Cordell Jackson

Cordell Jackson (July 15, 1923 – October 14, 2004) was an American guitarist thought to be the first woman to produce, engineer, arrange and promote music on her own rock and roll music label. 

She was born Cordell Miller in Pontotoc, Mississippi, where her father led a string band, the Pontotoc Ridge Runners. As a child she learned guitar, piano, and double bass, and soon began performing in her father's band and on radio in Tupelo. In 1943 she settled in Memphis, Tennessee, where she joined the Fisher Air Craft Band and wrote songs. After installing recording equipment in her home, she recorded demo records for Sam Phillips before he set up Sun Records.

Jackson founded the Moon Records label in Memphis in 1956. Unable to break into the Sun label's stable of male artists, she received the advice and assistance of RCA Records' Chet Atkins in forming this new label to release her music. She began releasing and promoting on the label singles she recorded in her home studio, serving as engineer, producer and arranger. The artists recorded included her and a small family of early rock and roll, rockabilly, and country music performers she recruited from several Southern states.  

Tav Falco's Panther Burns and Alex Chilton helped create new interest in her career in the 1980s when they began covering some of her Moon label's old singles such as "Dateless Night", a song she originally wrote in the 1950s for Florida artist Allen Page. Jackson then began playing occasional shows in the 1980s with her signature red Hagstrom electric guitar as a solo artist in Memphis, Hoboken, New York, and Chicago nightclubs. She recorded new material on her label with Memphis musicians Colonel Robert Morris and Bob Holden, becoming known as a "rock-and-roll granny" solo guitar instrumentalist. She appeared in 1991 and 1992 on national talk shows like Late Night with David Letterman and in a television commercial duelling with rockabilly artist Brian Setzer on guitar. 




In the late 1990s, Cordell co-wrote and played with the Rockabilly icon, Colonel Robert Morris in Memphis. Colonel Robert also helped edit the book based on her life and career. Her Moon Records label was the oldest continuously operating label in Memphis at the time of her death in 2004. The 50's Rock on the Moon of Memphis, Tennessee + an Oddity, a compilation album of the label's 1950s singles, was released on vinyl in the early 1980s and was later sold on compact disc until her death in 2004. The original 1950s vinyl singles compiled on that album have been displayed at the Rock and Roll Hall of Fame in Cleveland, Ohio. She also released video singles through her label in the 1990s, including "Football Widow" and filmmaker Dan Rose's production of "The Split." Her marketing of her own video singles, as opposed to marketing them in multiple-song video collections, is reputed to be another first in her innovative lifetime of doing things her own way, bucking the trends of standard industry practice. Jackson's only solo full-length album to date, Cordell Jackson — Live in Chicago was released on Bughouse Records in 1997. Information and memorabilia about Jackson is included in the Memphis Rock N' Soul Museum in Memphis. 




She died in Memphis in 2004, aged 81.

Bessie Smith

Bessie Smith (April 15, 1894 - September 26, 1937) was an American blues singer. Nicknamed the Empress of the Blues, she was the most popular female blues singer of the 1920s and 1930s. She is often regarded as one of the greatest singers of her era and was a major influence on fellow blues singers, as well as jazz vocalists.

To earn money for their impoverished household, Smith and her brother Andrew began busking on the streets of Chattanooga. She sang and danced as he played the guitar.  Smith's recording career began in 1923. Despite her success, neither she nor her music was accepted in all circles. She once auditioned for Black Swan records and was dismissed because she was considered too rough. 

