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Liz Melendez Biography

The Mission

Liz Melendez is, quite simply, one of the most exciting and promising new artists on the music horizon today. Her guitar prowess alone puts her far ahead of her contemporaries. Comparisons to Carlos Santana and Stevie Ray Vaughn are not uncommon. Not content to master the electric guitar, Melendez prides herself on being a “triple threat.” “Many guitarists can write songs, many songwriters can sing, and many singers can play a little. What is most unique about me is that I can do all three.” And she does “all three” exceedingly well. Her vocal style harkens back to Janis Joplin, though the compliment, “She reminds me of Bonnie Raitt,” has been overheard on more than one occasion.
 
Born and raised in the South Valley of Albuquerque, New Mexico, Liz moved to Atlanta, Georgia in the late 1990s, lured by it’s vibe and location. “The south is home to so much of the music I love. It’s the heart of the new south and a great place to live. Plus it’s location makes touring the southeast easy.”
 
A formidable artist, she soon found herself in high demand as a lead and rhythm guitarist, songwriter, and vocalist. However, the desire to express her unique musical “voice” became too strong. Not content with the background, Liz released 2, all-original, full-length recordings. “Mercy” in 2001 and “Sweet Southern Soul” in 2007. Both have been praised for the quality and substance of the songwriting and the masterful guitar work. Nearly every track has become a fan favorite, with “Milagro”, “Mercy”, and “Justice County” most often requested. Worldwide radio air play and accolades in national and international publications soon followed.
 
An intense, dynamic performer, Melendez has garnered a substantial following touring the United States and internationally. She has headlined major festivals, notably the Chattanooga Riverbend Festival’s Bessie Smith Strut before an audience of over 70,000. Only one other female artist, Koko Taylor, has headlined the festival in its history. She has co-headlined the Cape Fear Blues Festival in Wilmington, N.C. and the Blues 2003 Festival in New York. She has opened for artists Nappy Roots and has performed on-stage with such notables as Bob Margolin, Henry Butler, Francine Reed, Hubert Sumlin, E.G. Kight, Chris Duarte and Candy Kane.


The 70s at 120 Decibels

Growing up, Liz was taught and heavily influenced by her father, Dan Melendez. She proudly admits he “lovingly blasted at deafening volume the great album rock and blues of the 70s during my tender, formative years.” She now dedicates all her musical pursuits to her father who, sadly, passed away shortly after the release of “Mercy”.
 
When a then five-year-old Liz first heard the guitar introduction to Freddie King’s “I Wonder Why”, her fascination with all things electric guitar began. “My father started teaching me rock and roll and blues standards like “Johnny B. Goode”, and “Hideaway”. He challenged me early on to learn Bill Doggett’s “Honky Tonk”, which was pretty tough for a little kid.” Much of what her father taught made no sense to young Liz, but he would reassure her “as if he could see into my future.” “This will all mean something very important to you someday,” he would say. He was right. By the time Liz discovered the “Brit-Blues” of Led Zeppelin, the hard rock of Black Sabbath, and the “out-of-his-body” Latin grooves of Carlos Santana, she found learning their songs coming naturally. The techniques and fundamentals Liz drilled had equipped her to tackle just about any musical style, techniques that can still be heard in music today.
 
“Probably more important to me than the guitar methods themselves,” she emphasizes, “my father taught me the fundamentals of what it means to be a great musician. He was an exceedingly intellectual man and he drove home his philosophy that becoming a great rhythm guitarist was an essential part of being a great lead guitarist and that the importance of learning to be a good support player as part of an ensemble was paramount in my pursuit of becoming a great musician.”
 
It was, however, the “Texas-shredding” of Stevie Ray Vaughn that changed her life. “Only a few artists change the way an instrument is played by all who come after them. I had never heard anything like Stevie Ray before and have not heard anyone like him since. My own homage and tribute (shows) have less to do with covering his songs and everything to do with expressing the way listening to his music makes me feel. It’s a pure desire to honor his contribution to my musical life.” Liz performs an amazing Stevie Ray Vaughn tribute show several times a year.
 
Her father’s support and wisdom are the basis for much of Liz’s conviction today. “He always told me, ‘Liz, don’t ever be afraid to get on stage with anyone. Don’t ever be intimidated. You can hang with anybody out there.’ He was always saying things like that,” she remembers. “One afternoon, he was listening to me practice in the next room. I don’t remember what I was playing, but it was probably loud and wild. After a minute, he came in and said matter-of-factly, ‘Liz, you are going to be one the best guitar players on the planet someday.’”
 
Not to be minimized is the unconditional support of her mother, Jo Melendez. “My mother has to be the hippest and most enlightened, intelligent, and tolerant person I know. She put up with all my early band practices, endured some of the loudest music known to man, and my late-night tests of the Ampeg V4’s maximum volume. She has always supported and encouraged my music and is always the voice of reason when things go topsy-turvy on me in my music business. I could not have survived the challenging life of a music artist without her support and counsel. I can honestly say that everything I know and everything I’ve become I owe to being blessed with great parents."

Offstage

While most of her time is focused on musical pursuits, Liz has vast, varying talents and interests. She is an accomplished writer and graphic artist, having designed her own web site, CD covers, logos, and promotional materials. She has also designed web sites and CD covers for “only her closest musical friends” such as Atlanta folk legend Caroline Aiken and blues diva Diane Durrett.

She is also an avid golfer whose game, while impressive, is perpetually in varying states of struggle.