REVIEW: Lucky to Be Live, Just Out Magazine 5.99
Michelle Malone - Velvel
Michelle Malone, a lesbian singer-songwriter who’s been out longer than Just Out has been in circulation, has been heralded by the likes of Billboard, OUT and Philadelphia Inquirer for her hard-hitting rock ‘n roll. This latest release is a five song EP that samples just a taste of what a full Malone CD might offer.
Although her last full-length album, Beneath the Devil Moon was a critical success, Lucky is only a brief glimpse at her natural talent. Unfortunately, it wasn’t enough of a listen to truly assess the Atlanta native. Four of the songs are original creations dating from 1987 to 1996, with the fifth being a cover of the Jagger-Richards classic "Wild Horses."
Malone has been compared to Sheryl Crow due not only to her looks, but her throaty vocals as well. Like Crow, she’s worked her way up from the ranks from dingy bars to sold-out shows. For more than 10 years, Malone has pursued her musical ambitions, after being convinced by the Indigo Girls to follow her dream of performing.
For a better understanding of Malone’s music, pick up Beneath the Devil Moon, also on the Velvel label; or 1994’s Redemption Dream on Daemon/hifi Records, called the "most solid, uplifting straight forward album of the year" by Cover magazine.
"Best of Atlanta 1998," Creative Loafing 10.17.98
Best Acoustic Band/Artist
READERS' CHOICE
Tie: Michelle Malone and Gerard McHugh
The girls and the boys split this one right down the middle, with the honors shared evenly between two longtime fixtures of the scene. Although both of them also have reputations as electric rockers, their quieter acoustic personas clearly struck a warmer chord in the hearts of Loafing readers. Malone's an intense fire-brand who can hold a room spellbound with her arrestingly strong and beautiful voice, but McHugh's strength is witty songwriting combined with lively stagecraft.
Ottawa Citizen, 2.21.98
"Marvelous Malone should top charts" (5 STARS)
OK it's only February and there's a bit of time left in the year, but it's hard to figure out how any record is gong to push this disc off the top-10 lists.
Malone's been a fixture of the southern U.S. folk scene (she previously was signed to Indigo Girls' Amy Ray's Daemon Records). But on Beneath the Devil Moon, her debut on Walter Yetnikoff's Velvel Records, she shows off a dandy range of styles and influences.
Punchy rockers Blue Suede, Grace and In the Weeds segue into R&B (Dimming Soul) and over to jazzy numbers like Edge. The songwriting is clear, witty and emotional, and throughout the disc Malone shows a powerful command of her guitar. She's equally adept at crunching riffs and delicate finger picking.
But the real attraction here is Malone's marvelous voice. The tone is set on the album's first track, Grace, where Malone starts out practically whispering and builds to a roaring climax. There are hints of Sheryl Crow in parts and bits of Sarah McLachlan, but it's all Michelle Malone.
The production, by Malone and David Ryan Harris, is crisp and wonderfully simple, making sure Malone's voice is heard.
Quite simply, you should buy this record.
Billboard, 2.28.98
"SINGLES: My Green Thumb"
PRODUCER: Michelle Malone
WRITER: M. Malone
PUBLISHERS: Strange Bird Songs, Ensign, ASCAP
Velvel 79703
If you missed the opportunity to examine Malone's lip-smackin' collection "Beneath the Devil Moon" upon its release last year, here's another chance to embrace one of the nearly lost treasures of '97. "My Green Thumb" shows the tireless troubadour pumping up the beat to a radio-friendly rock pace while flexing her voice and guitar to sweet, Sheryl Crow-like effect. It's way smarter than anything you'll encounter on the airwaves right now but has enough accessibility to warrant widespread acceptance. Be among the first to join the party.
Two Rivers Times (Red Bank, NJ), 8.15.97
Music Scene, "Night Grooves," by Uncle Mike
Michelle Malone has been on the verge of making it big since 1993. And what shocks me is that while every Tina, Denise and Harriet is fronting a band these days, Michelle Malone remains not only the South's best kept secret, but one of America's best kept secrets.
