Outta Control by Angela Motter

Makin' Love will also be makin' the rounds as a fundraising item and who knows, maybe she'll shop it around a bit for some licensing for Indie Films or TV.

Just Out:

The instrumental version of "My Mama Told Me" from Pleasure and Pain will be heard on the soundtrack to the Vivian Price Indie Film Transnational Tradeswomen about women construction workers, connecting the issues we have in the US with the problems women face internationally in the trades.

Yer Basic Bio Stuff:

Clearly born a musician, Motter began writing songs at age 10. She began her recording career after earning a degree in Classical Guitar Performance from Georgia State University. Her first recording, a pop-jazz single "Secret Lover" from the compilation CD Best of the Jazz Flavours Cats IV (Primedia) received heavy airplay in Atlanta and on the nationally syndicated "Jazz Flavours" radio show.

After a gig opening for B.B. King, Motter decided to add the blues to her mix. Soon, she was experimenting with the slide guitar riffs that would become an integral part of her sound. Motter has since opened for Indigo Girls, Tuck & Patti, Louden Wainwright III, Southern Culture on the Skids, Canadian born ex Nylons lead singer Barnes, Michelle Malone, Doria Roberts, and Melissa Ferrick. She's played gigs and songwriters circles with Edie Carey, Girlyman, John Mayer, Mary Gauthier, Angie Aparo, Amelia White, Bain Mattox, Nini Camps, Butterfly Stitch, Johhny Rabb, and Claire Campbell.

Her Recordings:

Motter has received critical acclaim for both of her recordings, and enjoys a devoted fan base in Atlanta and points beyond.

Outta Control

Re-released on CD on her own Hey MISTER! label is Outta Control, her first recording, which originally came out only on tape in 1992. Outta Control features ripping slide licks and beautiful fingerstyle work as well as big, strummy pop tunes. Outta Control was produced by Russ Fowler, Motter and Dede Vogt and received critical acclaim from the press in its first release. Jeff Clark, then writing for Creative Loafing, called it "...swampy, steamy, incredibly sexy."

Worth noting, too, are pictures of the then long-haired Motter featured in Outta Control's liner notes that cover ten years of hairstyles. This retrospective shows the transition from her long, curly haired feminine/androgynous look to her present look, a black-leather and muscle stage persona. Now, Motter might be easily mistaken for a tough guy right out of 1955. "The hair and make-up thing started not feeling right to me in about 1992. It's really true, when I was in High School leaving for a gig my Mom used to say 'you're not leaving the house without any make-up on.' God bless her. I've always been a tomboy."

Pleasure and Pain

Pleasure and Pain, Angela Motter's 1999 CD, won her more critical acclaim. The late Ricky Keller helped Motter produce the record in his "down time" at his studio Southern Living at its Finest. Motter introduced her very out, very sultry and very accomplished blend of rock, jazz, blues, soul and funk to the world beyond her Atlanta confines.

Pleasure and Pain combines influences as unique as the artist herself. Mixing the Delta blues ache of Robert Johnson with the swagger of James Dean and a heavy dash of Keller's sexy bass-slappin' and poppin' funk, Pleasure and Pain rocketed Motter to critical and popular acclaim, acclaim culminating in two 1999 Gay and Lesbian American Music Award (GLAMA) nominations. The "gender-bending soulster" (GAYBC) and her band performed the song "isitaboyisitagirl" at the New York ceremony, offering the Big Apple crowd a taste of her studious guitar chops and her rich, smoky alto vocals. At the end of the night, Motter had picked up a win in the "Best Out Recording" category for the track "My Mama Told Me."

"Although physically she fits the stereotypical androgynous mold and some of her songs, most obviously the humorous "isitaboyisitagirl" clearly state her sexual preference, it would be unfortunate if this terrific album is lumped into the strummy, alt-folksy gender-bending 'women's music' genre. Angela Motter is simply too good and too eclectic to be relegated to the dusty 'indie gay' release racks.

...Pleasure and Pain is a perfect vehicle for Motter's husky, uncut vocals and smart, tuneful and cutting songwriting. Regardless of her looks, she's too damn talented to get lost in the back CD racks dedicated to 'women's music.' Close your eyes, open your mind and surrender to her soul" (Hal Horowitz, Atlanta Press)

Her music is available at Goldenrod Music, Borders, and CD Baby. She also continues to play gigs, teach guitar, write, fund raise for her third recording, and lift weights. Motter says someday soon she'll enter a bodybuilding contest, just to say she did it. Look for her latest performances on her web site. And maybe she'll be at a gym in your town, soon...

Oh, and...

Theater Stuff:

Summer 2003 was spent playing Yitzhak in the Actor's Express staging of Hedwig and the Angry Inch. "One of the best summers of my life. I think I had like 45 cents in my checking account when it was all over, but I've never been happier. I got to play my electric guitar really loud, act and sing with Mark Salyer, an amazing Hedwig, and assist music director Pete Hauenstein. I also got to take a break from the pressures of doing my own music and work with a band again. Total fun.

Hedwig and the Angry Inch has been called the only rock opera that really works, and I agree. The music is so well written and it never got old playing those tunes. Director Randee Trabbitz is so talented, and the way she put together the room and the show got the audience involved in the play in a way that it couldn't have in a larger venue like the Jane Street Theater. We had some pretty rowdy audiences. I have some interesting stories to tell."

Summer 2004 was spent directing and playing in the band for the musical Beehive. Theatrical Outfit staged the play at the Rialto, directed by Kate Warner. "Once again being in an ensemble (an all female band and cast this time) and directing the band was the best because Beehive covers so much musical ground. It starts with the "girl groups" of the 60's and ends with Tina Turner and Janis Joplin. Playing Janis' Ball and Chain and really letting it rip on my electric guitar was one of the many the high points of the show for me. I had so much fun playing with the band: Jen Lowe on Drums, Francene Machetto on Bass, Amy Lee on Sax, and Sue Wilkinson on Keyboards. Working with such incredible singers every night was an amazing experience. Divas Katy Carkuff, Rita Dolphin, Kenya Hamilton, Betty Hart, Denitra Isler, Katie Kneeland, and Wendy Melkonian: wow. Me wearing the mini dress and go-go boots in the first act: ugh!"

Fall 2005 was spent Band Directing and playing electric guitar in The Rocky Horror Show at Dad's Garage. Directed by Kate Warner, this version of RHS sported another all female band: Jen Lowe on Drums, Francene Machetto on Bass, and me and Cooper Seay (as Riff Raff) on electric and acoustic guitars.

November 2005 Motter acted as music director for Gabriel Dean's bluesy play Riffed, directed by Joe Gfaller and staged at Actor's Express.

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