Eleisha Eagle

You may recall that when Eagle last performed in the area in March, 2005, she raised $16,000 for the Children's Miracle Network and St. Louis High.

Before I'd heard a note of Eagle's music, her manager, who was dropping Eleisha's CD by the office, tried her best to get me oriented for listening. "Ben Folds!" she kept saying. "Ben Folds!"

Boy, was she on target. It's not as if Eagle is ripping off Folds or anything like that. But from the beginning of her CD Private School, you sense right away that these urbane and urban numbers are tailor-made for smokey lounges with cosmopolitan crowds who think making music sing is more important than playing it loud. While there are electric guitars here, and even synthesized percussion, this instrumentation stays secondary to the keyboards, which have a downtempo vibe just right for intimate clubs.

The overall sound resonates well with the kind of music people I used to hang out with in Portland called "retro." Where we lived, the central coffeeshop always had a volume of Esquival or Les Baxter in the CD rotation.

Eagle's manager told me about Eleisha's love of Broadway music. As Sinatra's covers of Cole Porter, or the recording Side by Side by Sondheim, demonstrate, Broadway's best ballads are easily turned into lounge smokers. Like the lyrics Sondheim wrote for Company, Eagle's CD lyrics eschew the simplicity of I-love-her-and-she-loves-me blather for a look at the complexities that result when relationships get shaped by economics, geography, culture and ambition.

Like Porter and Sondheim, Eagle keeps the content from getting overly serious by teasing the audience with lots of word play and double entendre, especially evident in the first half of the record. Those hooks would make this an eminently marketable CD. But how does one market a CD these days? While you ponder that question, visit www.cdbaby.com where you can order Eagle's CD for $11.99.

The Up Fronter will pass on information about Eagle's upcoming benefit concert as details firm up. - Lagniappe of Southwest Louisiana

Eleisha Eagle, a down-to-earth girl-next-door and graduate from St. Louis High School, earned her share of applause and gained a town full of fans at her February 24 concert in the Rosa Hart Theater. The combination of Eagle's southern charm and sociable wit was reflected in the audience's immediate adoration for the young singer. Through her optimistic attitude and obvious talent in both songwriting and performance, our intrigue evolved from an appreciation of a small town hero to a fascination with a star in the making.

It is very difficult to categorize her style of music. Eleisha mentions that she has been described as a female Ben Folds, but that does not fully capture her unique style and sound. In my inquiries of the audience, there were mixed ideas, but most agree that she could be described as a Vanessa Carlton with a Broadway twist... less pop, more vocal variety.

With this great vocalist comes her amazing personality. Her natural stage presence grabbed the crowd and hooked us from the beginning. It was her open interaction with us that emphasized her amiable attitude. Whether asking us to whistle along with her music, or simply breaking the ice with a joke, we could not help but love her humorous sincerity and sarcastic honesty.

The narrative lyrics of Eagle's music depict the experiences she has had over the past few years. Battling with the constant struggle to succeed, the problematic ex-boyfriends, and a feeling of homesickness, Eagle threw her emotions into her music. One song in particular that captivated the crowd was the comical "Stalker Song," in which she showed her sense of humor and used the kazoo. Eagle's optimism was contagious and everyone was overcome with her natural stage presence. However, through the laughter, came sincerity as Eagle sang "Yellow Sunset," dedicated to her grandparents, as well as "Little Sister," written in honor of her younger sister, Alexandra. The devotion Eagle has to her family was evident in these songs as we were once again let inside the mind of this amazing young singer. Through the variety of her music, I found myself particularly intrigued by her final song, "Wonderful." In this song, Eagle's perseverance was revealed. We received a glimpse at her will to succeed, want to better herself, and desire to accomplish a dream. While she may never want to look back and say, "[she] could have been wonderful, [she] could have been great; the best was in [her] reach, and [she] told it to wait," something tells me she will not have to. Success seems inevitable for someone with such talent and drive.

