Tracy Bonham emerged on the music scene during the onslaught of female singer-songwriters in the mid-90's. While some acts were definitely forgettable, Bonham's mixture of punk and rock-infused pop made a big statement, especially with her hit, 'Mother, Mother,' a biting 'Dear Mom' themed rock song whose accompanying video was in constant rotation on MTV.

A classically trained violinist, Bonham was studying music at Berklee in Boston and performing gigs in clubs by the time she released her EP, The Liverpool Sessions in 1995. A year later, Bonham had signed to Island Records and saw the release of The Burdens Of Being Upright.

The Burdens Of Being Upright was an album full of Bonham originals, and for someone who had only started writing her own songs for a couple of years prior, the tracks found on this album would lead the listener to believe otherwise.

Bonham's overall sound seemed to recall PJ Harvey's wildside, but countered it with Liz Phair's cool delivery and yet still managed to have its own identity.

'Mother, Mother', the lead-off track, garnered a huge buzz and allowed Bonham to ride a wave of press and promotion, accepting an invitation to perform at the first year of Lilith Fair and provided her with a pair Grammy nominations.

Although 'Mother, Mother' became Bonham's biggest commercial hit (so far), to many, she seemed doomed to carry the torch of a one-hit wonder. Subsequent singles, ('The One,' 'Sharks Can't Sleep') although worthy of radio, never stuck. And it probably didn't help matters that it took four years for the world to hear Bonham's next record.

Originally, Down Here was to be titled Trails Of A Dust Devil and was set for a 1998 release. Bouts with her record label were reported as the cause for the delay and when the album finally saw the light of day, it seemed to fade immediately.

But despite its invisibility in the world of radio, Down Here is superior to Upright in many fashions. Bonham seemed more focused and clear about who exactly she wanted to be in this crazy world of music. Her writing was stronger and the songs were even more enjoyable. Her biting wit was as sharp as ever and each song carried its own weight. Creatively, Down Here was no slump.

In 2003, Bonham released the barely mentioned Bee EP, which featured a live version of her song 'Freed' (previously released on Down Here)and four previously unreleased tracks, including a cover of Led Zepplin's 'Black Dog.'

The year was also spent performing with the experimental Blue Man Group, to which Bonham was asked to provide guest vocals on The Complex.

Light weight, too straight, no reaction.
I don't care if I'm not in fashion.
I will follow you.
                            -- Tracy Bonham

Set for release on June 21st, Bonham's third record, Blink The Brightest is her best and perhaps her most personal yet.

Playing most of the instruments on this album herself, Bonham acknowledges that the album's sheer imperfection at times, is what she intentionally went for. But one wouldn't know it in tracks like 'Something Beautiful,' which features Bonham in perfect form and encapsulates all the reasons as to why she should be heard: a great voice, intelligent songwriting and four minutes of well-constructed pop that doesn't wear itself thin.

For more information on Tracy Bonham, please visit her official site which offers even more information, song samples, photographs and more.


Downloads:

Tell It To The Sky
Second Wind
Eyes
Something Beautiful

WWW:
Tracy Bonham (official site #1)
Tracy Bonham (official site #2)

Known for quite a few of their cover songs, singer Leigh Nash and her band, Sixpence None The Richer, have also taken a stab at 'I Need Love,' a song originally written and performed by the great Sam Phillips.

Like most of their catalogue, Sixpence don't necessarily re-invent the songs they choose to cover. Instead, they create sweet and quaint versions using their signature brand of pop.

'I Need Love' can currently be found on their 'best of' collection, released in 2004.


Although she's been making records since the early 80's, singer-songwriter Marti Jones never achieved great commercial success. But her talent shouldn't be denied.

On her 1996 release, My Long-Haired Life, Jones covers former 'Til Tuesday frontwoman Aimee Mann's 'Put Me On Top' with apparent ease. Jones manages to slightly stir the song to give it a nice country feel without it being overly twangy.


In 1995, For The Love Of Harry: Everybody Sings Nilsson, a tribute album for Harry Nilsson was released, featuring over twenty tracks from artists like Aimee Mann, Brian Wilson, Stevie Nicks and Ron Sexsmith. Boston artist Jen Trynin covered Nilsson's classic 'Mourning Glory Story,' a song about homelessness, and met the song with her unmistakable voice and swirls of electric guitar.


Around the time Amanda Ghost was preparing her debut to arrive, her unique rendition of Madonna's 'Bad Girl' could be found on Virgin Voices: A Tribute To Madonna, Vol. 1.

Ghost's is considerably faster, but no less captivating. Serving up drum machines, a sped-up piano and Ghost's husky vocals, the song is given a colder, more harsh sound. To some, the song may come off as erratic, but I find it surprisingly better than the original.


Downloads:

Sixpence None The Richer - I Need Love
Marti Jones - Put Me On Top
Jen Trynin - Mourning Glory Story
Amanda Ghost - Bad Girl

Using the strange moniker, 'New Buffalo,' Australian-bred musician Sally Seltmann creates some of the most beautifully odd music to come out of the 'land down under.'

New Buffalo's first recording came in the form of About Last Night, a now hard-to-find EP released in 2001. The release served as an appetizer for her full-length debut, but introduced her original lo-fi sound and ignited a warm buzz amongst critics.

For her proper full-length album, 2004's The Last Beautiful Day, Seltmann originally had teamed up with Los Angeles producer, Jake Davies (Madonna, Bjork), but ultimately decided to write, record and produce the entire record on her own. Only the talents of Beth Orton's background vocals and the Dirty Three's Jim White on drums were enlisted for a handful of songs.

The end result is remarkably personal and intensely enchanting.

The Last Beautiful Day is one of those rare records that fills up a room with its strange air. The listener will be happily lost in its dreamy weirdness.

The songs are obscure and at times, bizarre. 'Recovery' starts the album with a clapping percussion, Seltmann's sweet voice and swirls of programmed sounds; a song I can best describe as the aural offspring of a Solex and Bjork collaboration.

There is a monotone quality to 'I've Got You And You've Got Me (Song Of Contentment).' While entrancing, its repetitive clarinet and piano provide a lost-in-space vibe which could turn off some listeners as thinking it unfinished or perhaps slightly irritating.

'It'll Be Alright' and 'Yes' are also highlights.

A little sleep will brush away
The finger prints I found today
And I'm not going far away
In just 8 weeks I'll solve the case
                            -- New Buffalo

Since the album's release, Seltmann has received rave reviews and has heavily promoted the record as a supporting act for Cat Power, Bright Eyes and fellow Aussie Ben Lee. She's also recently contributed to Lee's most recent album, Awake Is The New Sleep.

For more information on New Buffalo, please visit her official site.


Downloads:

Recovery
I've Got You And You've Got Me (Song Of Contentment)
It'll Be Alright
Yes

WWW:
New Buffalo (official site)