When I first heard her back ion '93, Malone's vocal styled was being compared to Janis Joplin, Bonnie Raitt and Melissa Etheridge, while her guitar play was reminiscent of Keith Richards. In '95, with her band, Band de Soleil, her music took on a harder edge, and I was convinced that she was the best female guitarist in the country. Well, 10 years after she started, Michelle Malone, the singer/songwriter/guitarist, with more talent than she knows what to do with, is back. with a new label, Velvel Records, and a new CD, Beneath the Devil Moon, in tow, Michelle opened for The Neville Brothers last week at the Count Basie in Red Bank.
Performing solo, Michelle Malone displayed a voice and a stage presence that can only be described as riveting. Switching between electric and acoustic guitars, she easily won over the Basie crowd with powerful renditions of "Grace" (1st cut from CD/clear but edgy vocal), "All my Lifetime" (fine a.g./sultry ballad/crowd fave), "The Edge" (crowd was hers/great vocal/one of her best), "Learn to Cry" (on a roll/killer vocal/vintage Malone/unc's fave), "Hollow Day" (stepped it up on e.g.) and The Stones' "Wild Horses" (soulfully mournful vocal/hot stuff).
Look. Michelle Malone is one of the most talented women in American music. she is a truly gifted singer/songwriter/guitarist as well as an electrifying performer. She is head over heels above most of the women passing for rock stars today. Michelle Malone has got the good and after 10 years of relative obscurity, she deserves to be heard. Hey, if Michelle Malone doesn't make it then America just isn't listening!
Billboard, 8.9.97
MICHELLE MALONE Grace (3:06)
Producer: Michelle Malone
Writer: M. Malone
Publishers: Strange Bird Songs/Enmsign, ASCAP)
Velvel 0005 (CD promo)
Can it be that Malone's time for widespread success has finally arrived? After toiling away on the heartland's club circuit and honing her skills as a troubadour with grit, she delivers a single that the above-ground rock world will have no choice but to acknowledge. "Grace" has the snarling aggression of a Melissa Etheridge hit, but with a mild folk subtext that nicely showcases the softer edges of Malone's voice. an excellent driving song, this single is just one of 11 slammin' songs on the artist's must-hear new album, "Beneath the Devil Moon."
PAR file 7.6.97
MICHELLE MALONE
Album/Label: Beneath the Devil Moon/Velvel
Hometown: Atlanta, GA
Home Now: Some hotel somewhere
Bands You've Been In: Mine
Bands you wish you'd been in: None
Most famous performers you've played with: Gypsy Rose Lee
Biggest Influences: Mom
Heroes: Neil Young, Patty Smith, Bonnie Raitt, Danielle Howle, Ella Fitzgerald, Indigo Girls
Tune You wish you had written: Theme from Rocky
Best memory of your career: Can't remember
Most embarrassing moment of your career: Now
Dreams: I've had a few
Fears: Too many to list
Pet Peeve: Questionnaires (again!)
Favorite Comic Strip: That time when Rosie O'Donnell...oops, never mind
Message to the world: Love now
Sojourner: The Women's Forum, 6.97
(Michelle Malone, Beneath the Devil Moon, Velvel Records)
In the midst of their set at the Newport Folk Festival last summer, the Indigo Girls gave over the stage to Michelle Malone, whose smoky vocals and rockish guitar playing transfixed the audience. The maturity of her voice is inescapable. Forged by years of performing, this Atlanta-based artist has been making albums since 1988; she also performed as a child and grew up on the road with her mother -- also a singer. Thinking globally and acting locally, Malone has been performing across the country at Pride Festivals -- gigs she sees as an opportunity to merge the personal and the political by showing her support to diverse communities.
