GREY DELISLE & LES GREENE : GREY & GREENE

GREY DE LISLE & LES GREENE : GREY & GREENE

Homewrecker
I'm Gonna Let You Call Me Baby
Mister
Back Of Your Hand
The Pieces
Shake That Thing
Mariposa
Go Go Go
That's All
You're The One That I Want

Label : Hummin' Bird Records / Continental Record Services

Length : 32:42

Release Date : June 16, 2016

Review (Bluestown Music) : ‘Grey & Greene’ was produced by rockabilly veteran and multi-instrumentalist James Intveld, with original songs written by Americana/alt-country star Grey DeLisle (three co-written by Intveld), and showcases the vocal talents of DeLisle and Les Greene, who Grey befriended in 2024 when they did a Christmas song together called “I Don’t Want Nothing” that sparked a desire to collaborate further. Some folks know Greene from his incendiary vocals as Little Richard in Baz Luhrmann’s Elvis, or from his captivating performances on American Idol’s Season 16, but his bread and butter is his own Les Greene and the Swayzees. This high-octane outfit bring their own take on soul and R&B-flavored rock n’ roll with performances that regularly leave audiences with jaws dropped, in a daze from Greene’s otherworldly talent. Pairing that powerhouse with Americana sweetheart DeLisle guarantees something special. The duo trade off vocal duties throughout the record on tracks like “Shake That Thing,” “Go Go Go,” and “Home Wrecker,” the latter a clever reimagining of DeLisle’s 2002 classic. Here, Greene steps into the title role, reimagining the character into a “devil in some tight leather,” in place of the original vixen who was a “devil in a tight sweater.” The flavors of classic country, rockabilly, Brill Building pop and soul create something for everybody, and one can easily imagine DeLisle & Greene’s set at Stagecoach and Coachella, the Grand Ol’ Opry and South x Southwest, Boots in the Park and your local hipster bar jukebox. We all wanna shake that thang, and DeLisle and Greene give us all the infectious inspiration to do it. There are tender moments as well. Ballads like “I’m Gonna Let You Call Me Baby,” “Mariposa,” (featuring Deke Dickerson on guitar) and “That’s All” allow the beauty and uniqueness of these voices to shine. Anyone nursing a recent heartbreak might want to skip “That’s All”—or, alternatively, put it on endless repeat. Greene’s gorgeous, desperate pleas are the perfect showcase for those remarkable pipes. Put on the big headphones, shed a tear or two… then come back for more of the thang-shaking, because Grey & Greene may have just become the soundtrack of your summer!

Review (Americana Highways) : This showcase begins with retro arrangements that aren’t oldies as much as songs dressed up in vintage duds. They’re decorated in melodies of a time gone by. They’re refreshing. The band behind Grey DeLisle & Les Greene is tight & smokin’ on “Homewrecker.” A more soulful piece is the warm ballad “I’m Gonna Let You Call Me Baby,” reminiscent of early Motown before the mainstream hits started to roll in. Les Greene has a genuinely calculated soulful voice – part Marvin Gaye, part Joe Tex & a dash of Chuck Jackson. It all works well with the soulful backup singers that accentuate the tunes nicely. For those who are a little older, these will be nostalgic, though they are newer pieces, not oldies. It’s the way the duo invariably uses their skills to reinvent a solid, soulful commercial sound. The most attractive melody comes with Grey’s lead vocal on “Mister” — playful like the best Motown nuggets. The guitar’s laid out in a country manner while the backup vocals are gospel-tinged. All creative & precise. There are 10 easily accessible tunes to Grey & Greene (Drops June 5/Hummin’bird Records/32:50) produced & arranged by rockabilly veteran James Intveld & recorded in CA. There’s a hi-fi tint to their recorded sound that’s also intriguing. It gave the early ‘60s 45’s a nice bottom. Some tunes touch on old-school R&B, while Greene’s vocals on “The Back of Your Hand” seem to display a David Ruffin relevancy threaded throughout. The band & sax give it a pure ‘60s mash-up. Mainstreamed again is a Grey ballad, “The Pieces,” that in some respects reminds me of the late Tammi Terrell when she sang with Marvin Gaye. Grey’s voice is high at times, but not childish like Millie Small. She does convey & fluctuate into a little country with her soulful tone. Attractive. Different. Creative. The duo is wise with their repertoire. It possesses soul, country hues, R&B with a dash of Brill Building songwriting skill. Of course, the rockabilly beat rears its head in “Shake That Thing,” & Les’ voice is appropriately ripe for the genre. The backup is reminiscent of Johnny Fox & the Foxes’ obscure 45 “Mountain Dew (A New R&B Version)”; it had lots of hooch in its arrangement. The music & performances are excellent & the vintage CD art on the cover was a nice touch. Critique? Who approved the typeface for credits on the CD’s inner front cover? Almost impossible to read. And cursive typefaces, when printed in a small font, aren’t good. They bleed. I didn’t list musicians. I knew I’d misspell them, & I didn’t have a magnifying glass. Highlights – “Homewrecker,” “I’m Gonna Let You Call Me Baby,” “Mister,” “The Back of Your Hand,” “The Pieces,” “Shake That Thing,” “Go Go Go” & “You’re The One That I Want.”

