Mary Ann Redmond's powerful, passionate voice inspires critics to poetic heights. Dan McClenaghan, reviewing her Prisoner of the Heart CD for this site, wrote: she can belt it out to shake the walls down or caress a lyric like she's petting a cat." Goldmine admired her ability to go from a fragile whisper" to a riveting roar." Others use words like soulfulness," sass" and spine-tingling," and compare her to everyone from Judy Garland and Etta James to Janis Joplin, Dusty Springfield, Aretha and Tina. Guitarist/singer-songwriter Redmond has been popular for a decade in the D.C. area where she lives,headlining at ...read more
Washington, D. C.'s Mary Ann Redmond must have been weaned on the albums of Aretha Franklin, Lee Dorsey, Gladys Knight (with and without the Pips) and other soul artists who claimed their place in the annals of American Popular Music during the 1960's and beyond. This urbanization of rhythm and blues eventually migrated into a pop oriented sound as all "new" musical styles seem to end up. The music became harder and tougher, relying on syncopated rhythms, raw vocals, and blaring horns. To her credit, Redmond uses the traditional soul, R & B vehicles such as the guitar, organ, sax ...read more
It would be hard to find more soul on a current CD than you'll get on Mary Ann Redmond's Prisoner of the Heart. Maybe on Solomon Burke's latest, but that's about it. Redmond's voice is an awesome instrument; she can belt it out to shake the walls down ("Since I Fell for You") or caress a lyric like she's petting a cat (her original, That is All"), on a set that sounds like something out of a late '60's Atlantic Records session, the rawer, more powerful end of the R&B spectrum. Early Aretha, Otis Redding, Wilson Picket come to mind ...read more
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