Don't know much about neither the artist nor the origin of this track, but it�s, despite being a bit repetitive, flawlessly arranged. Female la-la-la lyricless voice singing the melody, italian soundtrack kind of mood (misleading title that is) with lush strings and good overall arrangement.

brilliant number from the sixties god brian auger assisted by female wonder vocalist julie driscoll can be found on her best of cd title below......
julie driscoll and the brian auger trinity

A very melancholia song. Tricky, with the help of a female singer (though I don't know who) set you adrift the feeling of sadness and depression. If you ever felt like you were nothing from a friend, this is your song.

I Love chrissie Hynde. She is what a female rock star should be strong,talented and earnest.

More godlike melody from monsieur Arnaud Fleurent -Didier. This one, the title track, taken from his tribute to the french singers and songs of his youth (serge, polnareff and son).A largely acoustic number with a bit bossanova, chansons, strings, a female voice and that extra magical melody chord that only Arnaud seems to be in possesion of. You need this man in your life, right now.

This plays during a very creepy/hot sex scene, go figure, from David Lynch's "Lost Highway". The song isn't on the soundtrack and I had to hunt it down seperately.

The mixture of the female singer's flowing voice with the slow guitar, following a step behind, is soothing and gorgeous.

It is a love song but one of sitting lost and alone "at the breakers" waiting for either love to return or to "lie with death, my bride"

electronic, easy listening, female vocals.

Female vocals, song about how love changes people. It was in the season finale of How I Met Your Mother.

D & B rhythm with sexy female vocal overlays

Yes, it's shlocky, but the female voice (Joanie Sommers) goes from syrupy sweet to bad assed babe all in under three minutes. The song is basically about the fact that her boy only talks about his car until she pulls a switcheroo on her sweetness factor. Yes, I said switcheroo,...what of it? It's goofy, but I like it. One for the time capsule to be sure.

Exremely well arranged song, i absolutely love these almost surreal sounding female vocals throughout the song and the harpsicord embellishments, combined with a slightly calypsoed beat, sounds unusual for me for that time. There's something special about it, maybe it's because i could imagine the song in a David Lynch movie, giving it a whole new context, like Bobby Vintons "Blue Velvet" wasn't the same after watching the movie...

50's bollywood song with sort of a tin pan alley vibe.
Kind of intense, really swingin'. Dig the sassy-sounding deliveries beween Kumar and his female vocal partner, and the typically bollywood insane-yet-non-obtrusive bridges.

cat mane MIAOW!

i really want to mix this with "trick me" by kelis.

I can just imagine people sitting in a seedy New York movie theatre on 42nd Street back in 1961 watching a b-movie called "Satan in High Heels". The film is in its last reel and suddenly the main female character comes out on the nightclub stage wearing a leather outfit complete with 6-inch dominitrix boots and a riding crop! The music swells and she starts to sing:
---
i'm the kind of woman, not hard to understand,
i'm the one who cracks the whip and holds the upper hand
I'll beat you, mistreat you, til you quiver and quail,
the female of the species is more deadly than the male.
---
This little film isn't likely to have ever had a soundtrack album which in a way is sad because in addition to this camply little gem there are a couple of other cute vocals by Meg Myles and the other actresses in the film and some great jazz instrumentals sprinkled throughout as well. The fine folks at Something Weird Video have kindly put this little film out on DVD. You can also catch the scene containing this song on their compilation of movie trailers (where I first discovered this film) released to inform people of their DVD catalog.

Richards unique take on this standard is unlikely in the extreme.
Recorded for Vee Jay records in 1964 as am album track it seems it only appeared on 45 an "Oldie".
Almost big band in style it's about as jazzy as richard ever got-so far ! It's available on numerous re-issue albums.

I was heard a female version -same backing but different tune and lyric. I've never managed to find out what it is.

From the minor key trombone intro to the teenage angst of the lyrics, this is a classic song of the 60's that totally encapulates the innocent era of the UK beat boom. Sandie Shaw was probably the best selling UK female singer from 64 to 69, slightly outselling her contemporaries Dusty, Cilla and Lulu and although she possessed a weaker voice than the others, what she lacked in volume she made up in style and interpretation. Sweet and slightly soulful with a quasi tuneless ache to her voice which epitomised a teenager stood up by some beatnik no hoper, she was only 17 and showed the ways of a woman several years older. In the UK it was the follow up to the massive UK No 1 ''Always Something There To Remind Me'' and was a massive Top 3 hit that should have gone all the way to the top.
I love this record - it sums up an era, it is the beginning of a suit of girl singers who changed then style of singing, from 50's twee to 60's ''dolly bird'' and it remains a classic pop single from a girl who held the record for the most No 1 hits for a ssolo female for 19 years

A super-sweet bossa-pop tune. From one of Burt's solo LPs, but actually sung by an unnamed female trio who do magical things with the hypnotically pretty melody line.