As the night ended, and the concert came to a close, our respect for this young performer soared. The money earned from the concert tickets was sent to the Children's Miracle Network and St. Louis Catholic High School's Opening Windows Campaign. Plans for next year's concert are already in the making, and I strongly suggest everyone attend. To say Eagle is talented is a definite understatement. We can all expect great things from this young star, as she is sure to make Lake Charles proud. - The Times of Southwest Louisiana

The songs on Eagle's Lamplighter CD are, to my ear, really much closer to cabaret than mainstream pop or rock. Like Sondheim and Bacharach, Eagle is always working with melodies that are at least interesting. And for the first time, she shows the ability to produce really beautiful hooks. (Hear the end of the "Overture," the chorus of "Avenue of Smiles" and the heartrending "One Part Two.") The cabaret sound is all over the record, for example in the bombastic piano at the beginning of "Astronaut" or the clever, campy Nina Hagenesque punk-cabaret of "Oh So Sorry."

Sometimes Eagle mixes things up a little, as she does with the Brian May guitar and Queenesque harmony of "Other Girls" or the melancholy Danny Elfmanesque motif of the centerpiece "One Part Two." There's even a short bit of frippery — the McCartneyesque fluff "Cushions of Explanation." (Yo! Keep Sir Paul out of the studio at any cost!)

Eagle's lyrics aren't all perfect. In "Other Girls" she says, "You know, I am sweet and independent ... crazy sometimes. But then who isn't?" The easy answer to that question is ... almost nobody. But in several places, Eagle shows a spot-on understanding of the human condition. Consider the beginning of "Avenue of Smiles," which would fit seamlessly into Bowie's semi-autobiographical album Hours:

"I wake up knowing I am nowhere close to where I want to be. I shuffle forward, but I can't get further for the life of me."

In "My Level," the singer even admits, "I don't feel special / I don't feel loved." These Southwest Louisiana songwriters are getting pretty gutsy.

And then there's the chorus of Eagle's killer ballad "One Part Two":

"So we're at war.
And I 'm too scared to ask
How long it will last,
And what we're fighting for.
I'm dodging the defense.
I'm trying to make it make sense.."

I was so struck with the similarity between that and Portishead's "Roads," I couldn't resist quoting the latter:

"Can't anybody see?
We've got a war to fight.
Never found our way,
regardless of what they say.
How can it feel this wrong?"

That's as a succinct a description of the human condition as I've heard, and Eagle's lyric is right in the same neighborhood. (I notice from a quick look at Eagle's My Space site that she listens not just to Sondheim and Portishead but Tricky as well. See what can happen when young people are free to seek out and listen to the good stuff.)

I hope I don't sound as if I'm gushing, but Eagle really has taken a quantum leap past her previous work. Her new disc is a virtual encyclopedia of many of the important sounds of the popular music in the last century. If it gets heard, there's no reason it shouldn't sell as well as any nonmainstream CD. The Up Fronter gives the go ahead for the Repeat button on this one.

- Lagniappe

(06 August 2007) Eleisha Eagle attains new theatrical heights with her latest album, Lamplighter. This indie artist has produced her own Broadway-esque musical including wonderful tap dances, chorus girls and enticing melodies. She has created a delightful storyline and divided her album into two acts. The key to this album is to listen to it from beginning to end in order to absorb the intended lavish musical journey.

This wonderful singer/songwriter/pianist/tap dancer has unleashed a fourteen-track CD that blends Broadway's chi-chi and schmaltzy style with the symphonic melodies of prog rock. She is very much into musical theatre and this album is certainly a positive representation of that love. Throughout these tracks, her musical influences, which include Ben Folds, Janis Joplin, Stephen Sondheim, Elton John, Nancy Griffith, The Beatles, Fiona Apple, Tricky, and Bjork, impact her unique musical approach.

