Bands with Good Female Singers?

[Guest Dragon'sFire]

Hm...
Jessicka from the band Jack Off Jill has intense vocals...and she's quite the screamer ( - -; she doesn't scream throughout all of the songs).^^
Nanase Aikawa is a pretty good solo singer...She is, I believe, popular in Japan.
Utada Hikaru is supposedly a great Japanese singer too; I haven't listened to many of her songs, but a lot of people I know really love her music.

[Semjaza]

I want to add in Jennifer Lewis from Rilo Kiley. She doesn't do all the vocals, but she does a vast majority of them. They're an amazing band. One of my favorites, which is why I'm not sure why I mentioned them in here before.

They have a new CD due out soon, so pick it up if you get a chance. Good stuff.

[eleanor]

[i]For me, it would be Evanessence (am I right?). If you really don't want to waste your money for some crappy albums, I suggest you buy this. You will not be sorry.[/i]

[color=firebrick]Right you are my young...old...person. :/ OB member. Anyways, I think Amy Lee was a nice set of pipes, there. I love her in all the songs...I think she's a great singer. ^_^ She's good with strong and soft voices and um...her voice is pretty? ._.

For a solo artist, I'd would absolutely definately go with Christina Aguilera. Her songs aren't...great, but she can sing. Really, really sing. It's like 'guh' as you listen to her sing. :O There's probably a better singer out there since I don't know as many singes/bands as you guys, but I still think she's awesome at singing. [/color]

[mutsumi]

*Jessicka from Jack Off Jill/Scarling is amazing.. so sad JOJ broke up... :(

*Amy Lee from evanescence, well i think every one already established this but shes still amazing

*Kittie has amazing singers

[natetron46]

[QUOTE=oshi]Dolore O'Riordan w/the Cranberries. You can't go wrong with her. She's got the type of voice that can be very soft and sad, and rise magically into a burst of strength. And it's not even as hokey as I described it. It's actually much, much better than I described it. I don't know what's wrong with me.

And an Irish accent. That's just neato.

lol[/QUOTE]
Yes great singe, good pick oshi. :) Also Stevie Nicks from Fleetwood Mac is quite good.

[Captain Iuno]

Amy Lee from Evanescence is mentioned a lot. And I also think she has a very good voice. As someone said before: you can really hear the emotion in her voice and when you see the video of let's say 'My Immortal' you can also see that she shows the emotion with her entire body. Which is beautiful.

Tarja from Nightwish also has a gorgeous voice, which is mentioned before. She can really hit the high notes. Very beautiful ^_^ .

And there's someone I should definetely [U]not[/U] forget to mention: Enya. It sometimes sounds like her voice is silk. When you listen to 'May It Be' (the soundtrack fromt he Lord of the Rings - the Fellowship of the Ring) there's this magical glisten floating along with her voice, which is absolutely enchanting.

[JC Goodwin]

A band with a really good female singer is My Ruin. The lead singer is called Tarrie B. She has an amazing vocal range. She can sing with a mouth full of barbed wire, releasing from her lip hate and blasphmey or sing a beautiful tear jerking ballad. She amazing.

You could also try Melissa Auf der Maur. She played bass in hole :mad: and in the smashing pumkins. But fed up of living in people shadows she released her own solo album which i cant remember the name of.

Theres an all girl band called Kittie who are a complete straight up metal band.

Or you could try bands called: The Donnas, Arch Enemy, Walls of Jericho, Lacuna Coil or Nightwish.

[Chillie]

I was going to say The Distillers also... they are a good band.
Andother great band, esp. live, is Tsunami Bomb. Agent M's voice is really good and her lyrics are good too. She doesn't really curse either only in a few songs.. such as Lemonade, which is their best song, along with Invasion from Within. ^-^

[Guest Fighttheworld]

One REALLY great female fronted band is
theSTART
About thestart
" Written over the span of almost two years, the album( INITIATION ) bruises the Technicolor hooks of SHAKEDOWN! with doses of shoegazing dreaminess and Cure-esque moods. Keyboards swirl like a hyperventilating kiss: guitars throttle songs black and blue;beats that sound plucked from your local watering hole's goth night. Nevertheless, Initiation will still apeal to all facets of the START's fanbase, boys in eyeliner,crusty hardcore lifers,palefaces hidng from the sun, new-wave obsessives and synthpunks." - Alternative Press .195

theSTART are currently writing what will become their third release for Nitro Records due out early 2006.

Aimee Echo and Jamie Miller formed theSTART in the Fall of 1998, citing a mutual love of old-school new wave, dance-punk energy and dark pop, with bassist Jeff Jaeger and drummer Scott Ellis(Mellowdrone). The prophetic nature of their name revealed itself quickly as they would be among the first of the crop of the new New Wave, alongside bands like the Faint and Le Tigre.