A powerful, emotional, sophisticated song, the kind that Brit-girl Julie does the best. Without resorting to mawkish affectation, the sheer hush and force of her voice can make tears well up. This was her final single for the Pye label, and a fitting tribute to one of the most consistantly good careers of all the 60's UK female singers.

Female fronted 60's garage groups are hard to come by, so this song intantly got my attention. I don't know a lot about this band; I happened to come across this song on a comp cd with little info in the liner notes. I'm assuming the band was named after the '64 film of the same title. I do know, however, that some of their stuff was just re-released. This song may have been recorded in '65 or '66. If you're the type that shuns away from buying an entire cd for one song, fear not, there are quite a few gems on this one (including another by this particular group).

60's beat with female vocals (english) and doublepicked & reverbed guitar sound. this song must've been a hit in the 60s because even the dreaded Spotnicks (sweden) have covered it.

Italian film score Bossa Nova featuring lyric-less female vocal.

one of my favourite ultra pop records from the sixties female vocal era.........harmless

This song has become known as one of the quintessential "Now Sound" numbers, and I go a LONG way back with it as far as memories go! As a kid in the sixties I used to love the Benson and Hedges cigarette commercials-although I was very much anti-smoking even then! But the cool theme music and humorous content of these commercials was a hit with us kids. Well, flash forward to the mid-1980's...I was doing my usual record collector thing in a local thrift store and came across an album called "The Dis-Advantages of You" by the Brass Ring, a group that I had several 45s by already. It looked interesting, so I picked it up...and was blown away by the first track, which was that wonderful Benson and Hedges theme that I remembered from childhood. I
couldn't believe my luck in stumbling across it, and
it immediately became one of my all time favorite tracks. The cool, wordless female vocals, whimsical melody, and smooth saxophone playing never fail to transport me back to the 1960's of my youth! I did some research on the song at the time and was surprised to find that it had been a chart hit in the spring of 1967. I was listening to the radio a lot back then and didn't recall hearing it. But rediscovering this recording really was a highlight of my musical development.

The U.K. (or possibly Australian?)group the Settlers do a great job on this Tony Hatch song, sounding somewhat like American contemporaries the Sunshine Company and the Mamas and the Papas. I just love the vocal harmony groups of the mid to late 60's and this is an excellent example of that musical genre. The arrangement is very dramatic and the male-female vocal blend is very well done. This is much more pop than rock, and is definitely one of my favorite Tony Hatch tunes.

A wonderful track. As you may have read elsewhere, Wendy and Bonnie were young sisters who wound up releasing an album on the Skye label, which was owned by Cal Tjader, Gary MacFarland and Gabor Szabo. This recording benefits from some superb session musician work, and opens with a bluesey riff. The arrangement is simple, with a haunting organ joining the guitar and drums, and the Wendy and Bonnie singing and occasionally harmonizing over the top. The voices are clear and carry the melody very well. This short song has a rather enchanting moody feel to it, exemplified by the fade-out ending. The mix of earnest female vocals and great session musicians recalls the Feminine Complex.

When I heard this album by the Brazilian organist Ed Lincoln, I really wasn't expecting a tune like this. It's a beautiful, tender vocal, sounding like something from a Francis Lai soundtrack, with lovely male-female alternating vocals and an exquisite Morricone style trumpet blending well with the guitar/organ/percussion instrumentation. An absolutely stunning track - playful but slightly sad at the same time, with some spooky laughter/sighing from the female singer towards the end.

This song comes from the stellar soundtrack to 1968 film "The Lion in Winter," my first outing w/J. Barry. Wow. The whole album edged out all rock music at parties. This song has a lovely rocking boat-on-water undercurrent to it (Queen Eleanor is being rowed upriver in a barge), with soaring turns-taking female /male voices singing in Latin. It has a little, quiet horn bridge to it, but then the waves of sound come back and die out. Gorgeous. Defintely a winter-feel album (the story takes place at Christmas, too).

spacy female vocal-based sadpop, perfect for cold weather and sunday afternoons. these guys pioneered this kind of music, if you're familiar with white noise,
os mutantes or even broadcast this album is your jackpot.
it's one of the more calm and mellow tracks on the albums, and one of my favourites.
absolutely gorgeus chorus, totally wide, deep string based arrangement.

..And dig the gentle, almost non-audible rhythm track.

