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Lonesome
Is I CD reviews
BLUES
REVUE MAGAZINE
Oct/Nov
2004; by
Hal Horowitz
Dodgy
grammar aside, Maryland-based guitarist Melanie Mason's second album's
title is an accurate description of the poignant songs within. All but two
of the 12 acoustic tracks are covers, predominantly of Delta blues
associated with masters of the form such as Robert Johnson and Mississippi
John Hurt. The disc's name comes from Hurt's "Nobody Cares for
Me," one of the three tunes she covers from his pen.
Mason
is a deft guitarist and efficient singer, but most impressive is that she
tackles this material at all. Apart from the phenomenal Rory Block,
unplugged solo blues is not a form women–with or without
guitars–generally gravitate to, especially for an entire album. So it's
refreshing to hear Mason approach this materials with heart, soul and
subtlety. Though her voice is a bit too smooth and congenial to portray
the forlorn feelings Hurt's riveting "Make Me a Pallet On the
Floor" and Johnson's "Stones In My Passway" convey, her
attitude is appropriately raw and emotionally charged. Two originals prove
that this is more than a passing phase for Mason, with "Ease Up"
and "Lonely Lonesome Gal" sounding as authentic as the covers.
Mason's
supple guitar work is exemplary throughout. She slides and picks with an
obvious understanding of the desolate qualities that make this music so
timeless. Her lone tapping foot on "Stones" adds an empty,
solitary sound. Lonesome Is I
is proof that low-down country blues doesn't need to be a boys' club. It's
a beautifully rendered album that expresses the sorrow, pain and the
hopelessness long-gone bluesmen experienced.
HITTIN'
THE NOTE
Allman
Brothers Magazine
Oct/Nov
2004; by
Tom Clarke
Melanie Mason made
a terrific debut album with her band a few years ago, but it didn’t even
hint at the grasp the young, Maryland/D.C.-based redhead has on the genre.
For Lonesome Is I, Mason chose to perform unaccompanied, picking
intricate streams
of notes on her acoustic while singing mostly standards in a charming
voice. Her arrangements may seem to stray a bit on some, but that’s just
a brilliant illusion borne of how precise she is. “Sweet Home
Chicago,” “Come on in My Kitchen” and “Statesboro Blues” sound
absolutely pristine, the nuances just jumping right out. But even
though they’re so “clean,” these blues still resonate well their
author’s original intentions and emotions. That a pair of Mason’s own
tunes fit so naturally next to those of Johnson, McTell, Hurt, et al.
gives clear indication of her stunning talent. Get on board.
TAKOMA VOICE
December
2004; by
Carolyn Feola
Call
me un-American, but I find blues music a bit monotonous at times. I
understand that repetition is the whole point, but in the wrong hands, the
tried-and-true blues formula sounds less like primal heartbeat and more
like deja-drone.
With Miss Melanie
Mason, however, the blues have fallen into just the right hands. Lonesome Is
I, Melanie's acoustic homage to her genre, is simply one of
the best blues albums I've ever heard. True, she almost couldn't miss with
her selections–my personal favorites "Make Me a Pallet On the
Floor," "Come On In My Kitchen," "Sweet Home
Chicago," and "Statesboro Blues" are all here and
given loving treatment, with Melanie's considerable musicianship and wise
old vocals. But it was a song I heard for the first time, "Joe Turner
Killed a Man," that sold me. It's such a jumpy, juicy blues romp that
yes, I had to replay it. But then, this whole CD is like a
Tennessee
whiskey–so smooth and mellow that one round just ain't enough.
BLUES
ON STAGE
August
2004; by
Gary Weeks, Atlanta Blues Society
Being
a
Washington, DC
native doesn't stop an attractive Melanie Mason from coming out with a
collection of soulful classics in her second CD release entitled
"Lonesome Is I."
Known
mostly for her electric playing, Mason should give consideration to the
fact of performing as a solo artist only. Her strengths lie in giving
organic
flavor
and a personal intimacy to this cd's song selection.
No
doubt these tracks have been heard a dozen of times. But with Mason's
sensuous sultry vocals combined with subtle slide work, there's a
down-home feeling in Mance Lipscomb's "Joe Turner Killed A Man."
And
that Southern Delta feeling just spreads wider. Mason's own songs
"Ease Up" and "Lonely Lonesome
Gal" hold up well with Melanie's deft touch in finger picking and
slide techniques.
More
original numbers could have been used to appease the listeners. If this
were the case, then we would have been deprived of hearing Mason's sincere
renderings of Robert Johnson's "Come On In My Kitchen" and the
tried and true classic "Sweet Home Chicago."
Famous
electric players Albert Collins, B.B. King and Eric Clapton have been
influential in paving Mason's musical path. The young lady has no problems
in making you cry with John Hurt's "Nobody Cares For Me."
Equally impressive is her take on Hurt's "Sliding Delta."
Melanie
Mason does perform as a solo acoustic artist. After hearing "Lonesome
Is I," lovers of country blues will scramble to get front row seats.
This girl will command attention and transport you to the crossroads, if
you're ready for the ride.
WPFW 89.3 FM
June
2004; by
Ellliott Gross, Programmer
This
CD has a nice mix of covers of older acoustic country blues tunes with a
couple very good originals mixed in. The sound/recording quality is
excellent, as the fingerwork clearly shines through. The album also
illustrates the depth of Melanie's talent and her versatility, as her
first album, Bendin' the Blues, featured electric guitar and only
one acoustic/country blues tune. If you like country blues you will enjoy
this album by an artist clearly on the rise.
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