charted at number 4 on Billboards Hot Adult Contemporary chart. It’s video, which I have included at the end of this post, is also under the Grammy’s consideration for best music video. This song was solely written by Becker and produced by Joe Vulpis of AP Music, who is well-known for kick starting Lady Gaga‘s career and his large array of work in the music industry.

Ironically, Becker says that she originally wrote “Slow Burn” for another artist. But when she cut the scratch vocal for the demo, Vulpis was blown away and they decided to make it her debut radio single. She largely credits this song’s appeal to letting her be herself. This seems to be her success factor in many of her musical ventures, and its true vessel is writing.

Becker is an accomplished songwriter whose compositions go across pop, cabaret, musical theater, and country. She often wrote for other artists in the earlier stages of her career and recorded many scratch vocals on her material. It wasn’t long though until somebody noticed that she was not just a scratch vocalist. Her love for songwriting largely opened up through country music.

img_1546Many of her songs can be heard on SoundCloud, but one must brace themselves before they dive in to this musical playground. You will continually be aghast at the range her lyrics and voice can reach. Just when you think you have her figured out, she throws a wrench into the production. Leslie doesn’t fix things that aren’t broken, she just tweaks them to near musical perfection.

Her writing does not stop at just composing music. She is also a librettist with her first show, A Proper Place, opening in Seattle, Washington next year. There isn’t much in the music and theater field that Becker hasn’t ventured into.

What sticks out to me above everything else is Ms. Becker’s voice. It is a unique blend of warm tones, with pop personality loaded with emotion. Just like her song writing, her voice effortlessly goes over musical genres and finds its niche in each. Her voice can easily morph into many characters and embody the complete emotion of her new alter ego. At one moment she can sing a song of heartbreak while moving into a song of new-found love.

Leslie Becker produces competent pop music through her multi-faceted voice and pristine song interpretation. She is pretty much Judy Garland mixed with Lady Gaga.

This is why Leslie Becker’s belongs within the vinyl culture. Vinyl culture isn’t about just having your material pressed on vinyl, it’s about possessing the talent that shoots straight for the soul. This talent does require pomp and circumstance. It’s a vocalist who is just at home at the piano as well as with a dance tune.

Leslie Becker’s career is going to continue to burn with the flame getting hotter. Right now, she has barely scorched listeners with her talent. Her voice and career is moving into a full-blown fire.

Don’t forget to follow Leslie Becker on Twitter at

Check out Leslie Becker and other AP artists on December 20th at the AP music showcase. She will be performing her hit song “Slow Burn” along with others.

Click here to buy your tickets.

An Orchestra’s Need: Liza Minnelli, Results

In 1989 an odd, yet unparalleled event, occurred in the world of music. Liza Minnelli, known for her theatrical performances of classic songs and her impeccable acting both on stage and Broadway, decided to make a dance pop album.

FullSizeRender 6Often times I would almost shy away from this idea, a veteran singer taking on dance pop, but I have never seen the two mix so flawlessly. Minnelli teamed up with The Pet Shop Boys to produce this musical gem, her 9th studio album, Results.

Now I am a long time fan of Minnelli’s. I first saw the genius of Minnelli when I was a little under five in The Judy Garland Christmas Show. She performed “Steam Heat” from the musical The Pajama Game with Tracey Everett. This number had me instantly clicking my fingers. Later in the show, she sings “Alice Blue Gown,” a stunning performance to say the least.

As I got older and began collecting vinyl, I quickly started to pick everything up of Minnelli’s I could find. I soon had a stack of live recordings and albums full of American Songbook, jazz, pop, and easy listening standards. Minnelli is at home with a big band or just a piano and presents astute song interpretations. So when I came to the album Results, I was expecting the same…results.

At first, I thought I had picked up the wrong artist after hearing the first couple of beats! This album opens up with “I Want You Now.” This wasn’t the Liza I was used too. The song includes a rhythmic beat you could easily find at Studio 54. I was immediately taken a back.

Did Liza Minnelli just sing a pure dance tune with the conviction and deliverance she used with such songs as “Maybe This Time” and “But The World Goes Round?”

Damn straight.

FullSizeRender 5The album then goes into the lead single, Stephen Sondheim’s “Losing My Mind.” Now I was hooked. Only Minnelli could mix Sondheim and synthesizers. Her vocals could easily be lifted from this track and laid upon the traditional orchestration of this song and sound just as brilliant.

Then one meets the first ballad of the album, “So Sorry I Said.” Minnelli’s vocals simply flow over the consistent percussion and light keyboards. Her voice sounds unreservedly lush. She then finishes out side A with “Don’t Drop Bombs,” a song about a destructive relationship mixed with an irrefutable dance rhythm.