I didn't know anything about 'The Lion In Winter' from 1968 until a few days ago. I had the TV on in the background when my attention was grabbed by one particular song in the movie. "That must be John Barry's work", I thought to my self. His use of strings and trumpets are unmisstakable -- and surely I was correct!

'Chinon / Eleanor's Arrival' has the same type of sound as Barry's later soundtracks such as 'Moonraker', 'High Road to China' and 'Out of Africa'. In fact, I first thought I was listening to a passage from 'Moonraker' when I heard this song the first time. The arrangement is brilliant, the lush rich strings, trumpet and female- male choir really makes this song stand out. It has a very majestic, grand feeling to it and it really fits the scene it is used for in the movie.

A superb recording of a really perfect song. Ennio Morricone's theme to the obscure movie 'metti, una cera a cena' (one night at dinner) is here performed in a classic crisp, clear version by Roy Budd. I'm not sure if I love this recording so much because it was the first version I heard, but I think it may even be better than the Morricone recording. Anyway, if you don't know this song, you will probably recognise it when you hear it. It features an infuriatingly catchy repetitive female wordless-vocal over a gentle bossa beat, with rich strings and piano. Every now and then everything goes quiet and all you hear are the vocals and a faint tremelo guitar. It is really amazingly beautiful. There is also a great italian version of this song by Milva, which sounds amazingly like the group Stereolab.

This is a rather ridiculous but super–catchy take on this theme to the 1967 spoof Bond movie. Performed by German session musicians, it ends up being a rather groovy mix, with viola d’amore, flute, female wordless vocals, harpsichord, and that other staple of the Baroque era, funky drums. It’s short and sweet and really very cool. The late sixties were cool for many reasons, but one of them is that they could accomodate TWO albums called 'Bacharach Baroque' - this one, and the other great Snuff Garrett-produced one by 'The Renaissance'. Both are superb.

This is a breakup song with rather anguished male-female vocal harmonies and a great horn arrangement.

Adolfo and Gaspar strike again with one of their biggest hits, this time performed by their own band, a sort of home-grown space-age answer to Brasil '66, with an early Fender Rhodes providing counterpoint to the two female vocalists' ethereal and spacy tones. Irresistibly catchy and with an intriguing overall sound, this sounds like the music the Jetsons would be listening to if they were Brazilian.

Piero sings in a soothing, breath-y tenor... More italian in tone than latin, although,the best comparison i've found is Luiz Henrique.His phrasing reminds me of Luiz as well,but there is no real relation.The backing has a nice spaghetti -western kind of vibe ala' Moriccone,which gives the whole thing a kind of high planes drifter setting,with plucked electric bass, strummed acoustic guitar,and occasional female chorus with a light string arrangement,Very cool.The whole record is really good,and a lot of the songs have a distinctly latin ballad feel.

Barbara Lewis was famous earlier in the sixties for 'Hello Stranger.' This is simple, soulful pop music with a very cool production: crisp drums and nicely orchestrated woodwind on top of rhythmic guitars. Somehow the charm of the recording overrides any feeling that the chord sequence is slightly obvious. Barbara's voice is beautiful here: emotional, yet understated. A small female choir comes in to accompany her at various points. The song is remarkably tight and catchy, with a prominent bass part driving it on. The producer at Stax for this record was Ollie McLaughlin, and I'm now looking out for more stuff that he worked on.

great electronic effects-laden psychedelia from their 1969 album "an electric storm". a spooky and beautiful track with lots of echo and spacy non-melodic digressions. oddly, it stays quite coherent despite all the insane stuff going on in the background. Female singer, beautyful breathy voice, kind of a "nico light-" thing going on.
the track "firebird" from the same album is also highly recommended.

by the way, i�m pretty sure each member of broadcast have their own copy of this album. The song "marooned" on wire's 1978 album "chairs missing" shares some melodic qualities with this track. would probably sound great if mixed together..

(if you're interested in aquiring the whole album, it�s pretty hard to come by, at least in vinyl form. i think it's been reissued on cd by some obscure label, but as i only have a cd-r copy, i'm not sure. side a is very good, but from what i heard they ran out of studio time, forcing them to make side b a bit more...shall we say, "experimental" in order to make it lp lenghth...)

An underrated, forgotten gem of perfect sunshine pop. Why this is rather little known is completely beyond me, since the song just has it all: breezy, swirling, lush strings, tight rhythm section, sweeping french horns and great male/female vocal harmonies. It's an uplifting uptempo song, pretty much in the vein of the 5th Dimensions' "Up, Up and Away".

This is a very beautiful track.

