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5 Female Vocalists to Watch in 2013

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Male bands (Mumford and Sons, the Black Keys, Fun.), poppy collaborations (like Gotye and Kimbra’s tired duet), and, as Stereogum put it, predictable “mom-safe and Starbucks ready” favorites (Adele and Beyoncé) predominated the list of Grammy winners this year. Meanwhile, I’ve been struck by the array of refreshingly bold new female vocalists blossoming behind the mainstream. Quirky, fresh, raspy, vintage, or full of lungs, all five of them are under-the-radar but destined for bigger spotlights. Check out the videos below so you can say you heard them before they were famous.

Rachael Price (of Lake Street Dive):

Australian by birth, Nashvillian by pedigree, Price earned a degree in Jazz Studies from New England Conservatory and performed with T.S. Monk Sextet at jazz festivals around the world. After hearing a recording of Price in 2003, actress/singer Kathryn Grayson deemed her “the best young voice I’ve heard, period. No one around her can even touch her voice and style.” While Price mostly stuck to standards in her early career, she’s now departed from strictly jazz as a member of the indie group Lake Street Dive.

Price’s voice soars with clarity and classically trained precision. She can make the most of a Motown cover but also glides easily into blues, country, and pop. The video above, featuring Price belting out a relaxed cover of The Jackson 5’s “I Want You Back,” aptly showcases her glamor and command. But also make sure to listen to the band’s original song “Bad Self Portraits” (below), which has Price sounding like a young Bonnie Raitt. Bonus: Her band mate Bridget Kearney rocks it on the upright bass and has a lovely voice, too. Lake Street Dive just finished touring with Yonder Mountain String Band, will soon be touring with Josh Ritter, and has a date this week opening for Mavis Staples in Iowa.

Aluna Francis (of AlunaGeorge):

AlunaGeorge, featuring chanteuse Aluna Francis, is quickly becoming one of the breakout bands of 2013. Consisting of Francis and producer George Reid, the electronica group combines intimate vocals with synthesized pop, house, R&B, and dub-step. Though already pretty big in the UK—the duo nabbed second in BBC’s Sound of 2013 contest—Francis’ voice will likely get way more air time in the US in the coming year.

Francis, who is half Indian and half Jamaican, worked as a reflexologist and previously sang for the band My Toys Like Me. She first met Reid when he remixed one of My Toys’ songs, and they paired up and released their first commercial single (“Your Drums, Your Love,” above) late last year. Though minimalist and futuristic, AlunaGeorge’s songs are made human by Francis’ velvety touch. She imbues the pulsing drive of a late-night dance tune with soulful emotion, and her high-pitched timbre balances well with Reid’s beats, to a mysterious but alluring effect. “You can’t say I’m going nowhere, when you don’t know where I am from,” she croons. On the contrary, I’d say she’s barreling straight toward stardom. AlunaGeorge’s debut album, Body Music, is due out in June.

Luz Elena Mendoza (of Y La Bamba):

Portland-based band Y La Bamba draws from Mexican folk songs and mariachi singers as influence for its eerie tunes. Emerging in 2003, the band has enjoyed limited success in indie circuits, but never much widespread attention, apart from becoming one of NPR Music’s darlings. That could change this year, as they just wrapped up an East Coast tour alongside the Grammy-nominated Lumineers.

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5 Female Vocalists to Watch in 2013

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Are City Orchestras a Dying Breed?

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Last Friday, for the first time in months, the Minnesota Orchestra was back together again. Conductor Osmo Vänskä, a former principal clarinet who attends rehearsals in t-shirts and sometimes a Czech soccer jersey, his body swinging around vigorously from the knees, led his musicians in a rousing performance of Sibelius’s 2nd and 5th symphonies. Vänskä is possibly the best conductor in the world when it comes to Sibelius. Alex Ross, a critic for the New Yorker, has called him a “genius” in that realm, and if the orchestra’s Grammy nomination is any indication, the recording industry seems to agree.

Sibelius, the late Finnish composer, described his Symphony No. 2 as “a struggle between death and salvation.” It starts off tepid and a little sweet, descends into turmoil, and then the horns carry out a proud resolution. The struggle element (though not the resolution) is fitting, given the orchestra’s situation. After the concert, the musicians parted ways in the bitter Minnesota cold to return to an equally bitter lockout that began in October, a labor dispute complicated by the orchestra’s dwindling endowment and the very troubling question of whether it manipulated its books to show a $6 million deficit as an excuse to give its players a 30 percent pay cut. Of late, the musicians have been performing each concert as though it’s their lastâ&#128;&#148;maybe because they feel it might be.

The Minnesota Orchestra is far from alone: Symphonies in Detroit, Indianapolis, Atlanta, Pittsburg, and Chicago have all experienced strikes and/or lockouts over the past two years,and those in many smaller cities, including Miami, Honolulu, and Albuquerque, have folded altogether. In the spring of 2011, the Philadelphia Orchestra became the nation’s first major orchestra to file for chapter 11 bankruptcyâ&#128;&#148;it emerged from restructuring last July with 10 fewer musicians, and a 15 percent pay cut for the remaining players.

