

  In the popular music scene over the last century, there has been a notable pattern that goes:  the birth of a genre, the popularization of it, the eventual neutering of the music for business profits,  and finally, a purification, followed by a new generation’s discovery of the roots of the particular musical genr.  Sometimes, the result may be end up labeling it as a completely different genre. But, the cycle continues. A line can be drawn in jazz from Louis Armstrong to the peak of the summit meetings with Miles Davis, John Coltrane and Charlie Parker in the 50s. In rock music, the punk rock movement of the 70s was a reaction to the stagnation of the corporate rock of the day, which stood in contrast to the rebellious rock of the late 50's and 60s. The Sex Pistols and The Clash woke up the world to the roots of rock. In country music the same line can be seen from Jimmie Rodgers to Hank Williams.  It then goes from Hank Williams to the break out success of Roger Miller, Merle Haggard and George Jones in the 60's.  Then, as country became sappy and syrupy in the early 70's, the Outlaw Movement of the mid-70's, which included Waylon Jennings and Willie Nelson, came along. Today, in country music there is a connection between the New Traditionalist Movement of the 80s, led by Dwight Yoakam, to the L.A. Insurgent Country Movement of today.  
One of the artists who best represents the new purification of this vital American genre is Rod Melancon. Today, he may be marketed as 'Americana,' but make no mistake; he is country to the bone.  He's even taking the Dwight Yoakam route to country success by using L.A. as his starting platform. This is not by design, although fate may have had something to do with it;  because he actually started in Hollywood with hopes of an acting career. However, Rod Melancon’s recently taken to recruiting members of Yoakam's band (Brian Whelan on pedal steel and Mitch Marine on drums) to perform beside him during live concerts.    As his debut album, My Family Name, confirms, Melancon, born and raised in South Louisiana, is a natural country singer-songwriter in the tradition of Johnny Cash and Merle Haggard.  At 24, he has written a series of songs that reflect the life and culture of his roots in a way  reminiscent of Cash's early work in Memphis.  
  From the opening track, the outlaw influenced, "Living Like My Heroes," to the eerily haunting ballad, "Lord Knows," he is renewing the landscape once cultivated by the best of the best in country music. Melancon innately knowswhere story meets poetry. It's the purity of sound and song that most of today's mainstream country singer-songwriters have long abandoned in favor of songs about a more modern and clichéd country culture. It would be easy for many critics and A&R people to pass Melancon off as a retro-fluke, soon to fade. But Rod Melancon is not retro, he is most definitely for real. It's that reality and lack of posturing, supported by some stunningly classic-based original country songs, that give Melancon his edge.  It takes no effort for fans and music critics alike to call forth the images of Elvis or James Dean when seeing Rod live.. That’s his natural persona, it's who he really he is. Yet, rather than stating  he may have been born into the wrong musical era,, perhaps, it would be better said, he was born at just the right time, a time to revitalize country music to its original glory. 
  On "Angola Blues," Melancon portrays life in the shadows of Louisiana State Prison-aka Angola- near his hometown. It's the place where father and son Lomax once discovered Leadbelly. It's where the haunting story of Dead Man Walking was filmed nearly 20 years ago. It's the same soul that runs through all Melancon's music.  Like Cash opened his classic "Folsom Prison Blues” with "hear that train a comin...”,  the “Angola Blues” lyrical lead-in, "I left town when I was just sixteen..." casts the same immediate hook into the listener, one that doesn't let go until the song’s end. "Reggie," humanizes the young soldiers sent to fight in the Middle East over the last ten years, diggging deep with compassion and empathy. "South Louisan," is a dark, true tale of white trash revenge that is as ironically humorous as it is tragic.    The album production is clean, lean and created with skill, vision and talent from start to finish. The credit on this goes to Sonora Recorders' Richard Barron and legendary L.A. bassist (who is also in Melancon's band) Chad Watson. The session musicians  read like a Who's Who of  legendary L.A. country session work, including Herb Pedersen, lead guitarist, Vern Monnett (Charlie Rich), Dean Parks on pedal steel, Matt Cartsonis (Warren Zevon) on mando and Lone Justice's Don Heffington on drums.  The music expertly supports each song in realizing its potential in mood and texture. Vern Monnett's lead guitar is a consistent presence that weaves through the music in much the same way Mark Knopfler did on Bob Dylan's classic, Slow Train Comin.'  It's like a conversation between singer and  player.   
   Most recently, Melancon is working an album of new material produced by Dave Cobb in Nashville. Along for the ride is Jamey Johnson's band. If the first two songs is any indication, Melancon is digging his roots even deeper than on My Family Name.  "Mad Talking Mad," is rootsy country-rock that’s heavy on his own brand of rock-a-billy rave and rage.  Don Convey's R&B classic "Have Mercy," is given a hard rocking edge that gives the song a whole new life.  It's the kind of marriage between country and rhythm & blues that have made for classics in the well-known studios and music halls of Memphis and Nashville.     There is a sense of inevitable destiny with some artists early in their career.  That sense surrounds Rod Melancon today. To borrow from a statement made long ago about Springsteen, I have seen the future of country music. His name is Rod Melancon.  


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