With her background of ten years of classical piano lessons, dancing five days a week and acting in local musical theatre troupes, Eleisha chose to pursue a music career only after walking away from a graphic design scholarship at Washington University in St. Louis. She followed her dreams to Nashville, Tennessee and has imprinted her unmistakable style on the music world. She enticed listeners with her debut album Private School (2005) and her six-track self-titled acoustic EP (2006). Eleisha said, "My favorite quote that sums up my style is: 'Ben Folds ate a Fiona Apple and gave birth to a show tune about a postmodern Catholic school girl.' Others have compared me to Regina Spektor, Imogen Heap, Regina Spektor and The Dresden Dolls for various reasons."

In discussing performing, Eleisha said, "The live performances are nowhere near as dramatic as I'd like them to be, but they certainly stick with you. With a background in musical theatre, I'm very interested in bringing the audience in through all forms of entertainment. I share stories, tell jokes, and encourage audience participation. Something strikes a chord with people who see my live shows, especially if they can relate to the songs."

Lamplighter begins with a wonderful overture that gives the listener a taste of what's in store. The Broadway sound comes to life and the listener can be swept away with the imagery of the lure of the greasepaint. The musical hooks in the score captivate as in the opening song, "One." Eleisha's magnificent and emotive voice tells you that she "can take you on" and without a doubt, she does. The story continues with the whimsical "Broken Shoestring." Her power and dynamic delivery create an irresistible allure.

"Oh So Sorry," with its quick tempo, fervency, and guitar-laden rock instrumentation make this song ever so memorable. The gentle vocals in "My Level" highlight the sensuality and lushness of her voice. A carnival atmosphere is evoked in "Cushions of Explanation." Eleisha's twangy rendition along with the amusing melody set the music-scape. Before the second act, a short musical intermission intercedes, allowing the listener to catch their breath and marvel at what they've just heard.

Act II begins with the tender "Avenue of Smiles." This hypnotic and enticing melody has a wonderful chorus and a definite musical hook. This memorable and vocally lush chorus makes this a delightful track. The highs and lows are certainly reached in the striking and playful "Astronaut." Crisp vocals, percussive piano and a memorable melody contribute to the strength of the song. The mischevious "Elephant Shoes" evokes a fanciful sensation, along with Eleisha's soft shoe dancing. The "sets" appear clear as day in the listener's imagination as we ride along on this fantastic adventure.

The chorus girls introduce "Little Sunbeam" and Eleisha takes over with her poignant and dynamic vocals in "Other Girls." Eleisha's powerfully delivered vocal melody makes this song another album standout along with her gentle tap dancing. "One Part Two" follows with its melancholic riffs in this sensual, moving ballad. The gentle ballad textures of the verses are contrasted with choruses that build with increasing power, richness and depth as the track crescendos towards its conclusion. The album ends with the emotive, orchestral "Lamplighter's Ballet." The listener, in essence, is "watching" the credits and absorbing the brilliance of this amazing album and the distinctive monumental musical landmark that has been achieved.

Although brief, this forty-one minute album is captivating, amusing, enticing and a must-listen. Eleisha's musical prowess is certainly evident throughout and she weaves a wonderful tapestry of musical flavors to continually whet the appetite for more. That's entertainment! - MDNY

-Eleisha is the very definition of an independent artist, in that she controls every facet of her career -- from website design, to promotions, to booking, to songwriting. She does it all.

-The song "Darla" made it to the semi-finals round of The 2006 International Songwriting Competition.

-Every year, Eleisha puts on a benefit concert for Children's Miracle Network in Louisiana as the sole entertainer. Since its existence, the concert has raised $96,000 for non-profit children organizations.

