Tag Archives: Lindi Ortega

Playlists

My Top Ten Country Songs (August 2015)

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I wrote this list and then looked back and realized how female-dominated it was. This month brought good releases from Lindi Ortega, Maddie & Tae, and Whitney Rose, as well as my discovery of Kasey Chambers (her album actually came out at the end of July.) Kip Moore released some good music, but most of it was rock. I haven’t actually listened to Pat Green’s latest album, Home, yet, as it came out while I was traveling. The other albums I listened to were Luke Bryan’s train wreck Kill the Lights and Michael Ray’s forgettable debut–I didn’t even bother to review this. The result is an August list rife with females.

10. Kip Moore–“Comeback Kid”–His latest was
clearly a rock album, but this song was an honest and personal moment from Kip that I really enjoyed nonetheless.
9. Kasey Chambers–“House on a Hill”–I debated whether or not to include Kasey Chambers on this list because her album actually came out at the end of July, but I didn’t discover her till August, and without her, this list would look entirely different. This duet with her father, Bill Chambers, about an old house which is about to be torn down is just one of the standouts on her
fantastic album Bittersweet.
8. Whitney Rose–“The Devil Borrowed My Boots”–“The devil borrowed my boots last night” is the best excuse for bad behavior I’ve heard in a long time, and
Whitney Rose delivers this with the same enjoyment I have when listening.
7. Kasey Chambers–“Oh Grace”–A beautiful song featuring banjo and Kasey’s remarkable voice telling us the story, from his point of view, of a man with nothing to offer Grace except his life.
6. Lindi Ortega–“Half Moon”–A lyrically brilliant song in which Lindi reflects on the “half moon hanging in the sky” and later compares herself to it. It is
one that needs to be heard to fully appreciate.
5. Kasey Chambers–“Heaven or Hell”–Another lyrically brilliant song in which Chambers speculates on where we go when we die, calls out hypocrites, and later reflects on her own standing with God.
4. Kasey Chambers–“Too Late to Save Me”–This song about a prostitute coming to terms with her life and actions is my favorite on Kasey’s album. Featuring great instrumentation, honest songwriting, and up-front lyrics like “they call me late, they call me whore,” this song is a must-listen.
3. Maddie & Tae–“Shut Up and Fish”–I’m sure you all were wondering where Maddie & Tae were, and that’s because they made it so far down on the list.
“Shut Up and Fish” is an excellent song in which the girl gets tired of an overly clingy date and ultimately pushes him in the lake. Please let this be a single.
2. Lindi Ortega–“Ashes”–There are other songs on here that are better lyrically, but Lindi’s voice sells this and puts it so high on the list. Her voice soars through this heartbreak song perfectly, and not only is it the best song on Faded Gloryville, it’s my favorite Lindi Ortega song to date.
1. Maddie & Tae–“After the Storm Blows Through”–Lindi was at the top all month until this song blew “Ashes” out of the water. I originally wrote that I thought these ladies were singing to each other, but a commenter on another site wrote that this was written about Maddie’s friend, whose father passed away. This beautiful song of friendship features great country instrumentation and chilling harmonies. It’s another must-listen.

Honorable Mentions

  • Lindi Ortega’s “I Ain’t the Girl” and “Someday Soon”
  • Kip Moore’s “Come and Get It” (I actually love this song, but it’s not country, so it doesn’t qualify.)
  • Maddie & Tae’s “Waitin’ on a Plane” and “Smoke”
  • Whitney Rose’s “Heartbreaker of the Year”
  • Kasey Chambers and Bernard Fanning’s “Bittersweet”

I’d love to hear your favorite songs from August!