Very 'West Coast' late-60's sound. Quite reminiscent of Jefferson Airplane.

Very sweet, very melodic/melancholic.

Strings. Strong female lead vocal.

I originally heard it many years ago on a vinyl album by a group called 'Mojo' which is what The Mojo Men were apparently calling themselves in 1969.

I searched for the song for years, confused by the change of name & eventually found it on their CD compilation.

It's another one of those songs that should have been very succesful, but was just stuck in the middle of a flop album

What a winning track! Opening with Morricone-style 'boing' sounds, this is a sexy, funky pop song with interchanging female/male vocals and pounding drums.

The sub-genre of pop songs in this style, featuring flirting and laughing alongside groovy 60s backings, is under-appreciated. I can think of a few more examples: Piero Umiliani's 'Flirt a Rio', Marcos Valle's 'Ele e ela', and my previous recommendation, Ed Lincoln's 'Bon-jour'. Mina's 'Parole Parole' almost fits as well, although the interplay there is a bit more dramataic than flirtatious.

Confusingly, there's another track called "Love, L'Amour, Amore" by Gerhard Heinz, which appears on the "Melodies in Love" compilation of his work. But I gather from hearing a clip that this is a different track altogether.

ultra-trippy middle east-influenced song celebrating the joys of gasoline, from french avantgarde easy listening composer/arranger michel magne. very heavy in the strings department.
it sounds like it was written for a commercial or something, what with the moany female vocals and all, but my french is pretty goddamn terrible, so i wouldn't know:)

60's piece of female vocals wall-of-sound power pop.
it's got handclaps, it's got tambourine, it's catchy as hell. it's just the wrong side of kitch.
I love it.

Another wonderful Morricone piece. Taken from the first Dario Argento movie "L'uccello dalle piume di cristallo ", this track has all the typical Morricone trademarks of that time. The first bars of the song would easily be mistaken for an early Jobim song, kicking off with a soft bossa nova style drum pattern and accoustic guitar, but when strings and melody joins in, with lyricless la-la-la female voices, this is definitively Morricone.

A great, very represantive Easy Listening/Bossa Nova song. The lyrics is acctually Websters dictionary's description of love. I know this song has been recorded on some other Dorough album but this is the definitive version. It has a great female choire and a nice bossa groove. Really a must! The record containes a bunch of other grat songs like I'm hip, The stranger and oblai de oblai da.

Beautiful vocal song from a little known italian soundtrack. The italians just couldn't do no wrong in the late 60s/early 70s, this just floats gently along with a flutes, harpsicord, sweeping strings and chorus. Nice, light vocals on top of it, can't identify the female vocalist though.

This is one of these sensationally sensual, wonderful instrumental tracks only the italians could pull off in late sixties/early seventies. This is the title theme to "La morte cammina con i tacchi alti/Death walks on High Heels", one of the numerous gialli (thriller movies with that special italian touch) to come out of italy in heavy doses from the late sixties up to the mid seventies. Wonderful scores have been one of the constitutive elements of these films and while the scores that Ennio Morricone did for these movies (e.g. "L'ucello dalle piume di cristallo/Bird with the crystal plumage, "Cosa avete fatto a Solange/What have they done to Solange", Una lucertola con la pelle di donna/Lizard on a womans skin" or "Le foto proibite di una signora per bene/ Forbidden fotos of a lady above suspicion") have been long released, a lot of excellent music is still locked up in the vaults of CAM, Cinevox and other italian soundtrack labels. Thanks to the hard work of the guys at DigitMovies a lot of these scores now successively get a proper, remastered release (often for the first time ever), music otherwise would have been lost in oblivion forever. Stelvio Cipriani may not be remotely as well known as Morricone (who, naturally, overshines just every other italian composer), but he was very prolific in the heyday of italian cinema, scoring an equally wide range of different genres from westerns to gialli and from romantic movies to italain police (so called "poliziotteschi") and crime movies. This title track of "La morte cammina con i tacchi alti" doesn't have to hide behind the best of themes Morricone did, in fact the orchestration does sound very Morricone itself with an uptempo-ish bossa nova beat, lush strings, wonderful harpsicord and a female voice carrying the main melody with a bitterweet tone. The voice is delivered by Nora Orlandi, one of the very few female soundtrack composers and she could easily be mixed up with Edda Dell'Orso here. Wonderful stuff, recommended for anyone who enjoys the "Mondo Morricone" comps.