- Quick facts that make Eleisha Eagle stand apart

It's not even the curly orange hair that does it. It really isn't. We'd consider Eleisha Eagle the way we do if she were bald because nothing she sings has anything to do with the way she looks. It's nothing that would even be considered when listening to a recording of "One Part Two" or "Best You Never Had," one song a jazzy ballad and the other an empowering piece of slightly sassy confidence in the face of a certain crying jag, a night that could turn into one of those stereotypical Miranda Hobbes moments on "Sex and the City" re-runs, where the pajama pants are on and takeout is being consumed in bed. Eagle, the Austin, Texas songwriter and piano player, is an intense and fiery writer and performer, giving her words the requisite spit and forked meanings. It's as if she's apt to tell you, with an insincere smile, "Everything's fine," and get her real meaning without her ever having to say anything and it would carry just as much punch as she wanted it to. The last time we featured such a strong female voice on Daytrotter was in January when April Smith and the Great Picture Show were spotlighted. It's a similar stand that Eagle takes with the intimates that she chooses to write about on her latest, "Neither Here Nor There" and on her debut album, "Lamplighter." She sounds like a young woman with a toughened chin. She sounds as if she's trusting and would rather be trusting than any other way there is. We're led to think that she's had some moments and some men turn out to be less than flattering and she's had to pick herself up off the ground on occasion and move on with things. She comes off on "Goodbye" as an aggressor, as the one romping around and doing all of the striking, all of the hurting, all of the loving and leaving, but despite all of the signs of passionate venom in her singing and ripping piano styling, Eagle's felt the cold stings deeper. It's in those stings that she finds her creative fertility, where the alter-ego of the body doing the spiting and splitting is able to grow into a hot-blooded brute. She plays that role occasionally, but is ably fantastic at stringing together all of the hurts, turning them into episodes of sorrow, but still making them sound as if they were coming from someone who was still in control of her emotions and better off, despite the hardships. She's of the heart that will get softened, roughed up a bit, but will never be knocked out cold, not if she can help it.

*** Get your FREE download of the Eleisha Eagle Daytrotter Sessions at http://www.daytrotter.com/dt/eleisha-eagle-concert/20030791-3738104.html *** - Sean Moeller

Eleisha Eagle is what some may call an overachiever...but in a good way.

As if it isn't enough that she can sing with the gritty emotion of Fiona Apple and pen a pop hook with the agility of Sara Bareilles, this Louisiana bred singer-songwriter is a charity superstar as well. Eleisha Eagle in Concert is an annual show Eagle coordinates for charity. In its four years of existence, the event has raised over $90,000 dollars for nonprofit organizations which help to benefit children in her hometown of Lake Charles, LA. "The money has helped build classrooms," says Eleisha and "provided necessary tools needed to teach literacy, educated the community on the importance of going green, aided the families of autistic children, and supported arts in the city." Who said the entire music business was greedy? Yeah, think again.

But, in the midst of all her charity work, Ms. Eleisha has also found time to nurture her passion for songwriting. "When I was a little girl," Eleisha says, I would wake up at night with a song in my head. I remember running out to the piano, plunking out the notes that echoed in my mind. I couldn't explain it then, and I can't explain it now. Music just comes to me." Though most of the music that comes to her goes straight on to an Eleisha Eagle album, Eleisha occasionally lends her writing skills to projects outside of her own. Recently, Eagle wrote a song specifically to accompany the score of an independent movie. But, this wasn't any old score. No, in keeping with the overachiever she is (remember, in a good way!) Eleisha's song accompanied a score written by John Swihart, famous for penning the music for cult favorite flicks Napoleon Dynamite and Youth in Revolt.

As is the case with many Unsigned Finds, all four of Eleisha's album's have been self-funded and self-released (not to mention the fact that she also designs all the artwork!). But, for Eleisha this independence is essential to her integrity as an artist, and more importantly, it's all part of the fun. "Being an independent artist is extremely difficult," she says. "We work harder than most. And though being signed to a major label would make life a lot easier, I'm not willing to compromise who I am as an artist."

So what's next for Eleisha? With a new album planned for early 2011 rest assured that this busy bee will be on the road doing what every other independent artist does to get his or her music out there. The only difference? In Eleisha's world, it's all for a cause.
- Seventeen.com by Jenny Hally Rubenstein