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MICHELLE MALONE

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Michelle Malone doesn’t consider herself a pioneer.  But she became an independent artist long before it became hip to be indy.

Clive Davis was going to make her a star when he personally signed her to Arista Records in 1990.  It’s easy to see what seduced the ear of the legendary label president: Michelle was the tough, good-looking chick with a sultry voice baptized in the church.

There was just one hitch: she refused to play the game.  When Arista tried to dictate her music, she defiantly walked away.  But there was a method to the madness.  Michelle returned to her own record label and hit the road, selling her albums out of her car trunk.  She not only survived, she managed to thrive.

Michelle’s independence gave her a luxury that major label acts no longer have — the opportunity to grow and evolve as an artist without having to worry about commercial expectations — and she took full advantage.

She started out as a folk troubadour.  She evolved into a rocker fronting Drag The River and Band de Soleil.  After that she explored folk rock, power pop, and blues-based Americana.  Along the way, Michelle developed into a world-class slide guitarist.  She also became known as “Moanin’” Michelle Malone because when Albert King anoints you with a nickname, it’s something you embrace.

Debris — Michelle’s 10th studio album — represents another significant step forward as it brings all her influences together.  Produced by Nick Di Dia (Bruce Springsteen, Pearl Jam, Train and Sass Jordan) and featuring Peter Stroud (lead guitarist for Sheryl Crow), Debris is poised to be Michelle’s breakout.

She’s already coming off the three best records of her career — Stomping Ground, Sugarfoot and Debris — which turned the national critics into fans.  The New York Times says she is “the kind of singer and songwriter who can jolt things into overdrive.”  Rolling Stone calls her music “raucous and jubilant.”  Billboard magazine calls her “a troubadour with grit and enough accessibility to warrant widespread acceptance.” And the Washington Post describes her as “an exceptional voice capable of smoking languor and howling catharsis.”

Then there is defining plug that Dan Ackroyd gave Sugarfoot on his “House of Blues” radio show: “As raw, magnificent, dirty and lowdown as any blues you’ll ever want to hear.”

Like most significant artists, Michelle has never made the same album twice; they all have distinct personalities and Debris is no different.  The blues influence is still there, but so are her folk roots and her rock & roll pedigree.

Listen to Debris.  And prepare to be seduced.