Bessie Smith was signed to Columbia Records in 1923 by Frank Walker, a talent agent who had seen her perform years earlier. Her first session for Columbia was on February 15, 1923; it was engineered by Dan Hornsby. For most of 1923, her records were issued on Columbia's regular A-series. When the company established a "race records" series, Smith's "Cemetery Blues" (September 26, 1923) was the first issued. Both sides of her first record, "Downhearted Blues" backed with "Gulf Coast Blues", were hits. Smith became a headliner on the T.O.B.A. circuit and rose to become its top attraction in the 1920s. Working a heavy theater schedule during the winter and performing in tent shows the rest of the year (eventually traveling in her own railroad car), Smith became the highest-paid black entertainer of her day. Columbia nicknamed her "Queen of the Blues," but the press soon upgraded her title to "Empress of the Blues". Smith's music stressed independence, fearlessness, and sexual freedom, implicitly arguing that working-class women did not have to alter their behavior to be worthy of respect.

Smith had a strong contralto voice, which recorded well from her first session, which was conducted when recordings were made acoustically. The advent of electrical recording made the power of her voice even more evident. Her first electrical recording was "Cake Walking Babies [From Home]", recorded on May 5, 1925. Smith also benefited from the new technology of radio broadcasting, even on stations in the segregated South. For example, after giving a concert to a white-only audience at a theater in Memphis, Tennessee, in October 1923, she performed a late-night concert on station WMC, which was well received by the radio audience. She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, notably Louis Armstrong, Coleman Hawkins, Fletcher Henderson, James P. Johnson, Joe Smith, and Charlie Green.

 Songs like Jail House Blues, Work House Blues, Prison Blues, Sing Sing Prison Blues and Send Me to the 'Lectric Chair dealt critically with important issues of the day like the chain gang, the convict lease system and capital punishment. Poor Man's Blues and Washwoman's Blues are widely considered to be an early form of African American protest music. What becomes evident after listening to her music and studying her lyrics is that Smith emphasized and channeled a subculture within the African American working class. Additionally, she incorporated commentary on social issues like poverty, intra-racial conflict, and female sexuality into her lyrics. Her lyrical sincerity and public behavior were not widely accepted as appropriate expressions for African American women; therefore, her work was often written off as distasteful or unseemly, rather than as an accurate representation of the African-American experience. Her work challenged elitist norms by encouraging working-class women to embrace their right to drink, party, and satisfy their sexual needs as a means of coping with stress and dissatisfaction in their daily lives. Smith advocated for a wider vision of African-American womanhood beyond domesticity, piety, and conformity; she sought empowerment and happiness through independence, sassyness, and sexual freedom. Although Smith was a voice for many minority groups and one of the most gifted blues performers of her time, the themes in her music were precocious, which led to many believing that her work was undeserving of serious recognition. 

On September 26, 1937, Smith was critically injured in a car crash on U.S. Route 61 between Memphis, Tennessee and Clarksdale, Mississippi. She  was taken to the G. T. Thomas Afro-American Hospital in Clarksdale, where her right arm was amputated. She died that morning without regaining consciousness.

 

The Anemic Boyfriends

The Anemic Boyfriends hailed from Anchorage, Alaska and there were three enigmatic sisters in the band, Maggie Johnson, Ellen and Louise Disease. The band was first called The Blond Bitches from Hell and Their Anemic Boyfriends.

Their family moved to Anchorage in 1963, when Louise was 4, Ellen 6 and Maggie 16.  Maggie moved out of the house at 17 to go to college and then lived in Berkeley from 1969 to 1970.  In 1979 Maggie and he husband John Firmin returned to Alaska to visit their families and when they were hanging out with John Lee they were talking about the male dominated rock scene, and their comments on, attitudes about and activities with women and Maggie made the comment "Guys are not proud, they'll stick it anywhere". Maggie did the lyrics and was recorded in the basement of a fur store in downtown Anchorage in the winter of 1978-1979. The guitarist, drummer and bass player were people that played in bands around town. Louise did the vocals. Ellen and Maggie did the minimalist cover art and lettering and the record came out on Red Sweater Record in 1980.

The B side was a song that John Firmin did called Bad Girl in Love. The single was a small hit on college radio and John started trying to form a band to perform in San Francisco. 

