Maura O'Connell and Kristen Vigard. Chances are you've never heard of these two women. Unless, of course, you happen to be an exceptionally dyed-in-the-wool fanatic of unfamiliar folk singers.
Actually, folk is not quite right either, though they are indeed exceptional singers with an acoustic flair and a knack for lyrics that shine brightly in a hazy world of mundane love songs.But they are more than that. They are remarkably diverse singers that can't quite be pigeonholed in any one category. O'Connell sings contemporary pop but also has a traditional Irish bent and a country dressing to her tunes. Vigard likes acoustic folk ditties but also throws in some soulful blues and backwoods rhythms.
Both also share common ground in that neither is planted firmly enough in the middle of the road to garner serious attention outside unconventional radio formats. Too bad, too, because both are deserving of some serious attention.
Maura O'Connell is a highly regarded traditional Irish folk singer who has drawn inspiration and support from the likes of Nanci Griffith and Van Morrison. Her latest album, "A Real Life Story" (Warner Brothers), again highlights her knack for putting her own distinctive twist on superb material by proven songwriters.
For example, her latest album includes delightful covers of John Hiatt's "When We Ran," Lennon-McCartney's "For No One" and Tom Waits' "Broken Cycles," among others.
A taste of Irish traditionalism runs through most of her music. But her creamy voice - which has inspired some critics to use superlatives like "a once in a lifetime voice" - is the focal point of her music. She has incredible range, as well as the ability to reach deep into the hearts and souls of her listeners. She can be both powerful and subtle.
The best of this bunch may be "Guns of Love," an anthemic anti-war statement, and "Burning My Rowboat," an offbeat look at "the twin stumbling blocks of temptation and claustrophobia."
Much of the album deals with the well-trodden territory of the power of love, the pain of rejection and other assorted affairs of the heart. But her voice carries even those songs a cut or two above average.
"Story" was produced by Greg Penny, who also handled those duties on such gems as k.d. lang's "Absolute Torch and Twang" and Rickie Lee Jones' "Flying Cowboys." The result is an album that exploits O'Connell's strengths (her voice and Irish roots) and downplays her weaknesses (the inability of record execs to market her in any particular category). * * *
Vigard is even more difficult to tuck into any convenient pigeonhole. Listen to "12 Bar Blues" and you are immediately convinced this is the most exciting blues singer you've heard in years.
Then listen to the cajun-flavored "Out in the Woods" and you walk away saying this lady is a force to be reckoned with on the already crowded "quirky" music scene.
Then you listen to the acoustic folk or soul of songs like "Paint My Head," "Use Me" and "Steel Morning" and you end up scratching your head. Doesn't matter what the style is, this lady can sing.
The icing on this particular cake is that Vigard operates under the basic premise that her audience possesses the intelligence to get the message of her songs without being beaten over the head or coddled with nice, safe lyrics.
The result is "Kristen Vigard" (Private Music), a bright, intelligent album that crosses all musical boundaries and appeals to all musical tastes.
The album also reflects the fact this a street-smart artist who's been around a bit. She traveled to Southeast Asia as a kid, acted in TV soaps as a teenager, sung in Broadway musicals, sang for coins in Paris subway stations and assorted other travels.
As her publicist says, "Hey, just list to it, and all this will make sense." That's about the only way to explain it. * * * 1/2