Malone's new release, Beneath the Devil Moon, is actually her fifth performing either solo or with a band (past incarnations being Drag the River and Band de Soleil, who back Malone on most of the tracks here). The music ranges from the jazzy "Edge" to the rock poetry of "Refueled." The final track "Dimming Soul" is featured in the exciting new movie All Over Me, which explores the intensity of friendships between girls. Lyrically, this album is deeply personal. Malone is a songwriter who can capture moments precisely -- "I don't want to talk because talking walks these feelings home" -- and sometimes offers more than you may want to know -- "You say you love me anyway/ And if I were a hotel bed I think you'd love me more."
The beauty of Beneath the Devil Moon lies in its mix of Malone's soulful voice with layered rock-n-roll rhythms. While she acknowledges the comparisons to other female -- usually white --- powerhouse vocalists (Bonnie Raitt, Melissa Etheridge, Janis Joplin), Malone has gone on record as saying she identifies most with her mother's sound, which was gospel and pop. comparisons to the Black Crowes and concrete Blonde also arise. Rest assured though, Malone is a performer in her own right evoking some familiar memories but creating new territory.
Time Out, New York, March 18, 1997
If you heard her as an opening act for Indigo Girls, the evil blasts of Michelle Malone's scrappy, gravel-toned wail and rock-god guitar playing probably threw you off a bit. Malone's been kicking around the record business since 1988, breaking with a major label because of creative constraints, releasing several CDs on indies and leaving behind a bunch of industry guys who quaked a little at her bad-girl behavior. She's always had a loud band her; one was called Drag the River, the other, more recent incarnation was dubbed Band de Soleil.
For now, at least, the Atlanta-based artist is going solo. This may be a blessing. Whether she's doing that thrash/acoustic thing, swirling power psychedelics or the occasional pretty ballad, the most interesting thing about the 29-year-old songwriter is her impenetrable poker face. Upon first inspection, the slight, angular musician looks like she's going to sing like a swan while delicately picking at her unplugged guitar. She may, but then it's just as likely that she'll heave that feathery body up to the edge of the stage and grind out a viciously dissonant tale in which somebody gets very hurt. The volatile, edgy quality of Malone's performances can be riveting. Behind the barroom blues rock with a bit of an al-rock kick are visions of redemption, betrayal and loss - only Malone's not crying. She's screaming bloody murder, and the effect -when there is just her braying acoustic guitar, a tiny, deeply reverberating space like Fez and an unsuspecting audience - is out-and-out shocking.
In a few months, Malone will release her fifth CD, Beneath a Devil Moon. Until then, take a test drive with this show and hear Malone's wicked version of "Wild Horses."
Philadelphia Gay News July 1, 1997
Beneath the Devil Moon : **** 1/2 stars
With new releases by the Indigo Girls and k.d. lang, it would be easy to overlook "Beneath The Devil Moon," singer/songwriter Michelle Malone's latest effort. Don't make that mistake- Malone's new album is a keeper.
"Grace" opens the album with a smooth and fairly restrained vocal, building to a chorus that is driven emotionally by Malone's powerful voice.
"In the Weeds" and "My Green Thumb" are a bit more subtle musically, leaving more room for Malone's thoughtful lyrics. "Blue Suede" is one of the album's best songs, a chance to revel in Malone's power, while "Refueled" offers a spoken-word departure.
Malone is joined by Amy Ray and Emily Saliers of the Indigo Girls on "All My Lifetime", perhaps returning the favor for her contribution to their new album, a guest spot on "Scooter Boys."
"Dimming Soul"," a cut included on the "All Over Me" soundtrack, is the perfect closer. Clocking in at just over six minutes, "Dimming Soul" gives Malone room to stretch out before she builds to a heart-felt, heart-stopping finale.
Vocally, Malone has few peers. She has a gift for building a comfortable tension with her verse and then letting loose on the chorus with a vocal emotion that puts her in the company of the Indigo Girls or Melissa Etheridge. While not as folksy as the former and not typically as rockin' as the latter, Malone's talent should earn her a share of the spotlight.
In face, "Beneath The Devil Moon" is a better album, song for song, than Etheridge's "Your Little Secret." While Etheridge seems to stick with a formula that works, Malone takes a few more risks and finds great variety with her sure-to-impress vocals and distinctive songwriting.