In the summer of 1980, they got a band together consisting of guitarist Dave Jones, drummer Dave Tremper, guitarist Chris Goddard, Louise Disease on vocals, saxophonist Miriam Cutler and back-up singer Nancy Bromberg they played some punk festival in San Francisco and they recorded a full album on cassette tape. They also released another single, Fake ID. 

The band played The Mabuhay Gardens and The Stone in San Francisco, opening for Flock of Seagulls in 1982 and after that the group fell apart and disbanded in 1983.

Billie Holiday

Eleanora Fagan (April 7, 1915 - July 17, 1959), better known as Billie Holiday, was an African American jazz singer with a career spanning nearly thirty years. Nicknamed "Lady Day" by her friend and music partner Lester Young, Holiday had a seminal influence on jazz music and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo. She was known for her vocal delivery and improvisational skills.

As a young teenager, Holiday started singing in nightclubs in Harlem. She took her professional pseudonym from Billie Dove, an actress she admired, and the musician Clarence Holiday, her probable father. The young singer teamed up with a neighbor, tenor saxophone player Kenneth Hollan. They were a team from 1929 to 1931, performing at clubs such as the Grey Dawn, Pod's and Jerry's on 133rd Street, and the Brooklyn Elks' Club. Benny Goodman recalled hearing Holiday in 1931 at the Bright Spot. As her reputation grew, she played in many clubs, including Mexico's and the Alhambra Bar and Grill, where she met Charles Linton, a vocalist who later worked with Chick Webb. Late in 1932, 17-year-old Holiday replaced the singer Monette Moore at Covan's, a club on West 132nd Street. Producer John Hammond, who loved Moore's singing and had come to hear her, first heard Holiday there in early 1933. Hammond arranged for Holiday to make her recording debut, at age 18, in November 1933, with Benny Goodman. She recorded two songs: "Your Mother's Son-in-Law" and "Riffin' the Scotch", the latter being her first hit. "Son-in-Law" sold 300 copies, but "Riffin' the Scotch", released on November 11, sold 5,000 copies.

In 1935, Holiday was signed to Brunswick by John Hammond to record pop tunes with pianist Teddy Wilson in the swing style for the growing jukebox trade. They were allowed to improvise the material. Holiday's improvisation of melody to fit the emotion was revolutionary. Their first collaboration included "What a Little Moonlight Can Do" and "Miss Brown to You". "What a Little Moonlight Can Do" has been deemed her "claim to fame". Brunswick did not favor the recording session because producers wanted Holiday to sound more like Cleo Brown. However, after "What a Little Moonlight Can Do" was successful, the company began considering Holiday an artist in her own right. She began recording under her own name a year later for Vocalion in sessions produced by Hammond and Bernie Hanighen. Wilson and Holiday took pop tunes such as "Twenty-Four Hours a Day" and "Yankee Doodle Never Went to Town" and turned them into jazz classics. 

In late 1937, Holiday had a brief stint as a big-band vocalist with Count Basie. The traveling conditions of the band were often poor; they performed many one-nighters in clubs, moving from city to city with little stability. Holiday chose the songs she sang and had a hand in the arrangements, choosing to portray her developing persona of a woman unlucky in love. Her tunes included "I Must Have That Man", "Travelin' All Alone", "I Can't Get Started", and "Summertime", a hit for Holiday in 1936, originating in George Gershwin's Porgy and Bess the year before. Holiday was hired by Artie Shaw a month after being fired from the Count Basie Band. This association placed her among the first black women to work with a white orchestra, an unusual arrangement at that time. This was also the first time a black female singer employed full-time toured the segregated U.S. South with a white bandleader. In situations where there was a lot of racial tension, Shaw was known to stick up for his vocalist. 