The opening track on the 1972 album 'Quarteto em Cy,' this is an interpretation of a Chico Buarque song, written for the film of the same name by Cac� Diegues. I find this recording very affecting. It helps that the spectrum of sound is that kind of superb blend of strings, piano, bossa nova guitars, and female vocals that I find so perfect. But I think it's also just the fragile, melancholic atmosphere of the song that gets me. After the introduction, featuring a flowing string arrangement that reminds me of the work Claus Ogerman did with Jobim, the song gets going, and the mood becomes a little lighter. This album has just been reissued on CD in Brazil, and is highly recommended.

This is an uptempo, light bossa nova vocal interpretation of this song, very much in the vein of the classic Sergio Mendes & Brasil '66 sound. Very nicely arranged male/female vocal harmonies, superb electric harpsicord and swirling, lush strings really make this version quite outstanding and contrasting to the Perry Como version, who popularized this song a year earlier.

actually, this is a german advertising-song from 1973. i wonder how advertising was in those days, since this track lasts 2:56min.
found on popshopping, a compilation with old funky german advertising-songs issued by the lable crippled hot dick wax, where you can find many of those obscure old recordings. for example shake sauvage. a compilation with old french film soundtracks. great catchy tunes in there, too!
anyway, christian bruhn is rather known here in germany. he wrote a lot of hits and a great soundtrack for the 70s/80s cartoon/anime series captain future.
this one is funky and catchy, with female "aaaaah" singings and great brass hits (which i like more and more....)

Incredibly breezy, silky smooth and gentle sounding tune this one. With a laid back samba rhythm, male/female wordless vocals some soft strings in the backround and some electric and acoustic guitars thrown in, this track is a great example for Martin B�ttchers superior talents as arranger and orchestrator. The whole compilation "Sound Kaleidoscope" is very well done, featuring 25 tracks from the mid 60s to the mid 70s. Highly recommended.

This is so wrong; it ends up being right somehow. On paper, this cover is a car wreck. Barbara takes on Bowie�s brilliant, epic ballad of camp surrealism � his homage to big, theatrical female belters like Judy Garland, Shirley Bassey and�Streisand, herself � and the song escapes her utterly. Her delivery sound like she learned the lyrics phonetically. (She might as well be singing in Cantonese.) And Jon Peters� production/Tom Scott�s arrangements bring to mind the cool, �L.A.-sound� of Joni Mitchell�s �Court and Spark� LP � minus all the clever bits Joni brought to the table. Yet it spite of all of these faults � this version works. The song is just too good, and Babs� charisma is just too powerful. It�s a [Space] oddity you�ve got to hear to believe.

Incredible piece of music recorded in the mid seventies by Pierre Porte.
Named after the fourth moon of Jupiter, Ganymede (and its twin "Femmes plantes", also included in this budget MFP release) can be describe as more or less similar in instrumentation and mood to Alain Goraguer's "La plan�te sauvage" o.s.t. Eery wordless female vocals, fuzz guitars, strings section...Strikingly beautiful, no less.

Belle Epoque (or La Belle Epoque as they were billed in the UK, presumably to further Francophy them) get shoved in that black hole of Eurodisco, based on the evidence of their perky 1977 cover of Black Is Black. Were I not a Eurodisco weirdo who is more than happy to delve into the careers of various sequin-chested nobodies I would never have learned the truth.

This song is as glam-rock as they come. The sound of Miss Broadway is that of a female Noddy Holder, complete with that talking-over-a-hairdryer voice. The orchestration is crunching and stomps all over the disco beat holding it all together.

In short: Silver Convention's older sisters who secretly like Wanda Jackson.

How best to describe such a tableau as this? Another Indian gem imprinted into my brain from my recent holiday.

Parts of this song are so much like the Grease 2 soundtrack in spirit it's untrue. Mix that with the kind of Hindi film beats that have become close to my heart over the last couple of months and you're talking about the kind of song which will keep me awake thinking of its greatness.

The female backing vocals are the cherry on the crumble. You can just picture the wide eyed lovely saying "An-thony GONSALVES!!"

Nico Fidenco scored all of the infamous "Emanuelle Nera" movies and these are a demonstration of pure, unadulterated sleaze, but very solidly arranged and composed with wordless female vocals, rich strings, flutes, horns, trumpets, percussion etc. All scores were released seperately in Japan, but for a very nice introduction the Dagored compilation "Black Emanuelle's Groove" is sufficient.

