Sissel Makes Bid For U.S. Stardom

NEW YORK--Pure, angelic, and haunting are words often used to describe the voice of Sissel. But ask the graceful Norwegian singer/songwriter to affirm the qualities that have led to sales of 8 million albums at home, and she sits, repositions, and looks positively baffled.

"I want my voice to be soulful, to come from the heart, and I know that when I've accomplished that feeling, we're in the right place," Sissel begins, "But I can't describe it. It's high, I'm a soprano, I like singing classical, I like singing more ethnic music..."

She pauses for a moment, then continues, "We all use music for different occasions--when we clean the house we want energy, and there are times we want to relax. I guess my music is on the stress-less side."

A WILDLY VARIED CAREER
The 12 songs on Sissel, her first full-length U.S. release (issued Oct. 1 on Decca), fuse a host of organic influences--including pop, folk, and classical--all of which the artist has mastered in her wildly varied career. She has collaborated with the likes of Placido Domingo and the Chieftains, performed at the 1994 Winter Olympics in Norway, provided the eerie vocals for James Horner's score to Titanic, sang the chorus on Warren G's overseas rap hit "Prince Igor," and released more than a dozen solo albums around much of the world, the first in 1986.

Sissel's journey to the U.S. was made easier when overseas label PolyGram merged with Universal. "We realized that we had an undiscovered, brilliant artist who needs our attention," says Chris Roberts, head of Universal Classics Group. "My mission became to focus on her talent, see who the artist is, get in touch with what she wants to do, and see where we can combine efforts to create success."

Roberts matched Sissel with veteran producer/engineers Elliot Scheiner and Rob Mounsey in New York, and worked toward stamping an album of original songs and covers with the singer's bell-clear vocal imprint.

The album leads with the tender lullaby-like "Sarah's Song," which Sissel co-wrote about the beauty of motherhood--uniquely from an infant's perspective--and moves to the sumptuous, assuring "All Good Things" and a cover of the traditional American folk song "Shenandoah," as well as a simple, glittering reading of Neil Sedaka's "Solitaire."

"There has to be a place for music that is listenable, sophisticated, and accessible to an adult audience," Roberts says. "Sissel is a bit of a chameleon, with a Judy Collins or Joan Baez innocence, but also reflections of Sarah Brightman. And she rings true with both styles of music."

For Sissel's part, "these are all songs that I'm very fond of and relate to. I hope they allow people to disappear for a moment. They put me in a wonderful mood; they soothe me. I hope this record makes people happy."

FOCUSING ON AWARENESS
Decca intends to spread the simple pleasures of Sissel methodically, first with a two-week mini-tour through a half-dozen major U.S. markets at Borders Books & Music. A Good Morning America TV appearance with Domingo and an NPR segment are also on the books next month, and an hour-long solo special is in development for 2003. "This is an old-fashioned, one-on-one approach," Roberts says, "We're less concerned with having a hit than getting across all that Sissel is really about."

Sissel adds, "The most important thing for me with this album is to get something started. I wouldn't mind touring some intimate venues. I can go home to do the bigger places."

In fact, following her U.S. promotional duties in the fall, Sissel will return to her high-profile career in Norway for a spare-no-expense televised concert, featuring a full orchestra and numerous guest stars.

Wherever she is, Sissel is at a point in her career--after 16 years--where she takes it all in stride, "I was asked to come to America when I was 18 and I said, 'No.' Now, it feels like the right time to be here. I work hard when I'm working, but I'm much more relaxed now. It's important to enjoy what you're doing--and I am, every minute."