Holiday was recording for Columbia in the late 1930s when she was introduced to "Strange Fruit", a song based on a poem about lynching written by Abel Meeropol, a Jewish schoolteacher from the Bronx. When Holiday's producers at Columbia found the subject matter too sensitive, Milt Gabler agreed to record it for his Commodore Records label on April 20, 1939. "Strange Fruit" remained in her repertoire for twenty years. She recorded it again for Verve. The Commodore release did not get any airplay, but the controversial song sold well, though Gabler attributed that mostly to the record's other side, "Fine and Mellow", which was a jukebox hit.




Throughout the 1940s, Holiday had mainstream success on labels such as Capitol and Decca. By 1947, Holiday was at her commercial peak, having made $250,000 in the three previous years. By the late 1940s, however, she was beset with legal troubles and drug abuse. After a short prison sentence, she performed at a sold-out concert at Carnegie Hall. She was a successful concert performer throughout the 1950s with two further sold-out shows at Carnegie Hall. Her final album, Lady in Satin, was released in 1958. Holiday died of cirrhosis on July 17, 1959.

Kleenex - LiLiPUT

LiLiPUT were a Swiss punk band active from 1978 to 1983, initially known as Kleenex. According to AllMusic, the band "made some of the best, most adventurous, most exhilarating, and most critically derided music" of the punk rock era.

The group formed in Zurich in 1978 under the name Kleenex, with a line-up of Regula Sing (vocals), Marlene Marder (Marlene Marti, guitar), Klaudia Schiff (Klaudia Schifferle, bass, vocals), and Lislot Ha (Lieselotte Hafner, drums). After releasing an EP in Switzerland, the band were signed by Rough Trade Records and released their debut single "Ain't You" in November 1978. In early 1979, Sing was replaced by Chrigle Freund, who was later replaced by Astrid Spirit (Astrid Spirig).

The band's second single "You" was their last under the Kleenex name as the threat of legal action by Kimberly-Clark in 1979 prompted a change of name to LiLiPUT (Kleenex being a proprietary brand in Switzerland). The band released two further singles, both of which were hits on the UK Indie Chart, before releasing their first, self-titled album in 1982. A second album, Some Songs, was released in December 1983, by which time the band had split up.

In 1993, Swiss label Off Course Records released a 46-track double-disc CD collecting Kleenex/LiLiPUT's 1978-83 releases. In 2001 it was re-issued in the US by the Kill Rock Stars label and subsequently on a 4 LP Box-Set on Mississippi Records. Kurt Cobain from Nirvana listed the band's music in his list of Top 50 favorite albums. In 2010, Kill Rock Stars released a 24-track CD/DVD set Live Recordings, TV-Clips, and Roadmovie. On 15 May 2016, guitarist Marlene Marder died at age 61.

Big Mama Thornton

Willie Mae Thornton (December 11, 1926 – July 25, 1984), better known as Big Mama Thornton, was an American rhythm-and-blues singer and songwriter.

She was introduced to music in a Baptist church, where her father was a minister and her mother a singer. She and her six siblings began to sing at early ages.  In 1940 she left home and, with the help of Diamond Teeth Mary, joined Sammy Green's Hot Harlem Revue and was soon billed as the "New Bessie Smith". Her musical education started in the church but continued through her observation of the rhythm-and-blues singers Bessie Smith and Memphis Minnie, whom she deeply admired.

Thornton's career began to take off when she moved to Houston in 1948. In 1951 she signed a recording contract with Peacock Records and performed at the Apollo Theater in 1952. Also in 1952, while working with another Peacock artist Johnny Otis, she recorded "Hound Dog", the first record produced by its writers Jerry Leiber and Mike Stoller. The record sold more than half a million copies, and went to number one on the R&B chart, helping to bring in the dawn of rock 'n' roll. Thornton continued to record for Peacock until 1957 and performed in R&B package tours with Junior Parker and Esther Phillips.

