Belle Plaine's The Unrequited Love CD

Recorded live at The Artesian in Regina, SK on Valentine’s Day in 2014.

Review from PENGUIN EGGS:

"I thought Belle Plaine was a town in Saskatchewan. Turns out there’s two – but this one (aka Melanie Hankewich) hails from Fosston, some 3 hours north. And, judging from the full house present at this live recording, recorded in Regina on Valentine’s Day, 2014, everybody knows about her but me.

Despite the peculiar-looking packaging (a lone, litho’d wolf standing on a snowy highway), Belle Plaine (the singer) has an all-encompassing range, favouring blues and jazz-based covers along with her own well-crafted material, which openly embraces folk and country. On this special night, she’s supported by a revolving cast of talented friends who tastefully embellish her ideas with backup vocals, keyboards, acoustic bass, drums, guitar, horns and accordion.

Schooled in jazz and recording, Plaine tripped on and off her musical path a few times, arriving at the realization – in 2010 – that her greatest joy comes from performing for an audience. This joy is remarkably audible on The Unrequited Love – a two-part, 18-song performance. A little Billie, a little Tom Waits, some Kristofferson and, best of all, her originals. Of special note, a tribute written in her mother’s honour, “Frozen In Obscurity”, touches nerves in its simple beauty as does, in another way, her autobiographical “Good Heart” with its gentle swing, perky horns and Anna Rose’s delicate vocal backup. At the same time, her rousing version of Jimmie Cox’s depression hit, “Nobody Knows You When You’re Down And Out” fully demonstrates her torch abilities – as does her Waits’ cover – while more subdued fare like Kristofferson’s “Sunday Morning Coming Down” reveals her country leanings (with kudos to Jeremy Sauer’s accordion, Chris Sleightholm’s guitar and the horns of Karl Valiano and Cheney Lambert). The uptempo ”Crashing Through” picks up the pace for a too-brief, Tex-Mex rockabilly ride, contrasting with the band’s lovely, folksy treatment of “Wayfaring Strangers”, complete with banjo, reverbed guitar and acoustic bass solo. The closing “Crazy Arms” suggests Plaine’s comfort zone with a rock’n’roll attitude as it underlines her many ‘voices’ and influences, despite its origin with Ray Price.

Above all, a warm, charming stage manner and her insightful backgrounders to each song makes for a most pleasant surprise."