Reviews

Album Review: Whitney Rose–Heartbreaker of the Year

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Rating: 7.5/10

Canadian country singer Whitney Rose released her second album, Heartbreaker of the Year, to the U.S. on August 21st. Produced by Raul Malo of The Mavericks, this album brings a unique sound that Rose describes as
“vintage pop-infused-neo-traditional-country.” It’s certainly unique and a sound that may not appeal to everyone, but as far as “vintage-pop-infused-neo-traditional-country” goes, it’s a pretty good album. It took some time for me to wrap my mind around Whitney Roses’s style, and this review was easily the hardest I have done so far. This rating is more of a comment on the songs themselves than the style. Whitney’s description is a good one, and it is a style that really has to be heard to either be appreciated or disliked.

The album begins with “Little Piece of You,” a love song where Whitney sings of a man with an “old school soul” and a “heart of gold” and wonders where he found all those “little pieces” of himself. It’s an interesting theme and this is one of the album’s better songs lyrically, but it leans much more toward the “vintage pop-infused” side. Because of this, I’m not sure if it was the best choice for the opener. Next is “My First Rodeo,” an upbeat song that again is more “vintage pop-infused.” This one is more catchy and might have been a better opener. There is also more country blended into this song. Speaking of country, the next song, “The Last Party” is the most country song of the bunch. It is a classic country heartbreak song, complete with plenty of steel guitar for traditionalists. The piano in this song adds a nice touch as well, and the harmonies between Whitney Rose and Raul Malo work really well. Having said that, the lyrics simply could have been better.

“Only Just a Dream” is a better balance of vintage pop and country featuring more prominent piano play. Whitney sings about a man she loves, but he is “only just a dream.” Again, the harmonies work really well in this song. The bluesy title track follows; here is a unique heartbreak song where Whitney is asking if she can “pat the back of the heartbreaker of the year.” She treats the whole thing like a pageant; his mother must be crying and his hometown must be proud. In contrast to “The Last Party,” this song gets everything right–the instrumentation, Whitney Rose’s vocals, and the witty lyrics. It’s definitely a standout on this album.

“Be My Baby” is next. This is a cover of the song by The Ronettes and is a duet with Raul Malo. Their interpretation of the song is remarkable and it’s one of the better songs on the album. Their voices blend nicely together too, and it’s also great to see a cover like this as opposed to a cover of some pop or hip-hop song. “The Devil Borrowed My Boots” is a country song that would have done well on radio ten years ago. Whitney tells us about the night before, which she spent drinking, smoking, and starting trouble in a bar. There’s a catch, though–it wasn’t her. “The devil borrowed my boots last night,” she sings. This is a clever hook, and this is my personal favorite song on the album. This song has an infectious rhythm, and it’s easy to tell Whitney enjoyed singing it as much as I enjoy listening to it. If you only listen to one Whitney Rose song, make it this one.

“Ain’t it Wise” is a love song that is more “vintage pop-infused.” The song basically says, “Ain’t it wise to love someone” in different ways all the way through it, and for me, the lyrics are forgettable. The melody is a plus, and it’s not a bad song, but it doesn’t stand out. Next is “Lasso,” a song about a man who has Whitney “caught in his lasso.” This song is catchy, and the instrumentation is a nice blend of that “vintage-pop-infused-neo-traditional-country.” My only complaint here is that the vocals are sometimes drowned out by the production. I’d probably enjoy this song more if I could understand more of it. This is a problem in parts of her other songs too; I just feel the need to mention it especially in this song. The album ends with another cover, this time of the Hank Williams standard “There’s a Tear in my Beer.” (Yes, a modern country singer covered Hank Williams.) Now, I’ll be the first to say I am not a fan of the original version of this song; that’s just personal taste, not critical review of Hank Williams or that song. However, Whitney’s version is a completely different song; it sounds almost like a lullaby. It is the perfect example of taking a song and making it your own. Her cover is a good 2015 version of this; I say that as a reviewer. I actually like this song now; I say that as a fan. Once again, the cover choice by Whitney Rose was a smart one.