Thornton originally recorded her song "Ball 'n' Chain" for Bay-Tone Records in the early 1960s, "and though the label chose not to release the song... they did hold on to the copyright"—which meant that Thornton missed out on the publishing royalties when Janis Joplin recorded the song later in the decade. She left Houston and relocated to the San Francisco Bay area, playing clubs in San Francisco and L.A. and recording for a succession of labels, notably the Berkeley-based Arhoolie Records. In 1965, she toured with the American Folk Blues Festival in Europe. While in England that year, she recorded her first album for Arhoolie, Big Mama Thornton – In Europe. It featured backing by blues veterans Buddy Guy (guitar), Fred Below (drums), Eddie Boyd (keyboards), Jimmy Lee Robinson (bass), and Walter "Shakey" Horton (harmonica), except for three songs on which Fred McDowell provided acoustic slide guitar. In 1966, Thornton recorded her second album for Arhoolie, Big Mama Thornton with the Muddy Waters Blues Band – 1966, with Muddy Waters (guitar), Sammy Lawhorn (guitar), James Cotton (harmonica), Otis Spann (piano), Luther Johnson (bass guitar), and Francis Clay (drums). She performed at the Monterey Jazz Festival in 1966 and 1968. Her last album for Arhoolie, Ball n' Chain, was released in 1968. It was made up of tracks from her two previous albums, plus her composition "Ball and Chain" and the standard "Wade in the Water".

By 1969, Thornton had signed with Mercury Records, which released her most successful album, Stronger Than Dirt, which reached number 198 in the Billboard Top 200 record chart. Thornton had now signed a contract with Pentagram Records and could finally fulfill one of her biggest dreams. A blues woman and the daughter of a preacher, Thornton loved the blues and what she called the "good singing" of gospel artists like the Dixie Hummingbirds and Mahalia Jackson. She had always wanted to record a gospel record, and with the album Saved (PE 10005), she achieved that longtime goal. The album includes the gospel classics "Oh, Happy Day," "Down By The Riverside," "Glory, Glory Hallelujah," "He's Got the Whole World in His Hands," "Lord Save Me," "Swing Low, Sweet Chariot," "One More River" and "Go Down Moses".

In the 1970s, she was in a serious auto accident but recovered to perform at the 1973 Newport Jazz Festival with Muddy Waters, B.B. King, and Eddie "Cleanhead" Vinson (a recording of this performance, The Blues—A Real Summit Meeting, was released by Buddha Records). Thornton's last albums were Jail and Sassy Mama for Vanguard Records in 1975. Other songs from the recording session were released in 2000 on Big Mama Swings. Jail captured her performances during mid-1970s concerts at two prisons in the northwestern United States. She was backed by a blues ensemble that featured sustained jams by George "Harmonica" Smith and included the guitarists Doug Macleod, Bee Houston and Steve Wachsman; the drummer Todd Nelson; the saxophonist Bill Potter; the bassist Bruce Sieverson; and the pianist J. D. Nicholson. She toured extensively through the United States and Canada, played at the Juneteenth Blues Fest in Houston and shared the bill with John Lee Hooker. She performed at the San Francisco Blues Festival in 1979 and the Newport Jazz Festival in 1980. In the early 1970s, Thornton's sexual proclivities became a question among blues fans.[9] Big Mama also performed in the "Blues Is a Woman" concert that year, alongside classic blues legend Sippie Wallace, sporting a man's three-piece suit, straw hat, and gold watch. Thornton took part in the Tribal Stomp at Monterey Fairgrounds, the Third Annual Sacramento Blues Festival, and the Los Angeles Bicentennial Blues with BB King and Muddy Waters. She was a guest on an ABC-TV special hosted by actor Hal Holbrook and was joined by Aretha Franklin and toured through the club scene. She was also part of the award-winning PBS television special Three Generations of the blues with Sippie Wallace and Jeannie Cheatham.


 

Thornton was found dead at age 57 by medical personnel in a Los Angeles boarding house on July 25, 1984. She died of heart and liver disorders.