Guitar Shop, April 1995, vol. 2, no.2
Band de Soleil
Redemption Dream (Daemon)
PERFORMANCE: Powerful
RECORDING: Honest
GUITARS: '73 Strat, '92 Les Paul Special, '67 Tele
RATING: ****
Singer/songwriter/guitarist Michelle Malone is one of the most distinctive new artists to emerge in the '90s. Redemption Dream is the debut release from Band de Soleil, the trio she fronts. Michele's artistic style is much like a combination of the best qualities in Bonnie Raitt, Melissa Etheridge, and Janis Joplin; the material is raw, soulful, and blue-rooted with strong songs and arrangements. Michelle plays all guitars on the record, and her rhythms and textures are solid and creative. Her solos, especially on "Black River" and "Shadow on the Wall," explode with more feeling than fingerboard gymnastics. Overall, this is a fine record that showcases the talent of a rising guitarist.
NEW YORK POST, Tuesday, Nov. 29, 1994
The last time I saw Michelle Malone, she was sitting smoking on the stoop to a SoHo loft, looking like the world just fell on her. She'd just finished a New Music Seminar show that was OK, but hardly lived up to her EP. That was then, and "Redemption Dream," her just-released disc, is now. Just when you thought Melissa Etheridge had the "Janis Joplin white-blues, power-rock" thing to herself, Malone and company steal all her fire.
"Redemption Dream" shows Malone to have the vocal purrs and growls of Janis without being a copycat. Malone's music has the grit without the harshness you'd expect. So far the top tune for me is a breezy psychedelic retro track called "The Gathering," on which Malone's guitar work equals her big voice.
"Hollow Day," a dark tune about how death takes no holidays, is a great number, but it's such a Concrete Blonde rip-off that the disc's producer should have helped the band give the number more of Malone's signature rather than Johnette Napolitano's.
With Malone's good looks, her talent as a songwriter and the band's sharp edge, all that separates M.M. and her Band de Soleil from the big time is a video that music TV can wear out.
ATLANTA JOURNAL-CONSTITUTION, Sat. March 6, 1993
After a frustrating one-album deal with Arista Records, Atlanta singer-songwriter Michelle Malone exactingly recovers her independence with "For You Not for Then."
As the title indicates, Ms. Malone throws off the create-a-hit pressure and freely focuses on herself and the world as she now perceives it.
?Ms. Malone's singing has never been stronger - or clearer - and her mostly folk-rock music is effectively produced. It's fleshed-out just enough to support the lyrics without obscuring them.
Some bitterness and more than a little disillusion permeate "The Greatest Show on Earth," the first cut. But Ms. Malone moves on to deal with "broken glass and shattered dreams" ion "Worthless Bones," and regains control in "Has Anybody Seen My Monster?" Her demon may be "about my weight, about my size," but she distances herself from her dark side - ignoring gender - by saying "Let him dream his life away."
After that, Ms. Malone tosses in a biting country honk aptly titled "Knee Deep" and accepts love as "something bigger than you and me" in "Power of Love." In "Got a Feelin," she optimistically suggests that the way to deal with life is to "bring your imagination" - and the way she does just that lyrically and musically throughout "For You Not for Them" makes it a satisfying - at times, compelling - work.
PLAYBOY, Vol. 41, No. 2 - February 1994
What's alternative now that alternative has become mainstream? Singer-songwriters, Folkies. Songs in which the lyrics aren't fighting to be heard above overdriven guitars. Acoustic, in varying degrees, is the new underground. Michelle Malone has one of the new alternative voices that deserves to be heard. After a failed try at a major label, she returns to her proper indie roots with New Experience (Sky). Malone is first of all a skilled actress who convincingly conveys a remarkable variety of moods in the course of an hour of music. But the moods always service the eerie songs, which are also remarkably good. Malone has a gift for riff and melody, and lyrics with just enough indirection that you're not quite sure what all the emotion is about, but you believe it anyway.