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Are City Orchestras a Dying Breed?

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Local Natives’ "Hummingbird" Comes Alive

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Local Natives, the mesmerizing, harmonizing, Los Angeles-based four-piece, has successfully avoided the sophomore slump with the release, last week, of its second album, Hummingbird. It follows their bright and bouncy 2010 debut Gorilla Manor, which landed them tours with the likes of Arcade Fire and The National. In fact, The National’s Aaron Dressner was so enamored with Local Natives that he decided to help them produce Hummingbird.

The night after the album’s release, a sold-out crowd greeted Local Natives at Oakland’s 2,800-seat Fox Theater. “This is a big night for us,” vocalist/guitarist Taylor Rice said from the stage. “Our second record came out yesterday. This is the first time we’ve played Oakland. And this is the biggest show we’ve ever played.” He was visibly humbled by the size and reaction of the audience.

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Local Natives’ "Hummingbird" Comes Alive

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At 40, Kronos Quartet Is Still Pushing Boundaries

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The Kronos Quartet recently played its first concert of 2013, a year that marks the group’s 40th anniversary, at the Napa Valley Opera House. The night’s program by this famously genre-stretching, culture-swapping string quartet pushed the boundaries of traditional and experimental music and so blew me away that I was compelled to reach out to founder David Harrington to chat about the group’s origins, cross-cultural mashups, and music as activism.

Mother Jones: With the work that you do, playing new music from some unheard composers and others that are constantly innovating, I’ve sort of come to think of Kronos Quartet as musical activists. What do you think about that?

David Harrington: I feel honored to be called an activist. It stems from the work that I want to do and the function of being a group in our time and in our culture. To me the two violins, a viola, and a cello create an almost infinitely moldable sound. As a force in society it can tackle all sorts of issues. The other night you heard music from Syria, India, Serbia, and a lot of places that you wouldn’t normally think of string quartet music necessarily coming from. I’ve spent my entire 39-plus years at Kronos trying to extend the reach of music and bring elements into the work that maybe hadn’t been considered before.

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At 40, Kronos Quartet Is Still Pushing Boundaries

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Smells Like Teen Nostalgia

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The nicest dude in rock and roll: Dave Grohl fronts the Foo Fighters. Elisa Moro/Flickr

Kurt Cobain was already a few years dead by the time kids in my grade really came around to Nirvana. The one boy I knew who caught on early had older siblings and showed up to school one day wearing an oversize Nevermind t-shirt, only to be marched off by the teacher to the lost and found to pick out a sweater to cover up the now-iconic floating baby. (Anyone wearing Bart Simpson—”Don’t have a cow, man!”—or Beavis and Butthead faced a similar fate.)

The night I first listened to In Utero start to finish I was riding shotgun with a friend who’d just gotten her license, both of us screaming along with the windows rolled down. It was an early blush of freedom and a revelatory musical experience, a moment that I expect countless teenagers across the country experienced in their own ways.

Poppier and lacking the raw ferosity of Nirvana but still angsty in its own right, the Foo Fighters came onto the scene with songs like “Everlong” and “Learn to Fly” that will forever be linked to memories of basement parties, football games, and other American high school clichés. But Nirvana always reminds me of those celebratory and sometimes soul-searching suburban joyrides.

So I was especially excited when the opening scenes of Sound City, Dave Grohl’s filmmaking debut, featured a time-lapse of someone driving aimlessly along a California freeway while Grohl reminisces in a voice-over about what it’s like to be a teenager.

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Smells Like Teen Nostalgia

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1970s R&B Man Shuggie Otis Is Ready for His “Sneak Back”

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On a Thursday night the week before last, Shuggie Otis was at Highline Ballroom in New York City, headlining a preview for SummerStage (a free outdoor concert series). The diverse crowd consisted of hip-hop heads, wide-eyed indie rock fans, older blues fans, music biz cognoscenti, and everyone in between, all curious to see how Shuggie would sound after all this time. It had, after all, been 38 years since the 1974 release of Otis’ third and latest album, Inspiration Information. Since then, Shuggie kept a low public profile for decades, sporadically writing and recording his own music, and doing sessions and gigs with for his famous father. Still, his modest output kept bubbling up as samples in songs by acts from the Fat Boys to Outkast and Beyoncé—not to mention covers by the likes of Sharon Jones and the Dap Kings. But once the thumping eight-bar intro of ostinato bass and shifting chords from Inspiration Information‘s title track hit the Highline crowd’s senses, all was well and good.

Shuggie’s story has all the trappings of a “whatever happened to” tale. The prodigious progeny of R&B pioneer Johnny Otis (singer, multi-instrumentalist, talent scout, A&R man, producer, radio and television host), Shuggie grew up at the feet of musical legends. He recorded his first solo album, Here Comes Shuggie Otis, at 16 (following a “Super Session” album cut with Al Kooper at age 15). For his sophomore LP Freedom Flight, he penned the psych-funk nugget “Strawberry Letter 23” (which exploded into the national consciousness six years later when the Brothers Johnson turned it into a million-seller). At just 21, Shuggie realized his own autonomous musical vision with Inspiration Information. Just as things were starting to go well for him, Epic Records unceremoniously and simultaneously dumped both Shuggie and his dad from the label. Shuggie, preferring to be his own bandleader, turned down invitations to be a sideman for some of the biggest pop acts out there.

