Friday 18 Apr
 
 

Dustin Prinz - Eleven

Few musicians take the time to master their instrument in the way that Oklahoma City singer-songwriter Dustin Prinz has; he’s a guitar virtuoso in every sense of the word, and Eleven gives him the chance to show just how far he can push that skill.
04/15/2014 | Comments 0

Horse Thief – Fear in Bliss

Listening to Horse Thief’s previous release — the haphazardly melodramatic Grow Deep, Grow Wild — felt like a chore. Whatever potential the Oklahoma City folk-pop act demonstrated on the EP was obscured behind a formulaic, contrived and ultimately hollow cloud. But it at least offered a glimmer of promise for a band consisting of, frankly, five pretty talented dudes. Critics saw it; the band’s management saw it; its current label, Bella Union, saw it; and its increasingly fervid fan base saw it.
04/08/2014 | Comments 0

Colourmusic — May You Marry Rich

There’s always a sense of danger when debuting songs in a live setting and playing them well. Without having heard the studio versions, expectations are set according to the live incarnations. But capturing the breadth of free-flowing atmosphere and sheer volume on a disc, vinyl or digital file isn’t the easiest thing to do, especially for a band as vociferous as Colourmusic.
04/01/2014 | Comments 0

Em and the MotherSuperiors — Churches into Theaters

As titles go, Churches into Theaters is an apt descriptor for the debut album from Oklahoma City rockers Em and the MotherSuperiors. It’s a reverential record, one that shares the gospel of classic rock, blues and soul but embraces the need to refashion it for modern times, channeling The Dead Weather, Grace Potter and Cage the Elephant along the way.
03/25/2014 | Comments 0

Rachel Brashear — Revolution

Rachel Brashear’s second EP, Revolution, starts with a kick to the shins.
03/18/2014 | 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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