THE FIVE GREATEST LISADEE
MOMENTS EVER RECORDED!

1. The bridge on "Let's Get Naked":

This section of the tune used to really suck until the band acquired George Bernardo and Geoff Brandin. Overnight it grew heavier and with it, Lisa's vox parts blossomed. In time, Lisa emerged as the "primary instrument" complimenting Juli's lead vox on "Naked". I don't know what the hell she changed but I love it. It reminds me of New Orleans. I almost hear trumpets. Suddenly the song was in a place I had never intended for it to go. An excellent contribution.

2. The freaky background vox on "Work Song":

This is where I first noticed Lisa coming out from behind Juli's coon cap and making some truly innovative decisions. The background vox are sooooo wack she had to have been Van Gogh-insane at the time of conception. Her voice is without words and plays almost like a series of bent violin strokes, barely noticable to the ears yet strangely high in the mix. In my mind, that's the sign of some really sweet playing- it fits so well and is so subtle you don't even know it's there. UNTIL. The screeching begins in the final verse. What was once invisible and repetitive is now so abrasive and cutting it's almost intolerable - the perfect non-verbal description for song's final verse.

3. The secondary lead vocal on "The Hole"

Wow. Not content settling for background duty on this cut, Lisa calls up some serious ghosts and ends up altering the landscape with an unthinkable nexus of beauty and schizophrenia. Or maybe it's just crazysexycool all over again.

4. The frisky hillbilly cussing at the tail of "Gasoline".

Nothing terribly unique to point out here, right? - just a couple of nasty hillybilly chicks cussing and hollerin'. But I think the genius of this song is that the girls sound so convincingly authentic, I laugh every time they deliver the punchline. Juli surely has some South in her but I'm pretty knocked out by citygirl Lisa's ability to change hats and deliver such a legit hick performance. It's not fake- a long time ago she apparently used to ride horses and shit.

5. Lisa's vox on the Evangenitals cover of OutKast's "Hey Ya":

On this super slow rendition of the famous Outkast song, the vocal performances are top drawer. But rather than follow the original melody line, Lisa, at the end of every chorus, chooses a lower relative note to Juli's standard E. In retrospect, it seems a logical choice- the notes are related and in the same chord family. But emotionally, it sounds fucking wack. It doesn't resolve into the note that our ears want it to and the result is both uncommon and haunting as hell.