Review (PopMatters) : They might be an unlikely pairing if they weren’t both TV stars, of sorts. Grey DeLisle was on a string of strong Americana albums, including the impeccable Iron Flowers (2006), when she turned her focus toward voice acting (you hear her everywhere, even if you don’t know it’s her). Les Greene had a shorter stint on the air, making the top 50 on American Idol in 2018 before being sent home. The judges missed something, as Greene returned to the screen, in a sense, by providing the vocals for “Tutti Frutti” in Baz Luhrmann’s Elvis. Now the country singer-turned-cartoon voice and the soul singer have teamed up for the energized Grey & Greene. The pairing works wonderfully. DeLisle has been overflowing with songs since returning to the music scene. The COVID pause unlocked something in her, and albums have been spilling out over the past few years, including original work, covers, and a tribute. Partnering with Greene helps her find a new side to her work, as has bringing in James Intveld for producing, arranging, and a little co-writing. The team moves away from DeLisle’s usual sound and into a mix of classic R&B, gospel, rockabilly, and early rock ‘n’ roll. It’s one of the most immediately exciting of DeLisle’s works, and the genre-crossing keeps it entertaining throughout. The album’s fresh approach is immediately apparent in a reworking of DeLisle’s “Homewrecker”. This version, with Greene singing, swaps both gender and perspective. The song sounds like it comes straight from the 1950s—Intveld’s background in rockabilly is important throughout the album—but with a particularly contemporary flavor. Everything about it, right down to the saxophone solo, is a blast, and it creates the space that the rest of Grey & Greene will inhabit. “I’m Gonna Let You Call Me Baby” follows in a more early Motown style, but there’s no disjunction between the tracks. Greene establishes himself quickly, with his rich voice and dismissiveness toward traditional gender language. The pair never slow down. DeLisle takes over lead vocals on “Mister”, a gospel soul track that aptly continues the album’s era-spanning nature, reminiscent in approach to the solo work Mike Farris has done. The record’s expanse over just ten tracks would be dizzying if it weren’t held together by the general joy of its main artists. Greene can sing “Shake That Thing” and brings the party back just a few songs after DeLisle warns her listeners to get right with God, rewinding time from Sunday morning to Saturday night. It all makes sense as part of the big picture of these two exploring a wealth of music with verve, and never at the expense of fun. In case listeners aren’t clear that the pair are here simply out of exuberance, they close the album with a rockabilly version of the Grease musical’s “You’re the One That I Want”. It’s easily the strangest moment on the record. Still, even so, it makes sense, closing with a famous closing number while echoing another bit of media that has a playful attitude toward the past. Grey DeLisle and Les Greene make a strange choice here, but it puts them (imaginatively) back in film and is an excellent encapsulation of why they’re such an ideal (if unexpected) pairing to begin with.

