Jenn Lindsay | Gotta Lotta

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Gotta Lotta

by Jenn Lindsay

NYC-based antifolk with applied silliness; The Joni Mitchell of antifolk, who, incidentally, doesn't take herself too seriously.
Genre: Folk: Political
Release Date: 

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  Song Share Time Download
1. Red Shirt
2:41 $0.99
2. Fangs and Fur
2:56 $0.99
3. Olly Olly Oxen Free
4:58 $0.99
4. Athena
2:43 $0.99
5. I Am Not Going Home Yet
6:22 $0.99
6. Three Sparrows Four
4:58 $0.99
7. I Call Myself a Flower
2:24 $0.99
8. Salvation Army
4:08 $0.99
9. I Stayed Home Today
3:30 $0.99
10. Song That Mama Sings
3:49 $0.99
11. Tower of Toys
3:17 $0.99
12. Retrospective: in Out in Out
4:56 $0.99
13. Gotta Lotta
0:20 $0.99
Downloads are available as MP3-320 files.


Album Notes
Other Jenn Lindsay releases:

"If Jenn Lindsay's songs got the recognition they deserved, New York would be one receptionist short and the folk world would be one star richer" Nicky Rossiter, RAMBLES

When Jenn Lindsay played a women's music festival last year in Santa Cruz, CA, the 400-person audience was on their feet several times for good reason. In her 3-year involvement playing on New York City's underground folk circuit, Lindsay's music has ignited a substantial east coast following. She's just finished her fifth album, THE LAST NEW YORK HORN, and is touring nationally in support of it and her happy transient art-life.

Jenn's musical community is the NYC Antifolk scene, a hub of musicians based in the East Village's Sidewalk Cafe, who share a mutual distaste for mediocre, well-packaged mainstream music.




to write a review

Patrica Woody

Jenn sang three songs that continued to play in my head after her performance.
My three favorite songs on the Gotta Latta CD are: I Am Not Going Home Yet, Olly Olly Oxen Free and Song That Mama Sings. I felt I had to have Jenn's CD after hearing her perform the songs at a production of Vagina Monologue.

Nicky Rossiter of RAMBLES

Jenn Lindsay is a new name and voice to me. From the publicity I gather that she is a receptionist and has busked the New York City subway system to finance this CD. She styles herself as Joni Mitchell with a dash of Ani DiFranco. She is definitely folk with a truckload of attitude and perhaps that's what folk needs.

The lyrics are certainly fresh and there is a great deal of wit in among the strong words that Jenn uses to express herself.

"Olly Olly Oxen Free" gives an idea of the stylish titles here. The lyrics are definitely new and of the modern world about men who "blow horns and pee" and life in the big city -- "I turned 45 when I turned 15." This is not a CD to buy as a Christmas gift for that maiden aunt -- but then again maybe this is how she thinks, too.

"Athena" is another excellent track that is sung with feeling such as only a singer-songwriter can do. "I'm Not Going Home Yet" is a nice antidote to a lot of what was written in the aftermath of Sept. 11 for people living in the real world: "Things that matter on September 10th still matter like paying the rent." Jenn Lindsay will either scare everyone from moving to the big city or she will encourage every young rebel out there to get urbanized.

"I Call Myself a Flower" is so atypical of her other songs it jars. It is a naive song of a young girl in love. But it is also a very good track.

"Salvation Army" is the only track not written by the singer. It laments such things as all the clothes in the thrift store were designed for much thinner girls. The writer makes a fantastic saga out of what most people see as a shop filled with old clothes. Jenn sings it with heart and fervour.

Jenn Lindsay is a scary singer; I would love to see her perform live but would be afraid of her picking on audience members who do not sing along. She brings a new raw edge to folk that Dylan and Baez brought to the scene in the 1960s. She looks sacred cows in the eye and does not blink. Her language is that of the street, of the people rather than of the radio and TV censor and her music benefits from it. But she can also offer the gentle song and if some of these were given the exposure that they deserve New York would be one receptionist short but the folk world would be one star richer.

In order to avoid offence this CD should carry a parental advisory; some of the language may offend although it is sung in context and adds realism to the voice of a great performer.

