Author: Americana Music News

By Paul T. Mueller– Here’s an interesting collection of intelligent adult pop from Chicago-based Dolly Varden, which is not a person but a five-piece band, anchored by husband and wife singer-songwriters Steve Dawson and Diane Christiansen. The two started Dolly Varden (a variety of trout, and also the name of a Dickens character) in 1994, so it’s not surprising that its seventh album is more or less focused on the passage of time.

Some of the songs are fairly accessible – “Del Mar, 1976” is a reminiscence of youth and “the girl whose name I cannot remember”; “Saskatchewan to Chicago” traces the singer’s roots from three generations back to the present.

Others are more oblique – in the title track, Christiansen sings “There are rubies in the dirt/There are lines across your shirt/We have found a way to laugh, but it’s happening too fast/But with any luck it’ll last for a while.” So while the lyrics (mostly Dawson’s) can be a challenge, the singing – Dawson and Christiansen share lead vocals, accompanied by harmonies from guitarist Mark Balletto, bassist Mike Bradburn and drummer Matt Thobe – is imaginative and nicely done.

Instrumentally, the band covers the spectrum from quiet, folky strumming to full-out rocking. Throw in flourishes such as mellotron, melodica, lap steel and violin, and the result is a rich and rewarding soundscape. Ponder the lyrics or just let it all wash over you– either way, For a While is a pleasure.

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By Paul T. Mueller — The story of Jesus’ birth is not new, and neither, of course,  is the idea of putting together an album of Christmas songs. But on All the Way to Bethlehem, bluegrass singer-songwriter Donna Ulisse takes a fairly novel and very successful approach – using original songs, she describes the events surrounding the first Christmas from the points of view of pretty much everyone and everything involved. It’s a refreshing alternative to the collections of Christmas standards that tend to show up this time of year.

Ulisse, who wrote or co-wrote the album’s 11 tracks, introduces the story and some of the characters with “I See the Light of the World.” Next is “You Will Be Delivered,” whose narrator is the angel who tells Mary she will be Jesus’ mother. “Elisabeth” is the story of Mary’s visit with her older cousin, who is also, and just as unexpectedly, to be a mother. “He’s Not Mine” describes Joseph’s confusion over his role. “All the Way to Bethlehem” is a duet in which Ulisse and Rick Stanley voice the conversations of Mary and Joseph on the road, and “Let the World Wait for a Little While” captures Mary’s first few hours with her new baby.

Other familiar characters appear as well: Bethlehem’s innkeeper in “You Cannot Stay Here,” the angel Gabriel in “He Is Here,” the Star of Bethlehem in “I’m Gonna Shine,” the three wise men in “We’ve Come to Worship Him,” and the awestruck shepherds in “Morning in Bethlehem.”

Ulisse’s faith is clearly at the heart of this project, but the album is also driven by her talents as a singer and songwriter. She’s ably assisted on vocals by Keith Sewell (who produced the album and plays guitars and banjo, among other instruments), Wendy Buckner Sewell and Ana Sewell, in addition to Stanley. Other players, illustrious Nashville names all, include Andy Leftwich on fiddle and mandolin, Byron House and Viktor Krauss on bass, Rob Ickes on dobro, and John Mock on concertina. Their contributions, mostly in a bluegrass style, are first-rate. Credit is due also to Ulisse’s co-writers, including Kerry Chater, Lynn Gillespie Chater, Rick Lang, Marc Rossi, Jerry Salley and Rick Stanley.

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Darrell Scott in Conroe, Texas

By Paul T. Mueller — It’s always a joy to get to see a great artist perform. It’s even better to witness such a performance in a quiet, intimate setting, surrounded by an audience of real fans who are there to listen. The 75 or so who came to see Darrell Scott in the Houston suburb of Conroe, Texas, on November 11 were rewarded with a dazzling display of musical virtuosity – lyrical, instrumental and vocal. Presented by a group called Conroe House Concerts, the show was held in the Gentry Building, a restored 101-year-old structure just off the courthouse square – a fitting venue for Scott’s wide-ranging brand of Americana.

