Artist description Shelly Phelps has been a staple of the Oklahoma City music scene for the past decade. Known for her sultry, soulful, and versatile vocal style, powerful stage presence, and wicked sense of humor, Shelly's name has become synonomous with music. Along with her band, The Rhythm Junkies, she is currently recording an original CD project, "Girl On The Wire," due for release Summer, 2000. The CD is being recorded at Dear Abbey Road Studios in Norman, Oklahoma and contains funky and soulful songs with confessional, sexually, and spiritually themed lyrics. Phelps is planning an extensive performing schedule to promote the self-penned project.

Music Style Soulful and funky flavored Pop/Rock

Musical Influences Bonnie Raitt, Aretha Franklin, Al Green, Billy Preston

Group Members Shelly Phelps - Vocals, Rob Vollmar - Lead Guitar, Steve Wheeler - Bass Guitar, Dean Brown - Drums, Ryan Jones - Keyboard

Albums Girl On The Wire

Press Reviews The following is an exerpt of an article that appeared in POP Magazine on March 26, 1999. Doug Hill reviewed an acoustic show at Diversity Coffee House in Oklahoma City. Shelly Phelps Ignites Oklahoma City Shop - Doug Hill, POP Magazine Shelly Phelps began her set covering Van Morrison's 1970 hit "Moondance." It was a soulful and romantic start to a set that was sweetly erotic. Phelps is all woman. She's thirty-something and built like a Rio de Janeiro Beach Queen. Wearing black kiss-me pumps, nylons, capri pants, a low cut top and silver hoop earrings, Phelps was the quintessential red hot mama. Nichols, to her left, was a cool Gap hipster in long sleeved black sweater, cuffed khakis and desert boots. He's the former guitarist for signed band P.C. Quest (openers for Boyz II Men, Marky Mark). His photo was teen fantasy material in "Sixteen" and "Teen Beat" in the early 90's. Getting some soul issues out of the way right up front, the two cruised through "What's Goin' On." Phelps went even deeper into Detroit, singing a screaming, spine tingling version of "Chain of Fools." A petite woman strolled into the shoppe and dropped some pennies into the band's tip bowl: one of those goofy disses only a friend would do."That's cute," Phelps said. "This one's for Miss Ashley." The duo played a number from their band's (The Rhythm Junkies) upcoming record called "Every Other Wednesday Night." Nichol's back-up vocals were soft as sable, his guitar alternating between sensitive and slashing.The next tune set the joint ablaze. Phelps had gone into her 1920's blues lady persona and her dark eyes appear to be flashing with heat lightening. "Don't send me no doctor, filling me up with all those pills / send me Dr. Feelgood who takes care of all my ills . . . " She teased the crowd like a bad, bad girl, causing a chorus of feminine screams to go up before the climax. "Here's a song I wrote about my sisters. They're not here tonight, but that's all right...It's called 'Barefoot Girls," Phelps whispered into the mic. Nichols guitar was loud and pounding as Phelps sang my favorite number of the evenning. "Barefoot girls turning cartwheels on the front lawn / long after the summer sun was gone / watching fireworks in the town square / running naked on a double dare..." It turned a cold March evening into summer in Pauls Valley, Madill, or Tishomingo for a few moments. The song was a warm showcase for Phelps' lush, soulful voice. Besides being a burning rhythm and blues diva, she also had a hint of Sunday morning gospel in her sound that broke through now and again. Phelps voice has a delicious, Godiva Chocolate quality that's ultra feminine, but strong as Koko Taylor's. She has a knack for filching other people's songs and making them her own. There's a naughtiness too, part the material and part Shelly, that had this crowd mesmerized.In the intimate club atmosphere, Phelps was singing songs for friends in the audience. "Here's a song called 'Hip Kitty,' it's about all the hip chicks I know on campus," she said. "In herfishnet stockings, she's so pretty / she can handle the gawking / she's a real hip kitty." Phelps is reminiscent of a very southern Bonnie Raitt. She lists Raitt tops on her list of best slide guitarists. The crowd got raucous again during an energetic rendition of "These Boots Are Made For Walking." Phelps covered "Me and Bobby McGee" with a perfect, raised-purt-near-the-Red River-accent that sounded amazingly like Pearl. She closed the show with John Prine's "Angel From Montgomery," misting my eyes by the first chorus. Chatting later, we agreed that Lillith Fair (Martina McBride, oh yeah) was a recent live music highlight for the metro. Phelps admitted to having been one of the men's restroom interlopers at the event. She spoke with a fervor about her influences: Martha Reaves, Billie Holliday, Aretha and Bonnie, and the passion of the blues. Its blend of gospel, c&w, and rock spell soul for Phelps. She's looking forward to the completion of her full-length album project with the Rhythm Junkies along with a tour, marketing and all the attendant hoopla. Phelps and her addicts play next April 9 at Bricktown Charley's. Be prepared for a real Hip Kitty.

Location Oklahoma City, Oklahoma - USA

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