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Janis Joplin's "Move Over": Raw, unique connectivity, explained by Kristie DeLuca

Kristie DeLuca discusses her 'Solar Music' album, starting with Janis Joplin’s influence via a flip side
Kristie embed

Singer-songwriter, guitarist, violinist and flautist Kristie DeLuca’s long-awaited Voices in My Head album is finally released on producer Michael Thomas’ Solar Music label. She is joined by musicians who have worked with Billy Joel, Daryl Hall and John Oates, Jon Anderson, Robby Steinhardt and more.


GM: Welcome to Goldmine. Voices in My Head has such a great variety of compositions showcasing your voice and the multiple instruments that you play, with rock augmented by a touch of jazz on the final number “Running Around.” 

This August at Goldmine, we once again look back at artists who performed at the Woodstock festival in August 1969. Before we talk about your new album, let’s start with a singer who played at the second day of the festival, Janis Joplin, someone you told me has influenced you the most. Her final charting studio single, released posthumously, was the bluesy “Get It While You Can” on the A side with her straight-ahead rock composition “Move Over” on its flip side, both from her classic album Pearl. There is also a great live performance of “Move Over” on the Festival Express film’s bonus DVD disc.

KRISTIE DeLUCA: When Janis Joplin got up on stage and performed her songs it was as if every time you were seeing it for the first time. She truly knew how to take the songs and deliver them in a way to the audience that made them connect and feel as if she was singing about them. There was something so raw and unique about her. Janis Joplin was an amazingly talented performer who most influenced me in my music career, inspiring me to leave myself and my insecurities off of the stage and really dig deep into each song, feel it, become part of it, and deliver it in a way to connect with the audience.

Kristie flip side

Fabulous Flip Side: Move Over

A side: Get It While You Can

Billboard Hot 100 debut: September 11, 1971

Peak position: No. 78

Columbia 4-45433

Kristie album

GM: I do hear Janis Joplin’s influence in the second half of your new song “Suffocate.”

KD: Thank you. When I perform rock songs live people have said that I remind them of Janis Joplin. In the studio, it is different because you try to get a real clean sound and it makes a very interesting experience, holding back some of that wildness.

GM: I also detect possible 1990s influences in your work with “Suffocate,” reminding me a bit of Natalie Imbruglia’s “Torn.”

KD: I love that style of music. That is definitely a compliment and one of the first songs I ever performed live was “Torn.”

GM: “Stumble” is very pretty and soothing with wonderful atmospheric strings.

KD: That was a really crazy recording experience. I was able to bring my classical orchestra training to it. I started playing violin when I was in first grade until I graduated, going to state contests. I went to school in Grand Island, New York and played a bit in the Buffalo Philharmonic Orchestra. Laying down the strings was a lot of fun, especially with Tim Franklin, who plays the upright bass.

GM: An advantage of Buffalo, which is not the snow, is the proximity to Canada. Did you grow up listening to any Canadian radio stations?

KD: I lived right across the street from the Peace Bridge to Canada, with just the river separating the two countries so we would go there often, but I grew up in a strict Baptist family with my father being a pastor. I did all Christian music as there was a feeling that secular music was demonic and bad, so a lot of my musical background is from that gospel Christian root and my family all played instruments. My secular influences didn’t happen until I went to Niagara County Community College for nursing school. I started out doing bluegrass and country and then transitioned more to a classic rock style.

GM: Also, with “Stumble” I hear a bit of Jewel.

KD: When I was in nursing school, I absolutely loved Jewel. She was the first secular artist that I fell in love with. I was amazed by her songs. She definitely has an influence on my style.

GM: “The Truth” is harder edged, reminding me of Alanis Morissette.

KD: She is another great artist and another influence of mine. I love her raw realness, convicted by the words she is singing.

GM: The Voices in My Head album video preview features “Over Analyze,” the catchy “Maryann” and my favorite song, “Lie to Me.” It is edgy, has a neat tempo change, and features your flute.

KD: It definitely has a classic rock edge to it that I love. When we were recording the album, Mike was adamant about making an album that is timeless. I am so glad I listened to him. Charlie DeChant, who has played saxophone with Hall and Oates, taught me how to make the Ian Anderson-Jethro Tull sounds on my flute. I was classically trained on the flute to deliver a pretty sound. Charlie really opened up my option to make the flute sound more rock in style, singing when playing the notes and different tongue movements. I never knew those choices existed. 

GM: I also hear your violin quite a bit on “Afraid of the Dark.”

KD: I always like to go for that Boyd Tinsley-Dave Matthews Band violin sound. When I played this song at Hard Rock Live, I added a lot of that style at the end of the song. Violin is my strongest instrument. I love playing live and will be touring the Northeast this fall, working my way back down here to the Southeast. One place I will be playing is the Sportsman Tavern on Amherst Street in Buffalo, which is where I started in my music career. It turned out to be a huge venue in Buffalo. I didn’t start singing until I was in college. Prior to that when we were in church, playing violin and flute, I was trying to sing some harmonies as a young girl, but was told that it didn’t sound good, so I waited until college to sing again. Steel guitarist John Dieckman introduced me to a guy from the Hee Haw show. We took trips to Nashville together. When I sang a song, John said he heard something in my voice, and he took me under his wing. When we were surrounded by successful Nashville musicians, they didn’t hear what John heard in my voice, but he kept working with me and we ended doing a Jimmy Dean True Value Showdown contest. A kid who was in the contest asked, “How about you try out and I’ll pay for you, too?” He ended up paying for me at this really big venue and I ended up winning the whole thing. I was the only one who did an original song and I had only a half hour to teach the backup band the song. We were sitting in the huge noisy auditorium crowd. John Dieckman turned to me and said, “Kristie they announced your name!” I thought he was joking. I got up and I was so scared. I got a huge trophy. It was a huge moment for me, and it is all because John Dieckman and the people at the Sportsman Tavern believed in me when I didn’t believe in myself. Thank you and Goldmine, too, for believing in me and my music. I look forward to meeting you at one my Florida shows.

Related Links:

Goldmine Shop has Janis Joplin

Kristie DeLuca Voices in My Head album preview

Fabulous Flip Sides now in its eighth year