Review (Three Chords & The Truth) : Cool music is spilling out of Grey DeLisle at a rate of knots, though this time the billing is shared. When seeking a vocal collaborator to bring a new bunch of songs to life, Les Greene popped up with the ideal voice and a complementary contrasting duet was born. The simple title hints at some sort of hue duality. GREY & GREENE takes the cue and a shade collision of guttural soul and angelic Americana parades nine originals and a fun cover. Not a breath is wasted in a brief template. Gripping guitar, natural vocal exchange and astute tempo placement steer a half hour spin down memory lane. Two names in the credits jump out to confirm the direction. Rockabilly icon James Intveld is the producer and ace country guitarist Deke Dickerson adds some licks. With input from these two, a sound akin to 1956 is wonderfully brought 70 years up to date. Les Greene is well known in the wider entertainment field of film and TV as well as a recording artist in his own right. This sidestep into a collaborative world will enhance a stature. From the first strains of ‘Home Wrecker’ he rules the roost where prominent. This opening track is an updated version of a Grey DeLisle 2002 hit and a reminder of the lengthy break she took between recordings to pursue a hugely successful Hollywood voiceover career. Since piling all her energies back into music over the last few years, a transcending talent has re-emerged. The spiritual style of DeLisle’s voice adds gospel- like qualities to ‘Mister’ and the beauty exposed in ‘Mariposa’ is second to none, alongside a sense of freedom expressed. Greene’s nailed on vocal adaptation adds energy to the rousing stomper ‘The Back of Your Hand’ and the cheeky ‘Shake That Thing’. They come across as sensuous with a slice of dream pop in ‘I’m Gonna Let You Call Me Baby’ and emotively stirring in ‘That’s All’. De Lisle comes to the fore in the blockbuster ballad ‘The Pieces’ while she is upbeat and sassy in the foot shuffler ‘Go Go Go’. At the heart of it all is barrow loads of smart writing, both solo and co-written alongside buoyant musicianship driving an iconic sound along. For a bout of concluding fun, the shackles are shaken off for a vivacious version of ‘You’re the One That I Want’. Who needs Travolta and Newton John when DeLisle and Greene are in town. GREY & GREENE is regally retro successfully blending soul, country and rock ‘n’ roll. Grey DeLisle and Les Greene convey having the time of their lives and the fruits are pure knockout entertainment. A shared bond of great music to sweep away life's travails.

Review (Rock & Blues Muse) : The colorful combination of names on this collaboration is indicative of the vibrant music they create together. Americana singer/songwriter Grey DeLisle, who has been releasing rootsy country/folk/rocking albums for over 20 years, heard young soul singer Greene and was so impressed, she suggested they combine their talents. The effervescent, soulful and instantly loveable ‘Grey & Greene’ (released June 5, Hummin’Bird Records label), is the result. The two initially dueted on 2025’s frisky Christmas single “I Don’t Want Nothing,” then decided to expand that to a (short) album-length project touching on retro-tinged upbeat soul, classic pop, rockabilly and even some gospel. Their secret weapon is producer/multi-instrumentalist James Intveld; a veteran of roots-oriented blues, country and soul music, the talented veteran plays almost everything on each track. He deserves to share headline credit since without his input, this terrific album might not have existed. He also co-wrote three of the nine originals, with DeLisle taking lone credit for the other six. Even though there are multiple instrumental overdubs creating the musical bed these two sing atop, there is a live sounding joyousness imbued in everything. Each track is fronted by one of the singers, with only the final “You’re the One That I Want” (yep, the ‘Grease’ hit), a full-on duet. DeLisle displays her gospel pipes on the churchy “Mister” where she admonishes an acquaintance “Mister, get your spirit right with God” as gospel backing vocalists urge her on with the religious-infused enthusiasm of a frenzied tent revival. Greene unloads like Ray Charles at his most exuberant on the suggestive “Shake That Thing,” a blues rocking nugget. It was initially written by DeLisle for a woman to sing about seeing a handsome man pass by, but appears here with the sexes reversed. His righteous pipes on the wonderful, 60s-styled “I’m Gonna Let You Call Me Baby” combine Percy Sledge’s yearning with Southside Johnny Lyon’s gritty force for one of the album’s most riveting moments. He testifies on “Back of Your Hand,” written by DeLisle about her mean stepfather, as horns, led by tenor and baritone saxes, bring the retro groove, letting Greene loose with Otis Redding-styled Southern grit. DeLisle wrote the ballad “That’s All” to give her musical partner a chance for his “Sam Cooke Moment.” He doesn’t let her down, tearing it up on the redemptive song, begging for his partner who left to return with “I would give everything to take back anything.” Not to be outdone, DeLisle takes a soulful lead on the slower lope of “Mariposa.” The song is written to her daughter with the titular name who she wants to “Spread your wings and fly away” asserting her independence. She shifts to big band rocking, not far from something Big Joe Turner would have recorded, on the sparkling, horn-assisted “Go Go Go.” Guitarist Deke Dickerson, who helped record half the disc, guests with a swinging, jazzy solo. The moving twang of “The Pieces” ballad effortlessly combines country with soul as DeLisle’s bittersweet voice flawlessly captures the song’s longing with “Just love me a little more than I love you.” Beautiful and touching. It’s a little frustrating, and a missed opportunity, that the twosome only combines vocally once. But these performances are so wonderfully upbeat and expertly captured by Intveld, you won’t care. At ten cuts that barely break a half hour, there was plenty of room for more. Hopefully Greene and Grey reunite for a follow-up to this wonderful and effervescent artistic alliance.