Side B opens with a mid-tempo song and one of the best tracks of the complete album, “Twist in My Sobriety.” This was a cover of Tanita Tikaram’s hit from 1988. Minnelli’s version opens with a remix of the chorus from her signature “Liza With a Z.” I feel this song is verbally unexplainable, but it makes complete sense at the same time. It seems to resonate with Minnelli as a personal testimony. She again reaches the core of a song.

Next is my personal favorite from the album, “Rent,” a ballad of emotion and strength. The strings and synthesizers effortlessly surround Minnelli’s voice to convey the message of giving up ambitions and self for comfort and responsibilities.

We then have Minnelli’s version of Yvonne Elliman’s disco hit, “Love Pains.” This song has the listener easily seeing lights flash mixed with lasers and strobes. This is a dance floor anthem made for commercialization.

Minnelli with The Pet Shop Boys. By Terry O'Neil. http://psb-atdeadofnight.net/spoluprace/collaboration.php

Minnelli with The Pet Shop Boys. http://psb-atdeadofnight.net

Minnelli closes the album with two ballad-esque songs. Both of these tracks are met with an interpretation that only Minnelli could present. First, there is “Tonight is Forever.” Minnelli sings with such command in her voice. I always enjoy a soaring high note from Minnelli, but this song simply doesn’t need it. Lastly there is “I Can’t Say Goodbye,” a perfect mid tempo song mixed with a jazzy saxophone rift to close this album.

What struck me the most about this album was its production and orchestration. Minnelli’s vocals are so in tune to the songs meaning and assembly that the instruments sound as if they are playing to her. It’s like her vocal track was laid down and then they decided to add music.

Minnelli has made a profound impact on both recorded music and the world of musical theater. There seems to not be an area of show business she cannot conquer. This album proves just that feat. She is the best at song interpretation and her talents transcend every musical genre. This album demonstrates this incredible talent, while showing Minnelli isn’t your typical singer.

Through Results I realized listening to Minnelli sing is like listening to an orchestra, for Minnelli doesn’t need instruments, instruments need her.

Dusting My Shelves: Steve Lawrence, “Winners!”

Artist: Steve Lawrence     Album: Winners!

I adore Steve Lawrence and Eydie Gormé. Every album they made as a duo or as solo artists I can spin continuously. There is a carefree, genuine love that comes with their albums made together and their solo vocal chops are equally golden.

IMG_2964One of my favorite albums out of Steve Lawrence’s catalog is his 1962 album Winners! This record contains the number one hit single “Go Away Little Girl,” co-written by a then unknown Carole King.  Bobby Vee originally recorded this song earlier in 1962.

Winners! is an album of cover songs. The idea behind the album was to find previous song “winners” and let Lawrence give them his golden take. Listening to this album one would never guess that Lawrence was covering other’s songs because he makes each song his own.

The album starts with “Cotton Fields,” which was originally recorded by Huddie Ledbetter in 1940. This is a quick audience grabber as Lawrence’s vocals swoon over this folk classic. Later he goes into Connie Francis’ smash hit, “Who’s Sorry Now?” This is one of the high points of the album. He takes this song and turns it completely on its head. His vocals are confident and crisp, and all but resist the stinging tone of an “I told you so.” Lawrence’s vocals have class and debonair wrapped into one.

The second side of this album contains “Go Away Little Girl,” but the treasures on this side are Lawrence’s covers of Frank Sinatra, Andy Williams, and Jack Jones. I would think it would be a bold move for Lawrence to cover his contemporaries songs, but the orignal artist names don’t even cross your mind when listening to his versions.

Lawrence’s smooth vocals gently caress “All The Way,” while he portrays determination to never give up on the one he loves. His rendition of “Moon River” starts out with the conventional beginning, but he ends it with a big band. Lastly, he covers one of my personal favorites, “Lollipops and Roses.” He again is backed by a big band and he gives this song a less vulnerable feel then the original, portraying faith and confidence in his romantic tactics.

FullSizeRenderBesides the fact that I like this album, it is special to me for other reasons. I sent my album cover with a writing I did over an album Steve and Eydie made to an address I found for Lawrence. It was a shot in the dark, but I wanted to try to get his autograph. It wasn’t much more than a week later he sent it back to me with the inscription

“To Gabe, Thanks for all the wonderful things you said about me and Eydie. All the best to you. Fondly, Steve Lawrence.”

This album holds a special spot on my shelf, for both its recordings and the special inscription Lawrence sent to me. As a vocalist myself I consider him one of my models. As a writer I could not be more thrilled that he actually read my post over him and his late wife Eydie Gormé.