One of the most nonsensical song title ever, yes, I know and much derided for that reason, but to quote Otis Redding when told his lyrics didn't make any sense, "I'm gonna worry about settin' the groove. I get that groove going, they don't care what I say." Boogie Oogie2 has got groove to spare, with a jazzy intro (similar to Boogie Nights by Heatwave) before that bass line drops in shakes the floorboards. Just like all the dance craze songs of the 60s, the disco era about vocals were mostly used as a counterpoint to the rhythm section. The Mizell brothers add a touch of sophistication to this female-led band (Hazel Payne and Janice Marie Johnson on bass and guitar - they're the ones on the awesome album cover) which is a step further in the commercial direction after their work with Jazz Funk kings like Donald Byrd, Gary Bartz and Johnny Hammond. This song is up there with G.Q.'s "Disco Nights (Rock Freak)" and anything by Chic in the sophisticated disco category.

Trumpet, strings & a subtle jangly sound begin this song in a way that suggests a tale of heartbreak, as Burt Bacharach can do it. Then piano and wordless female vocals join, in a chorus that seems to say love or redemption is going to come. And this is done in a Todd Rundgren way, as on his Something/Anything album. Then it repeats, and you're redeemed again. Two winsome influences are combined in this sound library recording for a real slice of heaven.

Sublime bossa from Japan's Himiko Kikuchi. The sound of a soprano sax causes many to reach for the "off" switch (thanks Kenny G!), but Himiko has made it not only acceptable again, but almost hip (almost!). The song starts off with baby noises, before wordless, female vocals come in and introduce the memorable melody. It then moves into a suitably paced bossa rhythm. I have been listening to this track for a few years now (courtesy of Compost Record's "Gl�cklich IV" compilation), and I just can't tire of it. It's one of my all time favourites.

A beautifully clear female voice emerges out of a rich synth backing of subtle harmonies provided by Bob Noble. Judie Tzuke (best-known for "Stay with me till dawn" of 1979 which was a minor UK hit) recorded a number of excellent tracks over the years. A reviewer on Amazon describes her as the "fifth biggest selling British female singer between 1980 and 1985", but I'd almost forgotten about her until I stumbled across one of her albums on CD in a shop the other day, prompting a return to some of my LPs and tapes.
This particular track has long been a favourite of mine for its emotional depth, but for whatever reason it's been a long time since I heard it. It would have helped had I been able to buy it on CD - unfortunately it doesn't appear to be available on any current disc.

A dour but sincere take on Liverpools finest,Mr Chippington narates this love song in the third party promising a female friend that if he see,s her love he will indeed tell him that "she loves you".Teasingly short and breezy set to lounge core backing,if the irony is missed it could sound twee or contrived but its sincere delivery endears the listener and involves him or her in an ongoing domestic upset .A unique approach to one of the most optimistic love songs of all time

This song is from Annie's debut self titled album. If you enjoy that new age celtic sound, this is a song that you shouldn't miss.

Annie's voice has a haunting quality about it...without sounding like every other female vocalist in her genre. Her music is definitely worth taking a second listen to.

Great bopping beats and a fantastic chorus. Lyrical content is Neneh's stalwart, female rivalry.

I went to a fancy dress party as Neneh once. Someone told me I looked more like Martika...

Woohoo! My first recommendation.
Bernard Kawka, one time vocalist for the Novi Singers, recorded this little dancefloor filler in 1989. It has a slight Steely Dan/Donald Fagen sound and feel to it, which doesn't usually grab my attention in this way, but this really is a fantastic track. Great arrangements by Bernard too. He's joined by Polish female vocalist Ewa Bem who was in a Novi-esque vocal group in the 70's named Bemibem. I'd never heard of this group before buying the compilation that "Sky's the Limit" is found on. The comp is titled "Holding Hands - Rare Jazz/Fusion Gems From Polish Vaults Vol. 2". It's on the English label "Cosmic Sounds", which must've passed me by because they've been releasing compilations for at least the past 4 years and I hadn't come across them before. The "Holding Hands" comp is really suprisingly good. Every track is a winner.

* P.S. Please excuse the MP3 quality. I wanted to fit as much of it in as I could.

A super-simple, super-charming innocent indie pop song from the hazy summer of 1990. The popguns were a nice jangly guitar band with a female singer and the old drummer from the Wedding Present. Their best songs really are excellent; I'm slightly surprised to find myself still enjoying them after all these years.

"this is so real, it's what i feel. i look in your eyes and lose myself" this song is a great dream-poppy ditty about someone falling in love with falling in love... which is kind of cheesy in a sense... but Lush just does it so amazingly. I really like how this band really embraces their girly-ness and doesn't try to act like their trying to keep up with the boys as many female-led bands from their era were doing. the background vocals are amazingly beautiful as are the guitar solos. There's a nice, lush, romantic feeling received from listening to this song. the imagery from the aforementioned lyric is very nice as well.