Keep going Jenn; you have the guts to make it and the talent to sustain it. If you dare, check out her home page.


Straightforward strength

Muse's Muse: David Lockeretz

you can learn more from listening to this CD than in one year of attending almos
With touches of Joni Mitchell, Bob Dylan, Bruce Springsteen, Woodie Guthrie, Shel Silverstein and more, "Gotta Lotta" proves that Jenn Lindsay is that rare musician who can show that they have absorbed the influence of the past while creating something fresh and original.

Jenn Lindsay's strength is in her ability to observe and articulate. She sings about the ups and downs of every day life. While her songs have a definite New York feel to them, beneath the cynicism, irony and dark humor there is a certain melancholy. She is not just singing about moving from San Diego to New York; she is singing about leaving things behind and moving forward.

Jenn Lindsay can complain with the best of them. The feministic rhetoric of "Olly Olly Oxen Free" addresses gender relations with humor and insight, showing that seemingly casual remarks can have more effect than one might think. In "I Am Not Going Home Yet" she provides a laundry list of the hardships of urban life in modern times, from high rents to idiot bosses, but ultimately concludes, "It takes pain to get something really gotta want it if you want anything good." And that is what truly sets this CD apart: For all the criticisms Lindsay might have, she realizes that ultimately it's up to the individual to make their own life work.

Musically, the CD is strong as well; Lindsay has a unique sounding voice which is recorded to sound very close to the listener, almost as if she is in the same room. Her grasp of harmony is strong, and the words and melodies fit well.

I think the next step for Lindsay is to hook up with top-level musicians, the way Joni Mitchell did, and to tighten the structure of some of her songs. For example, even though I enjoyed "I Am Not Going Home Yet" in some ways it felt like two or more songs, with all of the ideas being expressed. Compositionally, some of the longer songs get a little repetitive. These are minor points; I see Lindsay as an up and coming artist who will only get better. I sincerely hope that some record company picks her up, because you can learn more from listening to this CD than in one year of attending almost any public school in the country.

For more information about Jenn Lindsay, visit

Sign On San Diego

The Public Approval Tour 
These four anti-folk songwriters from New York sing songs about love, war, unemployment and Vikings.
Where:   Twiggs Bakery & Coffee House,
4659 Park Boulevard,
San Diego,  CA,
When:   April 25-26, 8 p.m.

Price:   $10. Information: (619) 296-0616.

Event Profile:
Out now on their West Coast first tour, these four independent, solo singer/songwriters - Casey Holford, Jenn Lindsay, Phoebe Kreutz, and Robin Aigner - subscribe to the "anti-folk" movement, each playing acoustic guitar injected with punk ethics and politically charged songwriting (think Bob Dylan meets The Clash).

Putting out their own records and playing frequently in coffee shops and universities in and around New York City, all four highly talented artists will no doubt delight ears here in San Diego during their two-night performance at Twiggs.

Jenn Lindsay:
On one of her songs, San Diego native Jenn Lindsay sings about how she will be compared to fellow anti-folkster, Ani Difranco. While Difranco's influence is present, Lindsay creates her own sound that is both delicate and tough, juxtaposing gentle yet strong vocals with stark urban imagery and themes.

One of the top 10 albums of 2002

Oregon State U "Barometer"

from Niki Sullivan, managing editor
Like an MTV2 version of Friends, the four antifolk singers assemble for a photo shoot, looking like they've just stepped out of Urban Outfitters.

Casey Holford, Jenn Lindsay, Robin Aigner and Phoebe Kreutz, soloists from New York, are currently traversing the West Coast as part of their Public Approval Tour. April 17 marks their tour date at OSU, courtesy of the Women's Center.

Refreshingly genuine, these four are definitely not part of the pervasive pseudo-hip alternative wannabes.

They wouldn't be caught with a stylist -- they don't need help being eclectic chic -- and they wouldn't be honored by being dubbed "catchy."

On the contrary, originality, not catchy familiarity, berthed the antifolk movement in New York.