Some of Scott’s songs have been big hits for other people – Garth Brooks, Tim McGraw and the Dixie Chicks, among others. For that reason he’s sometimes pegged as a country artist, but his 15-song set on this day reflected his mastery of a broader range of styles, including pop, bluegrass, even a little jazz and soul. Scott’s lyrics are those of a man who’s lived the pain and the joy he writes about and has acquired a deep understanding of the human condition. His performing style combines vulnerability and confidence, backed by serious instrumental chops (guitar only for this show, although he plays several other instruments) and a fine, soulful voice.

There may be some topic, some life event, some emotion that Darrell Scott can’t write and sing about, but you couldn’t have proved it by this show. He opened with “Heartbreak Town,” a hard-road ballad about chasing dreams that could be about the music business or any business. “No Use Living for Today” featured jazzy guitar and wordplay (“Today was once tomorrow/And today’s tomorrow’s yesterday”); “World of Wonder,” written with John Anderson, took a more serious turn toward spirituality. “Candles in the Rain” described the pain of a mother without children, from her point of view; Scott followed that with “Someday,” whose narrator is a father awaiting his chance to realize his buried ambitions.

There wasn’t a dud in the show, but some other high points included “You’ll Never Leave Harlan Alive,” a dark but hauntingly beautiful exploration of Scott’s family roots in the coal country of Kentucky; “You’re Everything I Wanted Love To Be,” which Scott wrote at age 16, with his father, Wayne; “Helen of Troy, Pennsylvania,” a coming-of-age tale, which Scott described as “not quite X-rated,” about two young guys and a divorcee; and “Passing,” about the ways people try to pass for what they’re not. Scott closed with “The Country Boy,” also written with his father. “You’ll never know the loneliness and sorrow he goes through,” he sang. “The country boy has been there, that’s what makes him sing the blues.”

Darrell Scott has been there, and he sings the blues – and a whole lot else – as few others can.

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By Ken Paulson — David Olney , one of the most ambitious and literate artists in Americana music, has just released Robbery and Murder, the third in a series of theme-driven EPs.
It’s an 8-song collection that explores two “love stories” that aren’t always so loving. The title of the album is one hint.
Olney draws upon Chuck Willis’ “Betty and Dupree” to tell an expanded story of the couple and the diamond ring at the heart of their relationship. The ring even gets its own song.
A second tale describes the faith of unfaithful Delia, whose husband admits, “I did not really care, but the family shame was more than I could bear.”
Leonard Cohen and Randy Newman are often cited in articles about Olney, and that’s not off-base, but he remains a distinctive performer on his own terms, and a songwriter who relishes tackling a subject from multiple perspectives.
The new album is out now, but also available in Body of Evidence, an anthology collecting the earlier EPs Film Noir and The Stone, a different take on the Easter story. David Olney’s ambition abounds.

By Ken Paulson —
Whitehorse’s The Fate of the World Depends On This Kiss entered the Americana music airplay chart this week and with good reason. Melissa McClelland and Luke Doucet are accomplished solo performers and their pairing here is remarkable. The music is ambitious and diverse, from the ornate “Achilles’ Desire” to the sweet “Mismatched Eyes (Boat Song)” to the crunchy underpinnings of “Radiator Blues.”
The album’s highlight, “Devil’s Got A Gun” opens like a James Bond theme, and gives way to impeccable harmonies.
The Fate of the World Depends on This Kiss is consistently adventurous and engaging. And it all works.

King’s Bullet is another duo comprised of songwriters: solo artist Loni Rose and Music Row stalwart Trey Bruce. Like Blue Sky Riders and the Waymores, King’s Bullet combines a fresh sound with an impressive history of songwriting success. Bruce was a co-writer on three number one country songs and many more hits.
They’re calling this debut album an EP, but it’s eight songs strong – contemporary country with a little attitude. Best tracks: “Watermelon Sun,” and “I Won’t Be Your Second Choice.”

Rich Mahan’s solo debut Blame Bobby Bare is fun and sometimes just goofy (“Mama Found My Bong,” “Rehab’s For Quitters”), but it’s the soulful “Favorite Shirt” with back-up vocals from Bekka Bramlett that will stick with you. From Snortin’ Horse Records.

The title song from Jesse Lafser’s new album Land in Sight was inspired by Mark Twain’s account of a near-tragedy at sea. That’s a sure sign of a songwriter willing to explore intriguing turf, and this is a solid collection of smart and earnest songs.

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