GREY DELISLE : THE GREY ALBUM

GREY DELISLE : THE GREY ALBUM

Hello I'm Lonesome
Who to Love
A Coastal Town
Reach for the Sky
Mi Vida
Tomorrow (Without You)
Sister Shook
Daddy Can You Fix a Broken Heart
Forty Something Runaway (with Cherie Currie)
A Promise I Can't Keep
Didn't We Try
Convince Me
I'm a Wreck
Don't Let Go of My Hand
I Can't Be Kind
My Darling Vivian
The Last Last Time
House on Fire
Take Me Dancing Again
Red Dress

Label : Hummin' Bird Records

Release Date : April 4, 2025

Length : 58:41

Review (Written In Music) : Grey DeLisle verzeilde tijdens haar tienerjaren in LA en maakt na bescheiden theaterwerk haar intrede in de filmwereld, niet als actrice, het is haar expressieve stem die in succesvolle reeksen zoals The Simpsons en Scooby -Doo, Sponge Bock en talloze andere animatiereeksen opduikt. Ondertussen profileert ze zich met hulp van muzikant producer Marvin Etzioni als zangeres en songwriter met old school country gevulde langspelers. Na een onderbreking van twintig jaar en enkele gestrande huwelijken verwent de zangeres ons met een ononderbroken stroom van releases, naast het gepersonaliseerde coverproject Borrowed overtuigde ze moeiteloos met She’s An Angel en Driftless Girl. Vorige jaar schitterde ze nog op het podium van Ramblin’ Roots in Utrecht en nu ligt The Grey Album inmijn cd-speler, de titel en typografie van de cover herinneren aan dat titelloze werkstuk van The Beatles. Liefst twintig songs prijken er op de ‘nieuwe’ langspeler die de afgelopen vijf jaar, weerom met hulp van Etzioni bijeen gepuzzeld werd. DeLisle speelde vooraf samen met enige hulp van haar voormalige man Murrray Hammond (Old 97s) de songs door langs de telefoon. De enige cover die hier te bespeuren is afkomstig van Etzioni was oorspronkelijk voor Roy Orbison, maar bleef op de plank liggen na zijn plotse dood in 1988.Naast het door doffe roffels en het door Tammy Rogers aangeleverde zacht golvend strijkerswerk horen we enkel fluisterend parlando in Convince Me. DeLisle haalt krachtig uit in I’m A Wreck. Can Be Kind wordt door log rockende gitaren aangestuurd en het op stevige hooks leunende 40 Something Runaway keelt Cherie Currie van… The Runaways even mee. Bij Sister Shook, gaat het er evenmin zachtzinnig aan toe. De meer op country gefocuste liefhebbers hoeven niet te wanhopen. Na de weemoedige opener Hello I’m Lonesome zijn de strijkers evenals de karakteristieke countrysnick helemaal terug in het op pedalsteel van Greg Leisz glijdende Coastal Town, Tomorrow (Without You) en het evenmin van dramatiek gespeende Daddy Can You Fix A Broken Heart en A Promise I Can’t Keep. Bij zo’ breekbare hartensmart is die andere grande dame Dolly Parton nooit ver uit de buurt. Tussendoor is er nog Mi Vida, een smartelijke mariachi die naar Grey’s kindertijd bij oma Eva Flores hunkert. Ondertussen is er na de geplande studiosessies met Cash telg John Carter nog een zomertournee gepland, fijne vooruitzichten!

Review (Heaven) : Vorig jaar 2 albums, en nu The Grey Album met maar liefst 20 songs. En dat na twee decennia radiostilte. Een bezige bij dus tegenwoordig, maar dat is geen probleem als de kwaliteit zo hoog is als op dit album, een mooie verzameling traditionele countrysongs, iets minder oldskool dan voorheen, want af en toe klinken er wat meer rockinvloeden door. De prachtige, langoureuze opener Hello, I am Lonesome zet meteen de toon. In Coastal Town huilt de slide mee met een stem die net niet overslaat. En ook het smachtende Tomorrow (Without You) is wondermooi. De lichtgrijze, bijna witte hoes is een leuke knipoog naar The White Album van The Beatles. Wat een fraai album alweer van deze grande dame van de country, die geflankeerd wordt door een schare straffe muzikanten.

