By Noah Hubbell
By Kiernan Maletsky
By Tom Murphy
By Noah Hubbell
By Alex Distefano
By Darryl Smyers
By Jon Solomon
By Britt Chester
At first glance, Toddy Walters appears to be a walking dichotomy. With a sweet and subdued demeanor, a penchant for singing torch-like songs of drama and desperation in the Kate Bush vein, and a clear focus on her musical vision, she's not easily pegged as the voice behind the drunken barn-dance singer in the South Park episode "Cartman's Mom Is a Dirty Slut."
But Walters is actually less of a study in contradiction than an artist of varied talents -- and ambitions. After three years of performing in Colorado with her band -- a three-piece eclectic pop unit dubbed the Assorted Beverages -- the call of the West led her to Los Angeles, where she's lived since 1998.
"In order to make your options wider, you have to live in a cultural hub, and the mother ship of the music industry is Los Angeles," says Walters. She's spent the past few months recording tracks for a new demo with producers from Bosnia and Austria. "I guess I consider my music to be sacred enough to myself that I don't want it to become solely a product. Unfortunately, you have to remember the fact that music is a business, especially when you don't have anyone banging down your door to getyour product."
Walters has found that maintaining musical integrity in a city obsessed with pop life isn't as easy as many West Coast-bound hopefuls may wish. Though much of the world has witnessed the beginnings of Britney/Backstreet Boys pop backlash -- not to mention the emergence of a lo-fi garage movement that's sprung up in the place of synthetic pop -- Walters wearily watches as L.A. anoints more bubblegum bands as the future champions of the Billboard charts. This climate makes it tough for an artist such as Walters to stay true to her art.
"It just seems like it's such a strange time; I can't even really wrap my mind around any of it," says Walters. "In L.A., it seems like everything is so cut and pasted and perfect-sounding. Producers use editing software to the point where you are cutting in a word here and a word there. It ends up sounding so...I don't even know the word for it. It's like liquid air. It doesn't nourish your soul at all.
"When you write a song, you have heartfelt emotion behind it," Walters continues. "Therefore, the song has meaning. But when you have four or five or six people co-write a song and then the singer sings it, how can it have that intimate feeling like you do with one writer? Then you add all the bells and whistles of the studio into it, and it just ends up sounding like nothing."
Recently, Walters has been adorning her music with a few bells of its own. She's currently at work on an album she hopes to have completed by next summer, when she'll shop it to small labels and, most likely, offer it through her Web site (toddyivy.com). In the meantime, Walters's manager continues to push one of her previous recordings in an attempt to land that elusive deal. His approach -- and the struggle of adapting to the L.A. studio environment -- has at times tested the artist's resolve.
"This manager I had been working with had wanted to have a big hand in the sound, and he was kind of controlling," says Walters. "I like him and am still working with him, but I didn't have a whole lot of control during the whole process of three songs from my latest demo, which is why I don't really dig on them as much as other stuff I've done. The recording process was really detrimental to my confidence. All you hear out here is 'There are not enough hooks in the songs.'"
Fortunately, her enthusiasm has not yet been quashed. Besides doing character voices and writing songs for South Park, she sang backup vocals for Better Than Ezra's 2001 release Closer, played Georgi in the 1999 movie Orgasmo, did some MTV soundtrack work and went on tour in the fall of 2000 with electronica artist Brian Transeau. But her real emphasis has been on a solo project and the development of her California sound, which is shaped by her collective experiences on the Left Coast. Though Walters's Denver work can be described as quirky, folk-influenced pop, her music has matured into a simplistic yet upbeat, mid-tempo groove style. Recent tunes such as "Rooted" and "2 Good" utilize sparse electronica and a more casual and sophisticated vocal delivery. It's got a dance-world feel that's both creative and commercial-sounding.
Walters's musical inspiration is not surprising, considering she's a singer with substantial range. "My major influence is Kate Bush. When I first heard her I was thirteen, and she made me want to do music for sure," recalls Walters. "But I also love Rickie Lee Jones and Joan Armatrading. I loved Chrissie Hynde. Roxy Music was an influence. Sinéad O'Connor is a big influence, and PJ Harvey, I loved."
Walters channeled various influences into her debut effort -- 1997's Grotto, which she released while living in Denver and playing with a band. At the time, the Assorted Beverages included Ian Hardin on drums, Phil Hegel on bass and Jim Nasi on guitar. Grotto's abrupt time changes and complex song structures focused on a young artist exploring her limits. Her chameleon-like vocal ability was apparent as she summoned the spirit of Bush, Harriet Wheeler of the Sundays, and the Cocteau Twins' Liz Fraser -- at times simultaneously.