Without a record deal, he drifted from the spotlight, but his music continued to draw devotees who found something unique in Shuggie’s blending of funk, pop, blues, jazz, and electronic music into a vibrant personal world. Blues and soul connoisseurs shared tapes of his out-of print LPs, and pop and hip-hop producers began sampling the distinctive melodies and textures of his tunes. His last album was officially anointed “hip” via a 2001 reissue on David Byrne‘s Luaka Bop label, with new artwork and hyperbolic myth-fanning liner notes.

In April, Sony/Legacy will re-reissue Inspiration Information with bonus tracks from the original sessions, along with Wings of Love, a disc of previously unreleased music recorded between 1974 and 1990 (plus one live track from 2000). Now Shuggie finally has the opportunity to make up for lost time with an international tour booked, a hot new band, and plans to write and record brand new material. I caught up with the artist in advance of his New York City showcase to shoot some portraits and talk about where he’s been, and where he’s going.

Mother Jones: I read somewhere that you started in music really early—like at age two!

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1970s R&B Man Shuggie Otis Is Ready for His “Sneak Back”

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11 Killer Albums Brought to You by Brian Eno

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In addition to his solo work, the musician, artist, and producer Brian Eno—profiled by Andrew Marantz for our January/February print issue—has produced and collaborated on dozens of albums, both iconic and obscure, since the 1970s. Here’s a small sampling of 11 albums to demonstrate how his unique musical sensibilities have touched our world. Why 11 and not 10? Because Eno would probably prefer it that way.

1977: Eno played a key role in Bowie’s “Berlin Trilogy” of Low, Heroes, and Lodger.

1977: Eno coproduced the first album by this seminal British electro-pop combo.

1978: Eno was the genius behind Devo’s weird and wonderful debut.

1980: An amazing followup to 1979’s Fear of Music, which Eno also produced.

1981: Oliver Stone’s Wall Street opened on a track from this iconic Byrne-Eno collaboration.

1984: The beginning of Eno’s long and fruitful collaboration with U2.

1998: Eno coproduced this fusion album by Senegalese pop star Baaba Maal.

2000: Eno coproduced O’Connor’s fifth album.

2006: Eno worked closely with Paul Simon on Simon’s 11th studio album.

2008: Following this acclaimed release, Eno would go on to produce Coldplay’s Mylo Xyloto.

2011: Eno coproduced this album by the youngest son of Afrobeat icon Fela Kuti.

Also read Andrew Marantz’s profile and complete interview with Eno. And click here for more music coverage from Mother Jones.

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11 Killer Albums Brought to You by Brian Eno

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Finding Eno

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BECAUSE SHORT, vowel-heavy nouns are in finite supply, the makers of crossword puzzles resort to familiar tricks: Charlie Chaplin’s fourth wife (OONA), Jacob’s hirsute brother (ESAU), Kwik-E-Mart’s manager (APU). Most of these people are known for exactly one thing, so the clues tend to be repetitive. ENO—that is, the 64-year-old British polymath Brian Peter George St. John le Baptiste de la Salle Eno—is an exception to the rule. All of the following crossword clues have been used to describe him: “Roxy Music co-founder”; “Ambient music pioneer”; “David Byrne collaborator“; “Grammy-winning Brian”; “Producer of Paul Simon’s newest album”; “Composer of The Lovely Bones‘ music”; “Creator of the ‘Microsoft sound’ played when Windows 95 starts”; “Brian who produced several U2 albums”; “Generative music pioneer.” (He has also helped chartbuster Coldplay hone its sound. “Brian doesn’t work with many people, so if he wants to work with you, you want to do it,” frontman Chris Martin told Pitchfork.) Some of his other epithets—abstract painter, inventor of iPad apps, subject of an eponymous song by the band MGMT—are too obscure even for crossword prodigies.

Eno makes his own music, too. His four experimental pop albums from the mid-1970s were universally revered and have influenced generations of indie rockers. But listeners began to stray—little surprise, since only one of his albums since 1977’s Before and After Science has included vocals. Bored with the rock format and intrigued by minimalist composers like Steve Reich and Terry Riley, Eno began to think less about melody and more about texture. He called his experiments “ambient” music—works intended for a particular place or to set a particular mood. With 1978’s Ambient 1: Music for Airports, Eno was not merely being cute; he’d recently visited the gleaming new terminal in Cologne, Germany, and thought it strange that the architects were so careful with their floor plan but had neglected to provide a soundtrack. (The album was later used for an Eno installation at LaGuardia.)

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Finding Eno

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You Can’t Pigeonhole the Punch Brothers

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You Can’t Pigeonhole the Punch Brothers

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