A lesson in how to make despair sound appealing and seductive. An under played female vocal relays the vision of an unhappy soul to surreal lyrics and lush orchestration and all distilled and inspired into the name of a building firm seen on the side of a van "Hobart Paving" ,a real building firm still in existence .
Reminiscent of Brian Wilson and The Zombies at their most reflective and a french horn solo that will give you a lump in the throat .

On a trip to London in 1995 I went to a club the first night and heard a wonderful driving song with smotth female vocals and interesting guitar. I didn't find out what it was. The next night some friends said "come with us to see this band we think you'll like." The first song they played was the one I liked some much the night before!

Don't let the name throw you, this is an excellent french song. It's alternative a bit poppy but a punk feel too. and great lyrics for those french speakers. Post-grunge era song, something like a female french radiohead. Somewhat.

I like that it is a revenge song sung by a female.

Fantastic vocals, as usual for Celine Dion. Powerful, with almost a gospel feel.

One of the best slovenian bands, it's the best in slovenian rock. They sound like a punk version of Sonic Youth, it's unique sound. Their lyrics are in English. They have a female vocalist.
This is the first song from their debut album wich was released 1998 or 1997 (sorry, I forgot).
It's very energetic. It was recorded live at an old Slovenian castle. The other song that stand outs from this album is Air Rager. This album is great.
If you like it you should also check their other albums: Autoerotic, Desinvoltura. If you like inovative fresh rock sound, you must check out this band.

This is a great intro to a CD because it's a direct tribute to the Fat Boys...which I loved as a kid, and have a tough time finding material from. Anyway, the song is a short bit, with great female background and a catchy little clapping type beat.

This is Arnaud Fleurent Didier's earlier project, Notre-Dame, and I have to say that whatever it is that influences this guy is worth noting. He's the man that's really behind frenchtouche.com records, which is obvious when you look at the credits of every track on the site that's worth a damn, because if it's good its because he produced it. Ema Derton, the female vocalist on this track, shows up in a lot of the music on the label, whose voice reminds me of Mo Tucker, the girl who sings "After Hours" with the Velvet Underground. It's just clear beautiful and innocent.

A stunning instrumental from the Dutch duo Arling & Cameron, whose tunes are often more jaunty and upbeat than this one, which is a more moody, atmospheric number. Using similar synth sounds to some of Massive Attack's best work, live strings, a wordless female vocal and a nicely picked acoustic guitar sound, they weave together an intoxicatingly brilliant blanket of sound.

What a depressing yet beautiful song... I was thinking of recommending this when I first heard it, but today it fits my mood better and I feel compelled to do so. Bertrand Burgalat's production mixes modern beats and bleepy sound with strings, alongside Cinnamon's old-school tuneful indie guitar pop with a female vocalist. God, this song is depressing; did I say that yet? But it's one of those depressing songs that's actually glorious to hear, accompanied as it is by beautiful, rousing music. The vocal is rather tender; as if she's sympathetic about what a fuckup the listener is.

Those uplifting lyrics in full (actually, there's more, but I'll spare you):
"when you were young/you had the sun in your eyes/the grass was greener/the days were sweeter/in the next life/you know where you came from, but there's no sparkle in your eyes/you're gonna die/and there's nothing in between to shout about'.

Why would you want to listen to something like that? I'm not sure, but I have it on repeat play today; check it out!

What a great blend of electronica and easy listening this track is. Think of it as a trippy, chillin' "A Summer Place" in outer space with gentle male/female vocals, some french whisperings and sparse, delicate electronica intertwined with the memorable, lush string melody sample of "A Summer Place".

The first lady of the Flipmode Squad. Amazing. Her voice is deep and rasping, tough and hard. She doesn't fall into the traps set for so many other female MCs - "looking pretty in the video", to quote another of her songs - or coming across uber-sexed, or singing any bloody ballads.

She rhymes with precision and with more than a dash of humour. Sounds as fresh as it did 4 years ago, and makes me frustrated for that long overdue second album.

This is quite a serious question if you ask me, but then again, this might not concern too many people and unfortunately The Crooner isn't able to give an answer. But if you expect some mockingly ironic, tongue-in-cheek lyrics about mademoiselle Longet it surprisingly isn't. It's quite on the contrary actually, a heartfelt homage, though rhyming "footsteps on the sand" with "pussywillowland" might appear cheesy of course. The music itself is a fluffy piece of indie-pop with a bittersweet tone, with soft male vocals, soft synths, a great vibraphone playing throughout and some airy, well, Longet-esque female vocals in the background.

Another Electro-Clash stomper that downshifts to gain that extra boost of energy to pass the competition. Again, unknown female vocalist "Melistar" appears, and often is mistaken for Miss Kittin.

