Favorite Albums from April 2019

OK, I think I like this format of posting what I've been listening to over the past month. So, we'll see how this goes.

There was a lot of good stuff to come out in April, but these three albums really stuck with me.

First up is Rod Melancon's Pinkville. It's at times manic, laid back, country, rock, punk and uncatergorizical (I may have made that word up). Melancon has a unique voice that one could either love or hate. A few times, there is more narrative telling than singing, but it works. The closest comp I can come up with is John Mellencamp deep tracks. Here is "Westgate":




I've been a Melissa Etheridge fan since her first self-titled album came out in 1988. Her latest release, The Medicine Show, may be my favorite since that debut. For this listener, this album seems to recapture the feel of her first two albums. It's not as raw as those first two, but for whatever reason, the edge is back.




The third album is the self-titled debut from Jade Bird. This was not even on my radar until my fellow blogger Megan clued me in. And I'm so glad she did. The 21-year-old singer/songwriter from the UK weaves together a perfect amalgam of country, roots rock, folk and young angst. Think of an Amanda Shires/Lucie Silvas/Alanis Morisette mashup. Yeah, it's diverse and interesting, if you're into that.

Album Spotlight: Danielle Nicole - Cry No More

Danielle Nicole's sophomore solo album Cry No More is a sweaty, sultry blues rock album that is the epitome of my definition of "swamp". The Kansas City native would be right at home in the blues scene of her hometown as well as as the Mississippi Delta, or Memphis, or Texas.

Pulling double duty as not only lead vocalist but also bassist for her band, you know the music is going to feature the bass prominently, and that's a good thing. Too often, the bass gets buried in the mix, not here.

Danielle Nicole started playing bass in order to keep her former band, Trampled Under Foot, a family affair. When she ventured out on her own, no way she was giving up the bass, for the betterment of us all as fans of music.

Is there anything particularly innovative or unique on Cry No More? Not necessarily. But that's not a bad thing. There is absolutely nothing wrong with knowing your wheelhouse and going with it and making kickass music. In fact, that's what I love about the album. It knows what it is and it's going to be as good as or better than anything else you hear.

Her voice is not going to blow you away. It has some Bonnie Raitt qualities, maybe some Melissa Etheridge. However, her voice is perfect for the type of music she plays. It just fits like a glove.

If you start listening and don't like the first song, "Crawl", then stop. But if you do, you're in for a treat. Not a bad song on the album.

I'm going to post a live version of the song "Save Me", because as good as the studio version is, this is better. Which I think every song would be.

Retro Album Spotlight: Sass Jordan - Racine

One of the great things about fantastic music is that it doesn't have an expiration date. Music made that plays to the trends is usually disposable after a few years, but if an artist makes a great album, it will stand the test of time. That's what Sass Jordan did 25 years ago with Racine.

On the 25th anniversary (not to the day, but the year) of Racine's debut, Sass Jordan is releasing Racine ReVisited on September 15, which is a total re-recording of the album with hand picked musicians. You can read more about that on Jordan's website, and you should.

Here's a short teaser of said album.



Being totally transparent, I readily admit I was not aware of the original album until I ran across something about Jordan doing a 25th anniversary remake. Sure, I was aware of Sass Jordan, have heard a few songs, but never really spent any time with her music. Like I said in the opening, there is no expiration date on good music. So listening to Racine was like listening to a brand new album. And what an album it is, very worthy of a remake, if only the remake can hold up to the original.

Racine is a rock album, borrowing heavily from the blues with a sprinkling of country and honky tonk thrown in. For those that read regularly, yes, there is swamp. Jordan's vocals are in the vein of Melissa Etheridge, Bonnie Raitt, Janis Joplin. And for a British born Canadian, there seems to be some inexplicable twang at times.

I don't know Jordan's influences, but there is a heavy Rolling Stones vibe to a lot of the songs.

Racine ReVisted will be her first album since 2009's From Dusk til Dawn. And I understand why established artists don't spend the money to record new music with the way the industry is nowadays so this will be an interesting study because Racine ReVistied is not just a remastering or remix, it's a full fledged re-recording of the album.

I'm also very compelled by Racine ReVisited because it wasn't re-recorded to be current, it was re-recorded 70s style, according to Jordan.

In the meantime, get to know the 25 year old original. Here are a couple of my favorite tracks.

Album Review: Melissa Etheridge: This Is M.E.

I was a huge fan of Melissa Etheridge in the late 80's/early 90's. Here first three records, Melissa Etheridge, Brave and Crazy, Never Enough, are still some of my favorites. The raw energy and attitude of those albums were great.

Then came the breakthrough Yes I Am followed by Your Little Secret which both contained the biggest hits of Etheridge's career. For me, it became a little too polished. So I kind of checked out.

Since I'm back into music heavily, searching out good stuff, when I noticed Etheridge had a new record out, I had to check out. I'm so glad I did.

Now, I don't know what she's been doing since Your Little Secret, but This Is M.E. is fantastic.

This Is M.E. starts off with a whimper. The first song, "I Won't Be Alone Tonight" is pop schlock. But then things start to pick up. "Take My Number" takes me back to the first album. Instrumentally anyway.

"A Little Hard Hearted" is also reminiscent of Etheridge's earlier stuff. In places.

Then things really start to good and swampy. The next six songs are Melissa Etheridge at her best. Raw, emotional, real and just a little bit different from what I've heard before. Those six songs are the record for me.

"Do It Again" starts out as a country-tinged ballad then Ehteridge channels here inner Janis Joplin in places, especially the pre-chorus, which is kind of unexpected. There's also what sounds like some lap steel in there.

Then she goes really deep into the swamp with "Monster". Sparse instrumentation, gospel choir-like backing vocals and some blues harp. It's all good.

With "Ain't That Bad" we're staying in the swamp. And it's still all good.

"All The Way Home" is just plain double entendre fun. In a good way. No pink umbrellas here.

The next song, "Like A Preacher", leaves the swamp, but it has classic Melissa Etheridge vocals, like the kind found on the first album.

And back to the swamp with "Stranger Road", which may just be my favorite track on the record. The vocals in the verses may be a little forced, but everything else about the song more than makes up for it.

For me, the last two tracks are forgettable.

Here's the official video for "Take My Number"



And then stuff like this is what made me a fan in the first place. Just Melissa and a 12 string Ovation.

Melissa Etheridge on Amazon.

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