Review (Americana Highways) : I find it remarkable when a young country singer who could go the Taylor Swift route establishes her career with vintage-sounding country. “Hello, I’m Lonesome” is dipped into a honey jar of Loretta Lynn, Tammy Wynette & Patsy Cline. With her Annette Funicello hairdo sufficiently sprayed, at no time does the Grammy Award-winning Grey DeLisle even sound like she’s emulating these classic country singers. She sounds like she was always meant to sing alongside them, except for the timing in birth. Grey DeLisle The tune “Who To Love” is drenched in country strings (ala Liberty Records early ‘60s) but the voice is painted brightly with pop-country that was the double lane highway of Sue Thompson (“Paper Tiger”) & Sandy Posey (“Single Girl,” “I Take It Back”). This pop-country rock shakes energetically like a water balloon on “I’m A Wreck.” The double LP Grey DeLisle – The Grey Album (Drops April 4/Hummingbird Records/58:42) & was produced by a former member of Lone Justice — Marvin Etzioni (electric, rhythm & wire guitars/drums/bass/percussion/handclaps/octave mandolin/mandola/cowbell/porch board/Farfisa organ/kick drum). There are some novelty-oriented Reba McIntyre-inspired type tunes like “Reach For the Sky.” Some Spanish-flavored songs like “Mi Vida” & the expressive “Take Me Dancing Again” both quite good. Some are nondescript but always well-played, entertaining pieces. They don’t break any new ground, but in the hands of Ms. DeLisle, they sound quite refreshing. By the third cut, Grey falls back on the reliable Dolly Parton balladry style of “A Coastal Town.” Beautiful. Because it sounds like Dolly? No, the lyrics are a wonderful original tale & the music is poignantly DeLisle. This song is a smart blend of ‘60s pop-country & today’s musical sensibility. Sometimes, slow & easy wins the race. A great song. With “Tomorrow (Without You)” & “Daddy, Can You Fix A Broken Heart,” the poignancy that surfaces is like Skeeter Davis’s “End of the World.” Grey has lots of personality in her music & still has a little Parton tonality in her narrative whisper. The song’s approach Timi Yuro’s “Interlude” in beauty. In a perfect world, “Daddy, Can You Fix A Broken Heart” & “Don’t Let Go of My Hand” would both be country classics. This is Grey’s (vocals/spoken word/autoharp) 7th album & she can rock too. That cadre rears its head with “Sister Shook” & “40 Something Runaway” both have grace, sleekness with milk & whiskey. The blues sneaks in fiery with “I Can’t Be Kind” — a Bessie Smith ghost. Then Grey goes Rolling Stones cool with the Keith Richards conjured “The Last, Last Time.” Bases are all covered. Many songs have exemplary beauty – “A Promise I Can’t Keep,” with its strings & early ‘60s soft-spoken balladry. Grey is instinctively disciplined in song selection & pacing. This is an ambitious work & the album is one to be adored. One of the year’s best. Highlights – “Hello, I’m Lonesome,” “Who To Love,” “A Coastal Town,” “Tomorrow (Without You),” “Sister Shook,” “Daddy, Can You Fix A Broken Heart,” “40 Something Runaway,” “A Promise I Can’t Keep,” “Convince Me,” “I’m A Wreck,” “Don’t Let Go of My Hand,” “I Can’t Be Kind,” “My darlin’ Vivian,” “The Last, Last Time” & “Take Me Dancing Again.” Musicians – Murry Hammond (acoustic guitar), Greg Leisz (steel guitar/12-string Rickenbacker guitar), D.J. Bonebrake (vibes/drums/percussion), Phil Jones (drums), Adam Pike (mellotron), Gideon Klein & Paul Nelson (cellos), Tammy Rogers (violins/violas/strings arranged & performed), Deke Dickerson (guitar/stand-up bass), David Ralicke (trumpets), Cherry Currie & Stephen McCarthy (vocals).