Lawrence is just a class act and his vocal cords are plated in gold.

Key Tracks: “Go Away Little Girl,” “Kansas City,” “It’s Not For Me To Say”

Deep Cuts: “All The Way,” “Who’s Sorry Now,” “Teach Me Tonight”

Yesterday is Not Over: The Sound of Melinda Doolittle

As I have dived deeper into the music listening world of vinyl albums, I have found a culture emerge, especially in the realm of vintage vinyl. I have vinyl records ranging from the 1940’s to today, but there is a different quality to some of my more dated albums and artists.

Back in the 1950’s, 1960’s, and 1970’s performers had a real task on their hands. Their career could not simply evolve around annual albums and recordings. These performers had to prove themselves time and time again in front of audiences. They had one shot to prove who they were, if it was an audience of 5 or broadcast to millions of people across the world. Their performance and raw talent defined their success.

FOX+American+Idol+Finale+Farewell+Season+Arrivals+1CsQg0FYyxRlThese performances did not have rewind, pause, or “do over” opportunities. It was a one shot game. If they missed, the audience in front may walk away, but if they made it, they had audiences for a lifetime.

That is exactly why I am a fan of Melinda Doolittle. Many of you will remember her from American Idol season six where she came in 3rd, yet I remember her for her timeless performances and how she encompasses the vinyl culture.

I recently sat down with Doolittle via Skype for a one on one conversation about her career, performance style, and what the music world means to her. After speaking with her one on one, I can tell you she is an artist of sincerity, skill, and raw talent.

To know Doolittle’s career and to understand her character and ambition, one must first start at American Idol. Ironically, this was a competition based solely on performance. We quickly began discussing different aspects of her season on American Idol, like what was it like to have Diana Ross as a mentor and the audition process. Doolittle told the story of how she went to try out for American Idol with a group of friends, frankly not expecting to get anywhere.

“When my friend talked me into auditioning for Idol, I thought of it like a joke. First of all, I didn’t think I was going to make it. Secondly, that I would make it as far as I did.”

This wasn’t a lack of confidence on Doolittle’s part though, she was simply content in her line of work. She had become a “first call” back up singer in Nashville. Often producers would wait for Doolittle to come into the studio and lay down background vocals for different artists, including Aretha Franklin, Aaron Neville and Michael McDonald.

“I loved singing background and I had the delusion that when the show was over that I would go back to that…It didn’t dawn on me that I was going to have to do the artist thing.”

Many of Doolittle’s performances dominated season six of American Idol. She got rave reviews for many of her performances from the judges, Randy Jackson, Paula Abdul, and Simon Cowell. Her first big breakthrough was her rendition of “My Funny Valentine,” after which Jackson said she was the one to beat. Cowell began to call Doolittle his personal favorite. When she was eliminated in the top three Cowell has remarked that she should have won.

Although, Doolittle was actually at ease when she didn’t win the American Idol crown. She said she was content and “not upset at all” when Ryan Seacrest called her name to be eliminated.

a98cdbaa5e964c4c82ab029d7d201700“The fact I made it to 3rd doesn’t sound right in my head and I never expected it, but it forced me to learn I really did have a voice as an artist. It taught me what my voice was.”

American Idol may have taught Doolittle what her voice was, but what she channels in her talents today is remarkable.

After season six, American Idol went on to set up meetings for Doolittle with various labels, most of tem being Christian labels. Doolittle, who is an avid Christian, didn’t want to sign with a Christian label.  Although she is a woman of strong faith and her concerts today are not complete with out a few gospel numbers, she wanted to make a different kind of record.

In the end, Doolittle was happy with the path her career initially took. She was free of a contract and in charge of her own musical fate. Doolittle began to shop around labels and eventually signed with Hi-Fi Records and recorded her debut album Coming Back To You. This was Doolittle’s coming out record for she took 10 steps up to the front mic for a full record. Now she needed backup singers.

“Idol forced me into being an artist, which is great. I feel like God tricked me into actually being an artist.”

Although this gave Doolittle freedom, she was also sceptical. When Doolittle began looking for labels she didn’t know what kind of music she wanted to do. She had already ruled out a Christian record at the moment and she was now ruling out pop, for a very observant reason.

“I feel when I try to sing pop it’s like an elephant stomping on a track. The track is all nice, light, and airy, and then I sing. I have a heavy voice.”

18888-coming-back-to-youSo Coming Back to You resulted in a pure soul album that was reminiscent of Whitney Houston, Gladys Knight, and Al Green. Doolittle said that she is just an old school girl and she didn’t know anything different. She made an album that was her style and by her own rules.

