Post by OriWell, aside from the obvious things, that is.
While perusing the Mike Types to You archives, mostly for the first time ever, I stumbled across a reference to Karla Taite.
The name is familiar, but none of this research is doing much for me either. San Diego musician in the mid-90s, possibly elsewhen as well. Mike's quote is "Also, although I've been resisting the Karla Taite phenomenon despite encouragement from some of me dearest compadres, dammit when something is as brilliant as "Explosions" from her second album it would be more than massively dumb for me to resist. The acoustic guitar in the second verse provides compelling proof of a benevolent higher power in the universe."
There's a very old fan page dedicated to her on Moosenet (http://www.moosenet.com/taite/). Most references to her I've found link back to this page, leading me to think she may have been managed by Scott Chatfield perhaps? Pure speculation.
Here's a bunch of Q&A (http://www.moosenet.com/taite/taitequestions.html)
I can find no reference to her on allmusic or wikipedia. She has what appears to be a skeletal Facebook page, if that is indeed her. Nothing on Spotify.
She appears to have been respected enough to have several big names join her on stage at her shows (http://prince.org/msg/7/18015 - be careful, that page crashed my browser).
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San Diego Union-Tribune, July 21, 1995
Associated Press
One can't help but root for Karla Taite as she tilts at musical windmills. In her short career, Taite has already overcome more obstacles, both real and imagined, than many jaded showbiz veterans.
The Wisconsin-bred performer/anarchist (who performs at the North Park Theatre tomorrow night at 8:00 p.m.) first captured the eyes and ears of college and alternative radio stations with the sensual yet surly strains of "Bed," the second single from her 1992 debut effort, spite. The now- infamous Newsweek profile that portrayed a blissed-out female Taite fan gushing "I heard colors...colors!" was enough to invite comparisons to Bruce Springsteen's 1975 career-jinxing baptism by media overkill.
But when Newsweek's anonymous correspondent opined that Taite's concerts were "spiritual sound and light shows" and that "she wields a guitar like an unearthly, strutting harlot," it was enough to send even the most curious observer running-- in the opposite direction.
Still, those who did venture forth despite the deadly hype were treated to a live presentation that was, indeed, a revelation to all who thirsted for an oasis amidst the then-current derivative musical wasteland. Taite's unabashed onstage antics veered from those of a lurking, frothing Neanderthal to what can almost be described as intellectual coquettishness. Her physicality notwithstanding, the transcendent spirit of Taite's music rarely failed to hypnotize audiences.
Onstage Guests
Encores were brief; usually consisting of one song. On certain occasions, Taite would be joined during the encore by other artists, for whom Taite concerts became near-pilgrimages. Melissa Etheridge, Michael Stipe, Johnny Cash and Sam Phillips each linked up for a handful of dates on the spite tour. As a 1993 Minneapolis gig was drawing to a close, The Artist Formerly Known As You-Know-Who vaulted to the stage, joining Karla in a spirited version of "Cake," a Taite concert-closer often compared to His Purpleness' "Peach."
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