Overall, this album is unique and the style might take some getting used to. However, Whitney Rose’s album is a true “evolution” of the country sound, and for that, she should be commended. This is, for the most part, a good pop country album. There are some great examples of her songwriting on here–her songwriting can be found on every track besides the covers. She picked smart covers and interpreted them well. Something I didn’t mention enough is her unique voice; much like Lindi Ortega and Kasey Chambers, Whitney has a sound that’s all her own. If you’re not familiar with Whitney Rose, this is a good place to start.

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Reviews

Album Review: Lindi Ortega–Faded Gloryville

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Rating: 8/10

As mentioned in Female Fridays, Faded Gloryville is Lindi Ortega’s fourth album for Last Gang Records. She brought in producer Dave Cobb from 2013’s Tin Star, as well as Colin Linden from 2012’s Cigarettes and Truckstops. Dave Cobb seems to be on a roll–he worked on Jason Isbell’s Something More Than Free as well. Lindi experimented with “a more Muscle Shoals sound,” for which she got help with Ben Tanner of Alabama Shakes and John Paul White of The Civil Wars. The result is the most soulful album of her career to date.

The album opens with “Ashes,” which is also my favorite track. Basically, the premise is that she was once in love, but now the fire has burned out, and he has left her with “these cold, dark ashes.” Lindi’s voice soars through this song, singing, “Darling, this is madness, why don’t you come back to me? Don’t leave me in the ashes of your memory.” The title track is similar to “Tin Star” and is an ode to the disillusioned dreamers who feel like there is no hope left. However, unlike “Tin Star,” which was only for musicians, this feels more universal. It is a theme that I feel Ortega uses too often, but this is still a good song, and I prefer it to “Tin Star.”

“Tell it Like it Is,” takes a more bluesy, soulful approach. Lindi is trying to persuade a man to stop pretending and “tell it like it is.” It’s a more interesting version of Clare Dunn’s “Move On.” Next is “Someday Soon,” which is one of the more relatable songs on the album. Lindi says she’s been “spending all my nights on someone that just ain’t right” and looks forward to a day “someday soon” when she can move on from her disappointing life. This is another song that stood out for me and will hit different people in different ways. Lindi then does a cover of “To Love Somebody,” and although it is unique, I prefer the original. Some people will probably love it, I am just not one of them. It was released ahead of the album, and it was the only song I heard beforehand that I didn’t like. I haven’t warmed up to it much.

“When You Ain’t Home” is an upbeat song ironically about the narrator feeling lonely while her lover is away. I said before that I hear Dolly Parton, Stevie Nicks, and Emmylou Harris in Lindi’s voice, depending on the song, but never have I heard so much soul in her voice. I can’t think of anyone to compare her to, and while it sounds less country, it makes her sound even more like just Lindi. This side of her adds to the individuality that she so obviously prizes. I can’t say I love this song, but I do love what it brings out in her.

“Rundown Neighborhood,” is a lighthearted track about two friends who look out for each other in a bad neighborhood. They are “bad for each other,” but that’s all right because they will always have each other’s backs. Among other things, they share whiskey, rum, cigarettes, and weed. Next is “I Ain’t the Girl,” a relatable song in which Lindi tells a guy she’s not the girl for him because he’s too straight-laced. She likes “long-haired guys” who are “rugged with tattoos,” and he wears a suit and tie. It’s a fun song, but it speaks to many people who feel like they are with the wrong match. As a girl who doesn’t like pretty boys like the one she seems to be describing, I am a little biased toward this song.

In “Run Amok,” Lindi pours out her frustration with someone who is doing “every crazy drug,” alcohol, etc. It’s upbeat and catchy, but a line still caught my attention–“When you run with the devil you burn everything you tuch, bridges and money and everyone you love.” In the end, she finally gives up and decides, “I’ll just let you run amok.” The album slows down to close with “Half Moon,” a thought-provoking ballad. This is actually one of my favorite songs on Faded Gloryville, but I was surprised that I enjoyed it because it is one of those that has to be heard to appreciate. She compares people–or at least herself–to “Half moons hanging in the sky,” with something to hide, but still shining some light. This is probably the most country song on the album, and the mystery in her voice fits the lyrics very well.