Doolittle has gone on to release various recordings that have received praise. Her most recent set of recordings is an extended play titled You’re The Reason in 2013. These tracks find Doolittle experimenting with modern R&B with a dash of pop while keeping in touch with her old-school, soulful roots. With this EP Doolittle co-wrote 3 of the 7 tracks. Writing was some what new for Doolittle and this process became therapeutic.

“When I went into the studio we were supposed to write a fun, up-beat, really great song. They asked me ‘What has been going on in your life?’ These people on Twitter had just reamed me. I posted a picture and they were saying ‘you’re so ugly.’ They were saying the worst things and I was so hurt by it, but I was trying to be strong about it…I needed to find out what my reaction to that is.”

Rolling with the punches was not an option for her and it was time to take a stand in her professional and personal life. Doolittle said she really didn’t find out who she was till about two years ago when this EP was released. This is obvious in the song content and the history behind these recordings.

melindadoolittle-epAlthough Doolittle had recorded with success, she stated that making records was not her favorite aspect of being an artist. So instead of delving deeper into her recordings we began to discuss her favorite way of delivering music: live performance. She was quick to say why she loved singing live.

“If there is not an audience I am bored out of my mind.”

Since American Idol Doolittle has performed around the world. She has performed at such esteemed venues as Carnegie Hall and The White House, amoungst many others. These experiences led Doolittle to look at making music differently then the industry’s generic formula. She decided to define herself through performing, not an album.

“From now on I’m going to let the shows determine the record. A lot of people let the record determine the show.”

Today, Doolittle decides what works with her voice by watching an audience’s reaction. It’s all about what the crowd brings out in her at that moment. The song has to work for both her and the people she is singing for. Then, I was curious what the determining factors assisted Doolittle in making musical choices.

“It’s the give and take with the audience. It doesn’t have to be because of applause. Sometimes I see it in somebody’s eyes, somebody cries when I’m singing or just like, I see joy on people’s faces in the audience….If their joy matches the joy I have singing it, then I found the song that works for both of us.”

Melinda_Doolittle_performs_in_the_East_Room_of_the_White_House

Singing at The White House.

For Doolittle it is completely about the performance of the music in the here and now. Sure, she makes brilliant recordings, but that’s not the only aspect she is focused on when it comes to music. She stated how she didn’t care about the production or how grand the show was, the most important thing to Doolittle is how her music connects with an audience. She likes to see this first-hand, when she has her one chance to prove to the people immediately in front of her that she is a true artist with real talent.

This is a little reminiscent of days past.

“I need people to have an experience when they come to a show. I need it to be an escape, because the world we live in is not fun.”

Number one songs and awards don’t determine Doolittle’s status as a musician, nor does she particularly care about accolades. An artist’s true mission should be the music, the message, and the performance. If the music doesn’t resonate what does it mean? If the performance isn’t an experience, why would you go?

Doolittle isn’t of the old school, she’s of the real school. She can really sing and she can really perform.

She doesn’t take music lightly and she is a master of her song in its rawest environment, a live performance. This is what the singers of yesterday possessed, but that doesn’t mean it is an antiquated idea. This is what I believe is the vinyl culture. The reason I collect vinyl is for its genuine, warm, and pure vocals. Basically, the over all performance.

Vintage vinyl has within its groves some of the best, unaltered voices and performances of some of the greatest artists. It took a certain caliber to make a record and perform when these albums were made. Doolittle is of the vinyl caliber.

Doolittle does not take this feat lightly and she is aware of the torch she is carrying. She explained how it meant the world to her when people compliment her and tell her how she channels the great soul and classic artists.

Cnb2kwmUkAANGVi.jpg-large“I met Percy Sledge before he died. He stopped me backstage at an event we did together. He said ‘You carry our mantle and there aren’t many who will. Please don’t loose that. Please continue to do this. Promise me that you will.’ I was like ‘Oh yes sir'”

As I talked with Doolittle and as I have listened to her music, I have fumed over so many names in my head of who’s mantle she is carrying. I’ve thought Diana Ross, Gloria Gaynor, Judy Garland, Aretha Franklin, Stevie Wonder, Tina Turner, Lionel Richie, and many more. The true question is now, how does Doolittle want to be remembered? Who does she look up too.

“I want to be Barbra [Streisand] with a side of Gladys [Knight].”

That, my fellow vinyl collectors, is the essence of a true performer, one that belongs on vinyl. Doolittle reminds me of the legends and performers that have come and gone, but the most important thing Doolittle reminds me is that….

Yesterday is not over.

Check out Doolittle’s latest performance with Scott Bradlee’s Post Modern Jukebox and hear Toxic like you’ve never heard it….