Grey DeLisle is back with a collection of traditional country story songs.
Grey DeLisle is a prolific songwriter. However, it was the isolation of the 2020 lockdown that allowed her to regain the spark and produce what makes up most of this satisfying, almost traditional, country album. DeLisle presents a double set filled with stories and reflections. If you’re a fan of 1950s- or 1960s-style country with the elegance of Kitty Wells, Loretta Lynn, or Patsy Cline’s vocals, then this is worth exploring. DeLisle not only has the voice but also the look and poise, providing us with a full-on experience. The cover is simply grey with the title in the bottom right-hand corner, similar to a 1968 album by a particular group from Liverpool.
The vocals are upfront and crisp so that the nuance within the words is not lost. DeLisle’s writing is not predictable, so prepare yourself for some enjoyable surprises. The list of collaborative artists and musicians is extensive, from celebrated sound engineer Todd Burke, who worked with Ben Harper, Albert Hammond Jr. and Belle and Sebastian, to Greg Leisz, pedal steel, who has worked with nearly every American artist you could name.
‘Daddy, Can You Fix A Broken Heart?’ and ‘Don’t Let Go Of My Hand’ veer off into Melba Montgomery’s ‘No Charge’ territory. They are possibly too sweet and sentimental for some tastes, but others who enjoy that era of tunes will adore them. DeLisle’s wordsmith is slick and clever; Daddy can’t mend everything, and hand-holding goes full circle.
‘Who To Love’ features a traditional string arrangement, accompanied by a chainsaw guitar that knocks at the door; there is also a backwards guitar, which could be a further nod to The Beatles. It showcases how DeLisle, although firmly planted in the 1950s, can mix it up.
‘Reach For The Sky’ takes us through the swing doors of a honky-tonk. It is an entertaining piece of music which lyrically wins top marks. “The fog was rolling in as he was rolling up his sleeves / He’d never given anybody something to believe / She caught him in the bathtub at a house of ill-repute / He wished he hadn’t taught her how shoot shoot shoot”.
Former lead singer with the Runaways, Cherrie Currie, adds vocals to the single ‘40 Something Runaway’. A chance meeting in The Smokehouse, Burbank led to the collaboration and the song was born when on landing at Los Angeles Airport, DeLisle saw a woman of similar age with no shoes strumming a guitar. Currie certainly adds some grit to what is one of the stand-out tracks.
It feels like DeLisle channels the ghost of Tom Petty for ‘Didn’t We Try’. The Long Ryders guitarist Stephen McCarthy adds harmony vocals, and guitar playing carries the track along at a pace. A minor criticism is that it could have been longer, so it’s best to play it twice and loud. The switch from “Try” to “Cry” in the last chorus is simple but genius.
Distorted blues guitar work from Marvin Etzioni on ‘I Can’t Be Kind’ shows that there is more to life for DeLisle than just country music. She spits out the lyrics, “I’m a carpetbagger / I’ll tell you lies / I’m a carpetbagger / I’ll tell you lies / Pick your pocket / Cut you down to size”, leaving you in no doubt that the title is spot on.
After all the bad girl vibe, DeLisle slows it down for the contemplative ‘My Darling Vivian’. The song was born after DeLisle read the memoir of Johnny Cash’s first wife, Vivian Liberto. Although Cash was deeply in love with her and wrote numerous letters home while stationed abroad in Germany, the story ended acrimoniously. The words are an apology from Cash to his darling Vivian.
Recorded on vintage recording equipment, DeLisle has written a collection of fine songs, mixed, added to and refined, everything the team has done has helped to improve and enhance the base material. The record leaves the impression of the old world meeting the new one or perhaps just other way around. Not so grey after all.