Miriam Linna

Miriam Linna (born October 16, 1955 in Sudbury, Ontario) is a drummer and has run the Brooklyn-based independent record label Norton Records since 1986 with her husband, the late Billy Miller. Her skill as a drummer earned her a "May I recommend?" nod from Bob Dylan on his XM Theme Time Radio Hour program (episode 37) in January 2007. Linna is part of the collective of musicians that emerged from the Cleveland, Ohio punk rock scene, including the Dead Boys and Pere Ubu. When the re-formed Rocket from the Tombs performed in Hoboken, New Jersey in 2003, singer David Thomas dedicated the band's signature song "Amphetamine" to her. 

Linna was a founding member of The Cramps, performing in the band from their first date on November 1, 1976 until July 10, 1977. She left The Cramps to join the rock and roll band Nervus Rex. After performing with the Zantees, Linna and Miller launched The A-Bones (named for a 1964 tune by The Trashmen). The A-Bones released two 10" EPs (Tempo Tantrum in 1986 and Free Beer for Life! in 1988), followed by four full-length albums between 1991 and 1996. The A-Bones regrouped after a short hiatus to perform in Spain with Andre Williams and the Great Gaylord. Linna also played drums on Maureen Tucker's 1994 album Dogs Under Stress. Linna and A-Bones bassist Marcus "The Carcass" Natale guested on a 2007 recording session by the protopunk band Figures of Light, produced by Miller; she also handled the drums on Figures of Light's 2011 album Drop Dead, produced by Mick Collins of The Dirtbombs.

In 2014, as "Miriam," Linna released her first solo album on Norton Records, Nobody's Baby, produced by Sam Elwitt. The album features Linna singing over distinctly Phil Spector- and Jack Nitzsche-inspired arrangements of a selection of mostly obscure cover songs from the 1960s. Music journalist and blogger Lindsay Hutton wrote, "Everything about "Nobody's Baby" is a total triumph, the sound, the sleeve and mostly the power of the music trapped on either side of the record." Norton released her follow-up LP, Down Today, in 2015.

Linna's past magazine ventures include Kicks (co-edited with Miller), Smut Peddler and Bad Seed. Her first fanzine in 1976 was The Flamin Groovies Monthly, which she inherited from Bomp Records prexie Greg Shaw. Her lengthy liner notes for Norton and other labels display an unusual writing style of wild word play and imaginative humor. In 1997, Linna and Miller published (as "Kicks Magazine Photo Album No. 1") The Great Lost Photographs of Eddie Rocco. In 2004, Linna co-edited Sin-A-Rama: Sleaze Sex Paperbacks of the Sixties (Feral House), also contributing an article, "Ron Haydock aka Vin Saxon," about the twisted career of novelist-musician Ron Haydock. In 2009, her paperback book company, Kicks Books, launched with the publication of Sweets and Other Stories by Andre Williams. Subsequent books have included This Planet Is Doomed (2011), a collection of Sun Ra's poetry; and Pulling a Train and Getting in the Wind (2012), previously uncollected short stories by Harlan Ellison, Lord of Garbage by Kim Fowley, Benzedrine Highway by Charles Plymell, and Gone Man Squared by Royston Ellis. Linna also co-authored a biography of Texas musician Bobby Fuller, I Fought the Law, published by Kicks in 2015. Linna owns one of the world's largest private collections of vintage paperbacks, including complete runs of Avon, Beacon, Signet and others. Her collection includes over 500 juvenile delinquent paperbacks, and she featured the covers of some of these in her book Bad Seed: A Postcard Book, published in 1992 by Running Press. On May 15, 2009, she launched an autobiographical blog, Kicksville 66, documenting everything from Ashtabula angst to her days at the Strand Bookstore, and is illustrated with promo flyers, handwritten letters and photographs. 

The Gymslips

The Gymslips were a punk band from London, England, active in the early 1980s.

The original band of Suzanne Scott (bassist / vocalist), Paula Richards (guitarist / vocalist) and Karen Yarnell (drummer) got together in 1980 but first played as The Gymslips in August 1981. The band supported the Dolly Mixture on a UK tour. They contributed the song "Midnight City" to the compilation LP, Making Waves.