Review (The Rockin' Magpie) : After last year’s album, Driftless Girl twelve months later the multi-faceted Grey DeLisle has another album out, The Grey Album. She’s on a roll; and this isn’t your ordinary album, but a 20-track extravaganza. After being around for more years than either of us care to remember, Grey sounds like she’s never enjoyed her music more. The standard of work is a career high, her wistful, caring tones handling her finely crafted lyrics impeccably well throughout these songs. Grey DeLisle’s appetite for songwriting is insatiable, although the twenty tracks are actually drawn from threads spanning the last five years as Covid-19 had much to do regards rekindling her urge to write and record. DeLisle’s ability to condense a story inside three minutes is top class alongside her standing as a most prolific voice actress (The Simpsons, Scooby Doo etc); she’s done over 1500 voices since 1996 underlines her work ethic. Twenty songs is a lot for any artist to release on one album, and more still for a listener to digest in one session, and even then the songs and music need to be especially good … good enough to hold the attention of the listener can be quite a task; but then again, Grey DeLisle is quite a talent and up for the challenge. Opener, Hello, I’m Lonesome offers some Classic Country tones, and a genuine throwback to more heady times when music meant more to us; and has an engaging charm to it. Grey DeLisle is a Country natural, clever and innovative; adding fine use of pedal steel guitar to her flowing vocals which she sends a spine tingling message via some neatly wry lyrics. What a start to the record. Who To Love which follows, is actually … a ‘bit average’ by her standards, with organ, vibes etc aiding her as she sings of the love between two people, and the need to follow your own path, not listen to others telling them who to love. DeLisle’s whispery tones embrace the canvas creating fabulous imagery on the ‘fun’ love song, A Coastal Town. The Twangy, jangly Reach For The Sky shakes things up. Pedal steel, a12-string Rickenbacker and general bounce has DeLisle combining Traditional Old School Country music and Americana with an addictive verve, bringing us DeLisle at her best. Mi Vida comes complete with sweet sounding acoustic guitar, stand-up bass (Deke Dickerson) and trumpet on her venture south of the Mason-Dixon line, creating some vibrant Mexican flavours (she enjoys a shared Mexican heritage) making this song sun warmed, graceful and enchanting. Tomorrow (Without You) enjoys some meaty electric guitar and a lush string arrangement as she leans heavily on 1960’s Pop. The short and dramatic track, Sister Shook rocks in at just under two minutes with hints of New Orleans to keep your toes tapping. ‘Sister shook is going to shake the devil out of you, spit him out, spit him out’, … ‘draw the curtains and bolt the door, ’til you’re up wipin’ the Devil off the living floor’. Daddy Can You Fix A Broken Heart is warmed through in autoharp, as her gentle, whispery tones has her edging towards Dolly Parton’ Old Country and her Appalachian story telling roots, as it speaks of how a baby girl looks for her life to be repaired, and needs her daddy to return, and fix the family situation. 40 Something Runaway is another quick, flowing track and I love the swagger as DeLisle and new friend, vocalist Cherie Currie dive right into it. In some ways it’s ‘Road music’ (quite Martina McBride-ish too) as she tells us of travelling, hitchhiking and how it all (life) becomes too much at times, with the soles in her boots becoming thinner and thinner. “She’s headed eastbound in a stranger’s car Leaving LA with a mixtape and a scar This hitchhiking life ain’t going her way She’s just a 40 something runaway She’s just a 40 something runaway” A Promise I Can’t Keep is a sensitive, engaging piece that speaks of a woman being with one person, but loving another, in typical Country fashion, not someone with riches, but a sawyer that works at Freedom Lumber Mill. Didn’t We Try is another that focusses on relationships. There’s fire in the playing and an added spark to Grey’s vocals. Things don’t work out, despite their deep feelings for one another. Convince Me is a slumbering, aching love ballad that has DeLisle alongside writer and Tammy Rogers’ string arrangements leaving a few threads dangling for the listener to unravel. The rocking I’m A Wreck blasts forth as she equates herself to that of a ‘wreck on the side of the road’ not unlike Springsteen would circa The River. Such is the affect of the relationship, it leaves her wondering which way to go. Don’t Let Go Of My Hand takes us back to her first day at second grade; featuring strong pedal steel the dreamy ballad edges, slowly along leaving us with a tear in the corner of our eyes. Sparkling lead guitar opens the Rockabilly styled, I Can’t Be Kind. Here, the music is more gritty than previously. Next up, My Darlin’ Vivian is a mainstream Country story from way back, as her vivid, emotive style creates some beautiful imagery. She’s a natural when it comes to dropping into this particular groove. The tempo and energy lifts on The Last, Last Time as swirling guitar and a rocking beat find her telling her partner, she is through with him; as ‘her patience isn’t only thin, but all used up’. There’s no surprise that we find a clever breakup song in the mix, as House On Fire enjoys more wistful vocals, engaging lyrics and rumbling lead guitar to guide it home. Then we have the gentle and sweet Country love ballad Take Me Dancing Again which is calm, mellow and sways gently with the breeze. Unsurprisingly there’s plenty of descriptive lyrics, fiddle, strings, trumpets and a throbbing upright bass coming to the fore as more hints of the Mexican border rear up. The remarkable Red Dress closes the album, ‘Two dresses in the shop window, both lovely, one blue and one red’… the red was bought by her mother, but the red she earned herself. DeLisle sings of how ‘what comes easy is tossed to the side’, and ‘the blue dress she wore only one time, but the red dress is her pride and joy’. Hence, ‘Young lovers learn this lesson, if you want to be treasured forever don’t be blue, be the red dress instead’. Threaded with an old fashioned Country melody, it’s something Dolly Parton might have written and Faith Hill sung; and it’s beautifully soothing. ‘I am wearing the red dress right now’ DeLisle bows out with some lines sung in Spanish. Players on the album include, Tammy Rogers (fiddle), David Ralicke (trumpets), Greg Leisz (pedal steel, 12-string Rickenbacker guitar), producer, Marvin Etzioni (Farfisa organ, Hammond organ, acoustic, rhythm, lead guitar, mandolin, mandolin, octave mandolin, and producer), DJ Bonebrake (drums, vibes, percussion) plus guest, Stephen McCarthy (Long Ryders, Jayhawks) lending vocals on Didn’t We Try? Apart from her recent three date UK tour, and expansive tour of the European mainland DeLisle is also booked in to record with John Carter Cash this spring… Talk about being on a roll!

Review (Americana UK) : 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.