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In case you did not hear, Melissa's in love and happy again The difference between Melissa Etheridge's album "Lucky" and her previous effort "Skin" is like the difference between night and day, which is just a way of saying that the last time around she was writing and singing about the emotional upheaval of her breakup with longtime partner Julie Cypher and now she is celebrating her new relationship with Tammy Lynn Michaels. Knowing what is happening with Etheridge's love life is useful for decoding the meaning of her lyrics, but as always the fact that she is a lesbian is beside the point because when she writes about being in love the gender is almost always irrelevant. Besides, Bob Dylan did the greatest breakup album of all time with "Blood on the Tracks" so there is more to be said for Etheridge writing songs celebrating love. This clear from the opening title track of the album, which announces the theme of being "Lucky" and works in some nice Rolling Stones like riffs throughout while updating us on the biography of her love life. "I was dried up I was starving I was mangled / I looked like hell, twisted up and tangled", she sings, but then makes it clear the ghosts are gone. "This Moment" is a mid-tempo ballad that best represents her celebration of her new relationship. It is almost become hyperbolic at points ("Tell the angels they'll just have to wait"), but Etheridge's vocal performance keeps everything together and the net effect is too heartfelt to dismiss. "If You Want To" and "Breathe" are more commercially oriented, by which I simply mean these are going to be the ones that get the airplay even if they are not the best tracks on the album (but I was surprised to note that Etheridge did not write "Breathe"; it never occurred to me that any of these songs would not be here own compositions). "Mercy" is a strange sounding song because of its hip-hop backbeat, but has some of the most interesting lyrics with its religious metaphors and the idea: "Oh the peace you say is promised me / Seems too much to comprehend." The song also does something unique but appropriate with the bridge coming at the end of the song, which makes sense, given that it allows the song to build throughout the verses to the climax. "Secret Agent" is the blues oriented track that will remind you why comparisons are often made between Etheridge and Janis Joplin in terms of vocals; this is the one where she lets loose on the wails. She also forces you to think about what she is really up to with the line: "All the boys want to know if she's got something to hide / All the girls are relieved she's working for the other side". There are a lot of songs on this album that I would dearly like to see her do in concert. "Will You Still Love" is a small note of self-doubt in this particular mix of songs. It starts off as a simple acoustic guitar piece and I would like to have heard the entire song done that way (it reminds me of Etheridge doing Joan Armatrading's "The Weakness in Me" with just a piano and I think a similar simple approach would really enhance the track). "Meet Me in the Dark" is Etheridge in full Springsteen mode, which makes it seems a bit out of place in this collection. The most powerful song on the album, for totally different reasons, is "Tuesday Morning." This song is about Mark Bingham, a gay male who was one of those who fought back against the terrorists on Flight 93 on 9/11. Etheridge's point is that Bingham was a hero in a country that denied him the same civil rights as other citizens. Along with "Scarecrow," her tribute to Matthew Shepherd, a gay student savagely murdered, "Tuesday Morning" shows Etheridge's power as a protest singer, using simple narratives to drive home her point. "Giant" is another hard rock song that begs for live performance to really come alive. After that one "Come on Out Tonight" just seems to cute, although it harkens back to her first album musically, which is certainly nostalgic, but it is the other weak song on the album. For that matter "Kiss Me" has an opening riff that reminds me of the early days as well, but it is a much stronger song that urges you to "kiss everything away." Finally, in case you missed the point, "When You Find the One" makes it one more time. This is another song that would be quite effective done just with an acoustic guitar (and perhaps even slowed down a bit). Maybe it is because of her "Live...and Alone" DVD that I keep thinking about what songs on "Lucky" would benefit from that type of performance. All things considered this is one of Melissa Etheridge's better albums, and we all know how good those can be. Just put it in the CD and hit continuous play because you are going to want to hear this one a bunch of times in a row before you are willing to move on to something else.

Lucky And Happy Cet album paraît d’abord moins intimiste que le précédent – Skin. Effectivement, il est beaucoup plus rock, certaines chansons sont co-écrites, une n’est même pas signée Melissa, il y a énormément de musiciens … Mais lorsqu’on écoute les textes avec plus d’attention, on s’aperçoit que la Miss y reprend ses thèmes de prédilection et qu’elle va même parfois un peu plus loin -Tuesday Morning, Mercy … (le 11 sept.; le temps qui passe, qui nous fait mûrir …). Bien évidemment et comme à son habitude, elle ira jusqu’à jouer sur l’ambiguïté -Secret agent …- et sur les mots, avec cette approche si particulière qui lui est propre, à la fois originale et sensible -Come On Out Tonight, Meet Me In The Dark ...- , qui fait sa force et son talent. Si l’amour et la vie en général sont placés sous le signe de l’optimisme, il est sûr aussi que certaines chansons vous feront venir les larmes aux yeux -Will You Still Love Me, This Moment …- pour leur côté romantique qui transparaît dans le choix des mots mais aussi dans de superbes mélodies et d’excellents arrangements. Le talent au service de l’universalité que chacun interprètera et appréciera en fonction de sa sensibilité. Rock, ballades, sagesse et profondeur, romantisme et séduction, le juste équilibre. Serait-ce là l’album de la maturité ? Un chef d’œuvre en tout cas.