Melonie Cannon - Melonie Cannon (CD)

User Reviews: Melonie Cannon

Melonie Cannon
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4.5 out of 5.0 stars 2 Ratings (2 Reviews)
  • Overall:

    Lyrics:

    Music:

    A singer of breathtaking ability

    By Joe  Oct 11, 2004

    Pros: Top session musicians

    Cons: Nashvillized music that misses the "warts" of a real bluegrass band; Only ten songs

    The production of Melonie Cannon’s acoustic county and bluegrass album is first rate. A singer of breathtaking ability, Melonie vocalizes with a soft touch of satin and silk. She sings with honesty and conviction in an unadulterated and soulful styl...e. Her memorable songs are drawn from some top songwriters – Kim Fox, Ronnie Bowman, Buddy Cannon, John Scott Sherrill, Bill Anderson, Harley Allen, and others. She mixes up the set nicely. The sounds of this crossover fusion of bluegrass and country utilize standard acoustic instrumentation with percussion, with fiddle and dobro taking very central roles for breaks and fills. The folks who assume these key roles are top session musicians. Deanie Richardson or Stuart Duncan play fiddle. Rob Ickes, Jerry Douglas or Randy Kohrs are on dobro. Other string wizards featured here and there include Dan Tyminski, Ronnie Bowman, Jesse Cobb, Wyatt Rice, and Jeff White. Banjo played by Dave Talbot, Elmer Buchett or Robbie McCoury appears on four tracks. The central focus, however, is Melonie and her singing which evokes considerable confidence, faith and persuasion.Hailing from Tennessee, Melonie is the daughter of record producer Buddy Cannon. Raised in the wings of the Grand Ole Opry, Melonie mingled as a young girl with the Olympians of country music in a city known as “The Athens of the South.” She sang at her first recording session (with Dean Dillon) at age 14. A few years later, she sang a duet with Sammy Kershaw on “Cry, Cry Darlin'.” After a stint in the U.S. Army where she learned respect for not only herself but also for others, Melonie returned to Nashville and befriended Ronnie Bowman. Her lead vocals for this album were cut live with the band, without any separate overdubbing. After Ricky Skaggs heard some of Melonie’s singing on WSM-AM radio, he asked her to be on his record label. Skaggs also invited her to open for him at the Ryman Auditorium.Melonie Cannon is proud of the reception she’s received in Nashville, also called “The Dimple of the Universe” because of the beauty of the city’s rolling hills, pleasant seasons, and long, white picket-fences, and farms with horses and cattle. Melonie and her beautiful singing are two more reasons for Nashville’s special place in the Universe. (Joe Ross, staff writer, Bluegrass Now) Read more Less

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  • Overall:

    Fascinating mix of old-timey and modern sounds

    By redtunictroll  Sep 8, 2004

    Pros: -

    Cons: -

    Growing up as the daughter of Music Row producer Buddy Cannon, Melonie Cannon's had the chance to hear everyone from country legends like Porter Waggoner and Vern Gosdin to contemporary artists like Kenny Chesney. As a background and demo singer ...she's had the opportunity to forge friendships with the likes of Chely Wright and Shania Twain. So it's not surprising that her debut album draws from both ends of the spectrum, offering acoustic arrangements that verge on bluegrass, but with melodies and lyrics that have modern edges. Her alto harbors the piercing tone of Jo Dee Messina and Deana Carter, but with the down-home delivery of Alison Krauss. It's an appealing combination that is at once old-timey and contemporary.Even more impressive than the band put together by producer Ronnie Bowman (including Dan Tyminski, Jerry Douglas, and other bluegrass luminaries) is that Cannon cut her vocals live, without overdubs. That may not be so unusual in bluegrass circles, but it's a fair distance from how must vocalists make records in Nashville. The result is an intimate connection between Cannon and her assembled band that leverages the exhilaration of live performance; again, not unusual for bluegrass, but a rare commodity on Nashville country records.Label head Ricky Skaggs found Cannon's music a bit hard to classify, laying somewhere between bluegrass and commercial country. But he knew, as listeners will, that it's exactly the ephemeral nature of this middle ground that makes this album so fascinating. Cannon can flat-out sing, and surrounded by stellar picking and multipart harmonies, the ballads and mid-tempo numbers she's assembled from the pens of Bill Anderson, Matraca Berg and others serve her beautifully on this accomplished debut. Read more Less

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