Thursday 31 Jul
 
 

Power Pyramid - The God Drums

Power Pyramid doesn’t have much patience for nonsense. That appears to be the takeaway from the Oklahoma City quintet’s last 10 months, which brought The God Drums in September, the Insomnia EP in January and its latest, self-titled effort in July.

07/29/2014 | Comments 0

TJ Mayes - "When Love Comes Down"

’50s era rock ’n’ roll had been long overdue for a rebirth. Thankfully, the stockpile of capable luminaries has not been in short supply over the past few years. 

07/23/2014 | Comments 0

Boare - "playdatshit"

The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
07/23/2014 | Comments 0

Broncho - "Class Historian"

Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
07/23/2014 | Comments 0

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0
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Music Made Me: Cami Stinson


Local jazz vocalist Cami Stinson reveals the five albums that helped polish her pipes.

Rod Lott June 20th, 2012

Patsy Cline, 12 Greatest Hits (1988)

I listened to this tape so many times in my Walkman, I actually ruined it. I was about 6 or 7, and didn’t realize I’d spend my entire life trying to create a similar buttery warmth and womanly tone. Her heart spills through, and nothing sounds contrived or put-on. My first time performing with a live band was when I sang “Leavin’ on Your Mind” on the Oklahoma Opry. I was 9, and I sounded ridiculous because I was trying to make myself sound just like Patsy. I even had my Mom make me an exact replica of Patsy’s outfit.

Credit: Trawick Images
Etta James, Her Best (1997)

Another compilation CD, but by the time I got a hold of these artists, they’d already moved mountains. Like Patsy, Etta has this grit and soulful sound I admire and am drawn to. Her effortless and witty phrasing opened my ears to phrasing and texture. I covered “A Sunday Kind of Love” way before it was age-appropriate! “Fool That I Am” has always been my favorite. It’s so beautifully not oversung, and just makes you ache.


Ella Fitzgerald, The Complete Ella in Berlin: Mack the Knife (1993)

My brain almost exploded the first time I heard Ella do that scat on “How High the Moon.” This album made me realize there is more to singing than just singing pretty. Ella inspired me to use my voice as an instrument. She takes solos as well as a great instrumentalist, and there is honestly no reason we don’t all do it.


Lauryn Hill, The Miseducation of Lauryn Hill (1998)

I remember “Can’t Take My Eyes Off of You” was the only song I could really wrap my little country mind around at first. As I matured musically, I always returned to this album for inspiration. My single “When You’re Out Tonight” was me trying to put more of my own harmony and layers in, and didn’t even come close to Lauryn’s grasp on those concepts. She layers so many harmonies, raps and thick melodies, and completely pushed up the bar for women in the music industry. It’s still so relevant; I hear new lyrics, swells or subtleties every time I listen. This shit is heavy — excuse my French.


Betty Carter, The Audience with Betty Carter (1979)

She was an unbelievable band leader, and her arrangements are unparalleled. “My Favorite Things” was one of the songs I learned to sing before I could read. This album is another that helped change the way I thought about singing. Her voice is more than lyrics and pretty tone; it’s a real part of the band — a true instrument of excellent communication. The more I listened, the more I realized what incredible control Carter had. She knew exactly where she was, and moved around the melody lines with such ease and fluidness, never worrying about necessarily sounding “good” (although she always did), but just making the song the best it could be. She sings so selflessly and beautifully, all at the same time.

 
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