All in all, this is my favorite Lindi Ortega album as a whole. Some people will not like it as much as her previous material because of the more soulful songs, but I think this is more in her wheelhouse. This is also a better mix of ballads and upbeat songs, as well as a better balance of lighthearted and dark material. Faded Gloryville is a solid album and one that I would recommend, especially for people who have just been introduced to her work.

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Female Fridays

Female Fridays: Featuring Lindi Ortega

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Her new album, Faded Gloryville, is available today, (expect a review shortly), so today the Female Friday spotlight is on Lindi Ortega.

How You Might Know Lindi

If you watch ABC’s Nashville, you may have heard Lindi–she has had several song placements on the show. (Interesting that a TV show would help promote her, but radio won’t…)

Bio

From a 2013 interview with
Saving Country Music
in reference to her motivation to make music that might not have mass commercial appeal

But my motivation comes from my influences, and people that have stuck to their guns. I read a lot of biographies. If there is one thing I can respect more than anything, it’s individuality in music. And I think back in the early era of country music that was so apparent. Like you could really tell your Johnny Cash from your Waylons from your Merles. They all had a distinct thing happening. And they were all really great at what they did. It was really important for me to etch out my own thing as a student of that.

From one listen to Lindi Ortega, I can tell she means every word she says. She easily has the most unique female voice in country music today.

Lindi Ortega (born May 28, 1980, from Toronto, Ontario), wrote her first song, “Faded Dress” at the age of seventeen. She spent many hard years in the Toronto music scene, where she gained the nickname “Indie Lindi.” Her struggles as an artist, as well as the universal struggles of musicians, are often referenced in her songs. The best example of this is the title track from her 2013 album Tin Star, where she sings of the “tin stars” who are “lost in the shining stars of Nashville, Tennessee.”

After struggling for about a decade and eventually moving to Nashville, Lindi signed with Last Gang Records in 2011. She has released three albums since then, including Little Red Boots, (2011), Cigarettes and Truckstops, (2012), and Tin Star (2013.) She is known for her unique soprano voice, wich has been compared to the voices of both Dolly Parton and Emmylou Harris. When I first heard her sing, I heard Dolly Parton and Stevie Nicks, but in other songs I can hear Emmylou Harris as well. Her albums have received much critical acclaim, and she has been nominated for several awards by the Canadian Country Music Association. In 2014, Lindi won the CCMA Award for Roots Artist or Group of the Year and was nominated for Female Artist of the Year. She has also been nominated by the CCMA for 2015’s Roots Artist or Group of the Year.

Since this column is dedicated to promoting females, it should be noted that my first exposure to Lindi Ortega came shortly after the “tomato” incident in May. Lindi spoke out about the comments in an article called
“I Say, Include Women”
Lindi comments,

Women have had to fight to be treated as equals in society. We have had to fight for equal pay. We have had to fight against sexism, harassment, misogyny. And as if we don’t have enough battles, now we have to fight to get equal play on the radio. The entertainment industry has got to be one of the most difficult industries for women, because we are faced with so many double standards. We decide to have children and suddenly we are asked about how we can handle having a child and a career. Or the public is more concerned with who designed our dress rather than what inspired our craft.

But circling back to “take women out,” just think of those words: “TAKE WOMEN OUT.” I can’t begin to describe to you how my blood boils at those words. Erase us, delete us . . . make it so we don’t exist.

I highly recommend reading this; when I read it, I immediately wanted to check out her music. When I did, I found songs from each of her first three albums that I enjoyed. I would not have known about her if she hadn’t spoken up about this. Her fourth album for Last Gang Records, Faded Gloryville, comes out today, and I will have a review soon.