Renown for delivering a raucous live set more so now, than ever, they've shared stages with a variety of bands, ranging from Alt-Rock scenesters (Garbage, The International Noise Conspiracy, John Frusciante, Weezer, Melissa Auf der Maur, Sparta, Burning Brides, The Von Bondies, Team Sleep, Head Automatica) to punk rock royalty ( Alkaline Trio, AFI, Hot Water Music, Offspring) to Goddess-fronted rock ( X's Exene Cervenka, Berlin, and Bow Wow Wow) gaining them fans in the strangest places. Even No Doubt's Adrian Young will occasionally be found pounding theSTART's drums!

The band's first album, Shakedown!, recorded in 1999, shelved in 2000 and finally released in 2001(on The Label/geffen), was loaded with earworm-generating pop hooks, Echo's admirable vocal prowess and Miller's six-stringed slamming and synthetic smoldering circuitry.

Upon returning home from life on the road in support of their debut and shortly after the world-altering events of September 2001, the band were informed that The Label was shutting down. Undaunted and in service to their music, Echo and Miller bought a van so they could continue their rockin' crusade. However, drummer Ellis decided he didn't want to ride in it, and departed.

The following year, the band ponied up $800 and some change and recorded Death Via Satellite, six tracks of raw-pop power, that retained all of the melodic aspects of Shakedown!, with the kind of mania usually found in people who abuse diet pills and asthma inhalers. The band moved forward, their masters in hand, pressed, and sold the disc themselves on the road. After a year of heavy touring, Jaeger got married, started his own painting business and Aimee and Jamie bid him adieu.

Nitro Record's picked the band up and reissued Death Via Satellite to sate the band's fanbase until the release of the next album.

For much of 2003, Echo and Miller were playing with pickup rhythm sections poached from friends' bands. One night in San Antonio, Texas, Erick Sanger (bassist from Kissing Chaos and an original member of Sparta) approached Echo, professing his love for her band and offering his services should they ever need a low-end merchant. This came just as Miller and Echo were in the process of firing their pickup four-stringer of-the-moment. The next day, Sanger called Echo announcing, "My band broke up last night, can I play in yours?" Miller and Echo finally found the revving engine to drive their tunes.

With their lineup finalized and a batch of new songs ready to go, theSTART began work in February of 2004 on Initiation, their debut for Nitro Records.(Initiation released 8/24- it's out now go get one!) Miller and Brian Virtue (Jane's Addiction, Audioslave, Deftones) oversaw the production of what would become 12 shots of noise-pop, blissed-out fatalism and flailing rock abandon.




[url]www.thisisthestart.com[/url]
[url]www.nitrorecords.com[/url]

Then there is Monsters Are Waiting....

"That?s right, they told me I had to tell the truth, and well, I said I would do it to the best of my ability.? ? Well weren?t you just a little bit scared, I mean the truth can be so, well truthful? ? ? True, the truth can be pretty well, like you said, truthful, but if you don?t tell the truth then you?re a liar, and we can?t have that can we?? ? No we surely can?t have that.? ?So what did you say, I mean what truth did you tell?? ?Well I told them that I went to go see Monsters Are Waiting play a show.? ?You didn?t!? ?Well I had to it was the truth, wasn?t it?? ?Yeah, I suppose so, what else did you say?? ? I told them that it was really a great show and that I had the best time ever.? ?Did they get mad?? ?Oh hell no, they just wanted to hear all about it.? ? What did you say?? ? Well you know it?s so hard to describe the sound of music with words so I just described how it made me feel. I could have told them that it was a band with guitars and drums and other instruments but that wouldn?t have helped. I could have said that there was a girl singer and that she was amazing but that doesn?t describe what she sounds like. Does it matter that they come from Los Angeles, maybe, but that doesn?t tell you what they sound like. I could have said things like the music is expressive without being idiosyncratic, it rocks but not in a boogie way, it?s sophisticated but not in a stodgy, stultified way. It?s sexy but not slutty, they play hard but don?t bludgeon, that Monsters Are Waiting are smart but they aren?t poindexters. I could have said all that but to what end, really?? ? Wow you are so right, so what did you say?? ?Behind every corner, behind every smile or clap on the back, Monsters Are Waiting. In the fury of the star filled night or in the calm of the dewey morning, Monsters Are Waiting. Blinded by the glare of the noonday sun or lost in the fires of the dusk, Monsters Are Waiting.?

^^^I took that from their Myspace profile.
myspace.com/monstersarewaiting

Then there is Metric

Metric's 2003 debut, OLD WORLD UNDERGROUND, WHERE ARE YOU NOW?, was a statement of both resignation and resurrection: when the underground you once romanticized has given way to pre-fab Rebellion?, grab a shovel and start digging your own subterranean sanctuary. But spend enough time down and out of sight and you start feeling the need to come up for air. And when Metric did just that after a year of ceaseless, club-by-club conversions, they were confronted with a strangely beautiful sight: a crowd of people looking right back at them. The very fashionistas and consumerists they slyly satirized in songs like "Dead Disco," "Combat Baby" and "The List" were singing along with them. And it felt good.