Back in the mid-80s, the New York folk scene that nurtured Bob Dylan 20 years earlier was invaded. Like locusts, a rush of imitators overtook the scene, trading folk's stark originality for the safety of emulating established artists.

Thus, any artist with a degree of edginess or political cognizance was ousted.

Nearly 20 years later, Holford and company hit the scene, striking up a friendship at the Sidewalk Cafe, an antifolk-friendly venue.

With a smooth, sensitive vocals, Holford's intimate songs are saturated with honesty. He draws inspiration from the widest of horizons and chose antifolk because, "it's the most community-driven, intensely creative and prolific movement I've ever been a part of."

Lindsay has a crystalline quality about her -- a fragile veil of a voice spouting crisp lyrical stories. She's adhered to the painful honesty that has always been a part of folk music, most recently in Fired, her newly finished album.

"I speak, and write and sing from my own experience; my anger and my love are all my own," Lindsay said, of trying to make original music in an era when critics lump artists together as an easy way to escape actually describing the sound.

"I guess people just need a reference point," she said.

Kreutz is a hilarious songstress, demonstrating the broad-base and sense of humor inherent to the genre. Citing Tiny Tim as inspiration, she sings about wanting to be a pirate, falling in love with a Taco Bell worker (specifically Gary) and a less-than faithful boyfriend.

Being funny doesn't render her exempt from quality songwriting, though. Her father was a musician, so she would feel guilty using a "cheap lyric."

"It's like smoking or something. I'd be embarrassed if he caught me rhyming 'girl' and 'world.'"

On the other end of the spectrum, Aigner is intimate and compelling with her smooth songs that carry original and endearing western overtones rooted in folk.

She wasn't available for comment, presumably because of her busy schedule. After this tour wraps up, she plans to tour the southwest this summer.

What can you expect from a show of artists from an undefinable anti-genre?

According to Casey, "expect possibly dissonant four-part harmony, slapstick, bad knock-knock jokes, singalongs, choreography, 'rhythm eggs,' hollering and wailing and good songs."

Niki Sullivan is the managing editor for The Daily Barometer. She can be reached at 737-2231 or

Portland Mercury

don't be fooled
(Bitter End, 1981 W Burnside)
Don't be fooled by this event's clever title--it's as folk as it gets this day and age; a glut of passionate poets picking their acoustic guitars and doing that funky scat dance with the head jerking around and the elbows flailing. Make no mistake about it: the ghosts of Ani, Joni, and Bob haunt this thing. Those three ancient figures are also the only ones making any money in this field anymore, which is kind of a shame considering the musical talent on display here, especially in Jenn Lindsay's plucky, stop-start guitar work, is impressive. If only anyone in the group had a speck of melody, irony, or bling to go with the ability. As dictated by the style they've chosen, however, they don't, and so it's coffee shops and Bitter Ends from here on out. JWS


"Vocally she reminds me of Christine Lavin about 20 years ago.  Her in-your-face songs are intelligent, funny, poignant.  They're wonderful social commentary.  This album is just the grrl and her guitar.  It's all about the lyrics here and they are FINE!!"

jon berger

gives me chills
Last night was a birthday celebration for Phoebe Kreutz and Jenn Lindsay. It was at the Sidewalk Cafe, which isn't really that surprising. It was also Jenn Lindsay's last show as a citizen of the City, which is a bit more of a shock. After coming onto the scene maybe two years ago with a kickass song, "Not Going Home," she's going home to California.
"New York's kinda beaten me around," she said, "I just need to spend some time, recouping, relaxing... New York's expensive."
She'd said she didn't want to sound defeated, wanted to think of it as a step up. Since her announcement was that she was moving somewhere cheaper so she could afford to tour more, she's already got a good spin on it.
Unfortunately, her best song continues to be her anthem to independence, about moving to the big city and staying put. She did it last night with Casey Holford, her boyfriend and former roommate, and the song continues to give me chills. But when she said, "I always thought I was stronger than that... I'm not going home... yet," it was understandably hollow.
I don't know if the song should stay in her set. Of course, if she's playing west coast shows, I don't know if it can stay in her set. The debate rages.
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