Dori Freeman does not need an expansive canvas to weave her
magical spell. In fact, the more minimalist the environment the better and
LETTERS NEVER READ has provided the perfect vehicle to tantalise the discerning
ear. Spreading its beauty in a concise twenty-eight minutes sees Dori skirting
a touch with brevity, but the acute song selection and optimum production
reaches out far from this homely base. Initial spins of this record gave a
different feel to last year’s debut self-titled album, although closer aural
examination yielded much of the same qualities. This is ideal, as the previous record was
absolutely adored and the new one is racing to a similar status.
Similarities are also extended to the presence of Teddy Thompson
once again in the production role. Dori’s velvet lined country vocals make the
same delightful impact and totally own the airwaves from the moment the first
bar is sung. The golden voice from Galax Virginia is the ideal strapline for
Dori’s music, with its subtle roots underlay and pivotal position at the
crossroads of traditional and contemporary roots music.
To grasp the structure of this album, it is worth analysing the
impact of six original compositions mixed into the potpourri with four other
tunes from a diverse range of sources. The listener is immediately exposed to
the wealth of Dori’s song writing via a four-strong run of tunes led off by
the sweet sounding waltz-like tones of ‘If
I Could Make You My Own’. There
is almost a seamless thread in this segment with ‘Just Say It Now’ carrying on the mantle of the opener. ‘Lovers on the Run’ follows, housing the
album title in one of its lines and intimating that some songs written for past
acquaintances never reach their intended destination.
One tempering feature that surfaces at this point is the more
profound impact of the melody in the verses rather than the chorus. In the
early stages of getting to grips with this record, it appears to lack a gem of
a track in the vein that ‘Go on Lovin’’
illuminated the previous album. Maybe in time one will emerge, but if you’re
seeking the ingrained earworm moments, the non-originals are more likely to
deliver.
The Thompson family influence is extended to Dori decorating
her adorable vocals around the classic ‘I
Want to See the Bright Lights Tonight’ from the brilliant pen of Teddy’s father,
Richard. There can hardly be a more contrasting vocal experience than between the
original and Dori's version. Take your pick or appreciate the value
in both.
To shore up the roots impact of this album, a moving a
Capella version of a song written by Dori’s grandfather Willard Gayheart
ensures time stands still for a brief couple of minutes at the midway point. ‘Ern and Zorry’s Sneakin’ Bitin’ Dog’ is
a tale that you would only expect to find in the backwoods of the rural South and it certainly warms
the heart of those listening from afar. To further re-enforce the southern
feel, a banjo-led old time gospel tune in ‘Over
There’ offers a communal feel with it harking back to humbler times. The
fourth and final outside song that Dori wraps her vocal chords around is a
version of Jim Reeves’ ‘Yonder Comes a
Sucker’, complete with drum roll and a comfortable fit as the album closer.
‘Cold Waves’, ‘Turtle Dove’ and the twang laden ‘That’s Alright’ complete the set of originals; all well-equipped to showcase Dori's qualities without quite hitting
the heights of the three previously mentioned self-penned tunes. This far from waters
down the overall feel to the album and the ultimate congenial beauty in its sparsity.
Dori’s song writing does contain some interesting structural parts to arouse those who like to explore this aspect of the art. Also this album errs
more on the upbeat side of love, in contrast to what we have come to expect from the genre
in which she is rooted.
It has taken a little under two years for Dori Freeman to
emerge as a recorded treasure and she is positively flourishing musically in
the current set up that she operates in. The sleek and concise LETTERS NEVER
READ has the potential for her to continue to make a leap forward. It does
leave a little of the innocence of the first album behind, but significantly
builds on the imperious qualities that Dori possesses.