That's the funny thing about the never-ending battle between pop and art - the goalposts keep changing. And for Metric's Emily Haines (vocals/synths), Jimmy Shaw (guitar), Josh Winstead (bass) and Joules Scott-Key (drums), the most exciting thing is being able to play for both sides. Over the course of 2004-05, Metric were everywhere, from MTV and commercial rock radio to French art-house cinemas (the band made a show-stopping cameo in Oliver Assayas' 2004 junkie drama CLEAN); depending on the night, you could find Emily playing sombre solo piano shows in churches, or diving off the stage at Toronto's Mod Club Theatre, where Metric played an unprecedented four sold-out nights in a row in January '05. This is a band comfortable making music for both the misfits as the masses.

"I get freaked out by numbers, and the idea that if your audience grows, suddenly it's going to be a bunch of frat boys," Emily admits. "But more and more I just feel like those judgments about types of people and their musical tastes are ringing untrue to me. There are lot of people who would love to listen to Feist in the morning and Death from Above on a Friday night. People don't like music according to a type."

After spending much of the past two years in the company of strangers across North America, Europe and Japan, Metric retreated back to the comfort of friends and family. Since Jimmy and Emily first began collaborating seven years ago, their list of hometowns has become almost as well-known as their repertoire (for those following along at home: Toronto, Montreal, London, Brooklyn, Toronto again, and then Los Angeles for the recording of OLD WORLD UNDERGROUND). But by the end of 2004, Metric realized that everything they were searching for could be found in their original home base of Toronto: a wellspring of moral support (most notably from their childhood friends in Broken Social Scene and Stars), a culturally inspiring community and, of course, affordable rent.

This last factor was particularly conducive to the creation of the band's second LP, LIVE IT OUT. As luck would have it, the cheap east-end loft space that the band inhabited during their previous Toronto stay (in 2001-02) became available upon Jimmy and Emily's return to the city in autumn 2004. (Joules and Josh both retained residency in Oakland but made frequent visits.) Located on the second floor of a bank, the space features a series of old inter-connected office rooms that James reckoned could be converted into a home studio, where the band could regularly convene and work out ideas without the pressure of watching the clock - and without the interference of an outside producer.

"I was a little scared," Jimmy says. "I felt like I took on a lot. You approach the record company and say, 'You've got to let me do this on my own, and I need to call all the shots and do everything myself and everyone needs to trust me,' and they say, 'OK!' And then you're like, 'Oh ****, what if I **** this up?' It's really terrifying. I'm just glad I didn't **** it up."

"We had no idea if it was going to work," Emily says. "The studio was a makeshift job of covering insulation with fabric from Goodwill, not even knowing if it was going to sound good. We recorded throughout the winter and with the heat on, it was so boiling hot in there that everyone was shirtless, and then in the summer, it was incredibly boiling hot. We really went through all the seasons, which is a big reason I'm really glad we made the record in Canada. I feel like those moods are really reflected."

No more so than on the striking, six-minute introduction "Empty," which Jimmy and Emily point to as a breakthrough song for the band, one that showed them a path beyond OLD WORLD UNDERGROND'S new-wave formalism.

Says Emily, "Jimmy had written the guitar part and I wrote the vocals on the big red couch in [Broken Social Scenester] Kevin Drew's living room, which I kinda like. I feel like in light of all the changes that have happened in everyone's life, that was the place where it needed to start.

Like many songs on the new album, "Empty" bears the unmistakable mark of Sonic Youth's 1990 masterwork GOO (Metric recently met their indie-rock ancestors at an Oliver Assayas-directed music festival in France) and highlights LIVE IT OUT's most intriguing developments: Jimmy's increasingly unhinged guitar playing, Emily's mercurial vocals (ghostly one minute, electrifying the next) and Josh and Joules' intuitive rhythmic interplay. The song simmers with a creeping tension that explodes without warning and dissolves into the ether - and heralds the arrival of a new, more fearless Metric.

Emily cops to another key, less obvious influence. "I was thinking about Pink Floyd a lot on this record," she says, and while fans can rest assured that LIVE IT OUT contains no 20-minute space-rock jams, the French pillow talk whispered throughout the neon disco haze of "Poster of a Girl" betrays a debt to the subliminal conversations that permeate DARK SIDE OF THE MOON. (And not coincidentally, like Pink Floyd and Sonic Youth, Metric are a band borne out of underground ideals that were gradually absorbed into the mainstream.) Road-tested favorites like "Monster Hospital," "Patriarch on a Vespa" and "Handshakes" relate more closely to OLD WORLD UNDERGROUND's spunk-rock swagger though are even more fierce in their delivery, with Emily's vocals so in-your-face, they leave bite marks.

But a remarkable thing happens on the road from the album's ominous opening salvo - "When there's no way out / The only way out is to give in"- to the triumphant climactic chords of the title track: cynicism has turned to celebration, hopelessness to happiness.

"It's all just the idea of 'don't freak out,'" Emily explains. "Anything that happens to you is just your life getting lived. Sometimes it feels like we're afraid of events and action of any kind. But if you can get a little distance from it, it becomes an incredible adventure no matter how things turn out."

^^^^taken from their home page.

<3
Katie

[Petie]

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