A tour supporting the Androids of Mu and Rock Goddess followed. In the spring of 1982 they recorded their first of five sessions for John Peel after which they signed to Abstract Records. Their first single "48 Crash" (a cover of the Suzi Quatro hit) was released in November 1982 and the follow-up "Big Sister" was released at the beginning of 1983. April 1983 saw the release of their Rocking With the Renees LP which also saw the band expand to a four piece with the addition of keyboardist Kathy Barnes. 

With two further Peel sessions, good reviews for the "Robot Man" single and the release of the album in a different sleeve and with the title "Drink Problem" for the American market, The Gymslips' future looked bright. But twelve months of personal and contractual problems led to Paula having to recruit a new line-up and start all over again. With Karen Kay on bass, Sue Vickers on keyboards and Michelle Chowrimootoo on drums The Gymslips recorded their final Peel session in the summer of 1984 before issuing their last single "Evil Eye" (produced by the Angelic Upstarts' Mond Cowie) in early 1985 and then calling it a day soon after its release. 

Karen Yarnell went on to join Serious Drinking and The Blubbery Hellbellies. Paula Richards joined The Deltones and then Potato 5 before again teaming up with Yarnell in band called The Renees and issuing the LP Have You Got It as well as contributing the track "He Called Me a Fat Pig and Walked Out On Me" to the compilation "Postcard From Paradise".   

Drawings

My friend Jordi Duró teaches illustration at EINA, Centre Universitari de Disseny i Art in Barcelona. He used this blog as a reference for his class of applied illustration and here are the remarkable results. Thank you so much Jordi and each and every one of the artists!!!

Adeline Paulian - France Gall

Adeline Paulian - Nina Hagen

Ester Alvarez - Etta James

Ester Alvarez - The Shaggs

Andrés Ruiz - Nico

Andrés Ruiz - The Ronettes

Berta Amades - Lydia Lunch

Berta Amades - Kirsty MacColl

 Aina Arbiol - Patti Smith

Aina Arbiol - Paloma Borbone

Anna Garriga - Etta James

Anna Garriga - Tina Turner

Noelia Aparicio Agudo - La Lupe

Noelia Aparicio Agudo - Siouxsie Sioux

Damia Araujo - Diamanda Galás

Damia Araujo - The Slits

Belén Vilaseca - Carla Thomas

Belén Vilaseca - Wanda Jackson

Santi Estopinan - Carol Kaye

Santi Estopinan - Nina Simone

Lluis Domingo - Bibbe Hansen

Lluis Domingo - Barbara Lynn

Edurne Marco - Cherry Vanilla

Edurne Marco - Lesley Gore

Fernanda Carvajal - Joan Jett

Fernanda Carvajal - Cherie Currie

Kevin Flury - Grace Jones

Kevin Flury - The Shangri-Las

Mariona Gispert - Holly Beth Vincent

Mariona Gispert - The Duchess

Idoia Costa - Suzi Quatro

Idoia Costa - Yma Sumac

Natura Ferrer - Jackie Shane

Natura Ferrer - Yma Sumac

Manuela Calera - Yma Sumac

Manuela Calera - Joan Jett

Pepe Nerín - Diamanda Galás

Pepe Nerín - Tina Weymouth

Nuria Badía - Jayne County

Nuria Badía - Kembra Pfahler

Sara Montaner - Diamanda Galás

Sara Montaner - Sister Rosetta Thorpe

Marta Villafanez - Poison Ivy

Marta Villafanez - Siouxsie Sioux

Pau Sabio . Denise Dufort

Pau Sabio - Etta James

Francisco Poulsen - Sylvia Robinson

Francisco Poulsen - Carla Thomas

Nora Font - Aretha Franklin

Nora Font - Yma Sumac

Maria Mestre - La Lupe

Maria Mestre - Dusty Springfield