A great track from the excellent "solo" LP by the Portishead vocalist (actually it’s a collaboration with Paul Webb - one time member of sublime 1980's pop group Talk Talk - calling himself Rustin Man for some reason.) The arrangement suggests a low-key take on one of Bacharach/David's statelier ballads, (like say "Aprils Fools" or "Trains and Boats and Planes"), which develops a wonderfully sad groove on the chorus. There are lovely strings, a great, woozy horn solo, and some inspired use of subtle, dissonant electronic textures and spooky female background vocals (both very Ennio Morricone.) Meanwhile, Gibbons does her most stylized take on Billie Holiday at her most stylized - which really shouldn't work, but somehow ends up being just right. Strong song from a very strong album.

You may remember Annie from her/their housey dancefloor number of a year or two back "The Greatest Hit".

Well, they've come back with this, a sublime downbeat track with a lush-yet-delicate female vocal. Instrumentally, it reminds me of a slower, swinging P-funk number, quite minimal beats but funky as all hell (in a chill kinda way).

Absolutely beautiful -hard to find but worth looking.

Originally a limited-release 7" on Norwegian label Telle, and quickly licensed by UK house label Loaded -it appears on a sampler they released late 2002.

This track is so beautiful. I love songs that combine male and female voices, and this song is just so moody, and slow and perfect.

Nujazz maestro extraordinaire has taken Alemaro Romero's "Tema de la Onda", a Sergio Mendes-style light vocal bossa number, and turned it into a jazzdance smasher.

Conte takes the female lallation-like vocals and a simple two note piano riff, adds his trademark samba/dance-skewed percussion work with a huge shaking piano breakdown, and creates a number that would have been as much a dancefloor filler in the 70s as it is today.

This is from "Flying Saucer", which for me is the record of the decade. It's electronic synth-pop w/ 2 female vocalists. There's an youthfulness and innocence about the music that makes me think it'd be a good soundtrack for a manga. There's some grown up melancholy there, too, on some of the songs.

This song protests against our media-bombarded American culture and has fantastic vocals. Here is a little-known singer who should be famous.

This Ian's new band is nothing like Fugazi, it's all acoustic now, there is also a female vocalist (who is also the drummer) and lineup is minimal (Only Ian and
Farina). Ian plays barritone guitar, Farina plays drumms. They both sing. This and "You won't feel a thing" are the best songs from their debut album.

It's in waltz time, with a strummed electric guitar intro followed by female vocals, bass & drums. There's a short female vocal counterpoint part, then the louder chorus. Towards the end the song changes key with a solo guitar figure, joined then by bass, then the the synth & drums enter in a musical explosion that's really cool.
I did'nt like this song at first, liking the rest of the album("Winds Take No Shape") better but the song has grown into one of my favorites on this record.
The full album is one of my favorites of the decade, second only to "Flying Saucer" by Astronaut Wife.

A delicious slice of indie-pop. Very european sounding (influences by early Cardigans, Saint Etienne and Birdie spring to mind), this duo (consisting of Evelyn Pope & Bill Cowie) are actually from Boston. With all ingredients properly in place to conjure up images of a breezy summer day: Warm, analogue keyboards, horns, trumpets and some joyful flutes (played and arranged by Z� Luis) and very light and breezy female vocals.

The third in a series of 3 linked postings, the other being White Rabbit and the original Jefferson Airplane version of this song.

It probably wouldn't be unfair to describe this as a fairly cheese-y dance cover of the Jefferson Airplance song. It puts a fairly similar sounding vocal over a dance track, with some extra squelchy noises.

I would never have thought the world needed a dance version of this song, but its good fun, and it fills the gap when you have one of those need-to-hear-a-disco-fied-version-of-a-60s-goth-classic moments.

Where it gets really wierd, though, is the video. The singer is a fairly genericvideo female without many clothes on. But she's shot as if she's a giant lying across several fields. And then you see a number of babies parachuting out of an airplane, and eventually landing on top of her. You could say its tasteless, crass, sexist or all three (and I probably would), but its kind of nutty enough to suit what there is of the howling vocal.

Raw, passionate and abrasive female vocals.
You may like this band if you like any of the following:
Sleater-Kinney
Helium
Blood Red Shoes
Blonde-Redhead
Le Tigre

Soft melody, breathy female vocals, bells, catchy rhythm.

Watch the music video.

A beautiful slice of country, a little too classic to be Alt.

I really enjoy a male / female, duet on a country, i dont think Kurts voice is strong enough on this album, but it hits it for this song!