Why Lindi Belongs on Country Radio

Lindi Ortega is not seeking airplay at all. Up to this point, she hasn’t released anything with widespread mainstream appeal and seems to stick to her “individuality” that she values so much. I would argue that that is exactly why she belongs on the radio. I have seen comments on other sites by Canadians who say she doesn’t even get played up there. What do we hear every time we turn on a show like The Voice? They want uniqueness, originality, individuality, etc. I hear Blake Shelton talk all the time about turning on the radio and immediately recognizing someone’s voice. If uniqueness is what we’re going for, Lindi Ortega should be getting radio airplay. She has the most distinct female sound in country music.

Tracks I Recommend

Lindi has a lot of dark material, and I am not always a fan of dark albums, so I don’t prefer to listen to everything on all her albums. Having said that, most of it is good, and if you have a taste for it, you will like most of it. These tracks are my personal preferences. Also, just like with Ashley Monroe, her new album is off limits.

1. Murder of Crows–Cigarettes and Truckstops
2. Little Lie–Little Red Boots
3. Cigarettes and Truckstops–Cigarettes and Truckstops
4. When all the Stars Align–Little Red Boots
5. Angels–Little Red Boots
6. Bluebird–Little Red Boots
7. The Day You Die–Cigarettes and Truckstops
8. Tin Star–Tin Star
9. I Want You–Tin Star

Listen to Little Red Boots

This was my first introduction to Lindi’s remarkable and distinct voice. Like I said, I hear Dolly Parton and Stevie Nicks. Certainly not a bad comparison.

Commentary

Random Thoughts of the Week: In Memory of Lynn Anderson

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Lynn Anderson, best known for the hit (“I Never Promised You a) Rose Garden,” passed away Thursday night (July 30th) at Vanderbilt University Medical Center in Nashville after a heart attack. She was sixty-seven years old. The singer, known as the “Great Lady of Country Music” had twelve No. 1’s in her career and has been one of the most successful females in country music history.

https://www.youtube.com/watch?v=WO4wcNVbYOQ

Lynn Rene Anderson, (born September 26, 1947, in Grand Forks, North Dakota), was interested in country music at a very early age. Her parents were both songwriters; her mother, Liz Anderson, wrote Merle Haggard’s “I’m a Lonesome Fugitive.” Lynn released her debut album Ride, Ride, Ride in 1966 at age nineteen. She is best known for (“I Never Promised You a) Rose Garden,” a country hit that was also an adult contemporary and pop crossover success. She won the ACM Top Female Vocalist award in 1967 and 1970, as well as the CMA Female Vocalist of the Year award in 1971. Lynn won a Grammy Award in 1971 for Best Vocal Performance for “Rose Garden” and became the first woman to win an American Music Award. She was named one of Billboard’s Artists of the Decade in 1980.

Perhaps more important than her own success is the
path she paved for female artists. Lynn became the first country female to sell out Madison Square Garden in 1974. She had over fifty Top 40 hits in her career, making her one of the most successful women in country music to date. She has been considered many times for, but not yet inducted into, the Country Music Hall of Fame, and it’s unfortunate that they didn’t induct her before she passed away.

Lynn was known early in her career as the “California Horse Show Queen.” She raised horses and obtained several distinctions, including sixteen national championships and eight world championships. Later in life, she worked with the “Special Riders of Animalland,” a therapeutic horseback riding program for children. She never stopped showing horses or recording. In fact, she had just released a gospel album entitled Bridges on June 9th. The “Great Lady of Country Music” will be missed. Lynn has left her mark on the genre, as well as on music in general. At a time like this, it is especially important to remember the difference female voices can make in country music.

Tomato of the Week: Lindi Ortega

Her album comes out Friday, so it’s time to feature Lindi Ortega on Female Friday! By the way, don’t buy Luke Bryan or Michael Ray’s albums this Friday, buy Lindi Ortega’s…this will do more for country music than Jason Isbell did by beating Alan Jackson.

Random Country Suggestion: Jason Eady–Daylight and Dark

This was probably my favorite album of 2014. Plus, there’s been a lot of talk about Texas country on here lately, so seems appropriate.

Listen to Daylight and Dark

No non-country suggestion, just go listen to “Rose Garden.”