Album Review: Grey DeLisle - Don't Turn Around
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Just when you take a breather another Grey DeLisle album torpedos in your direction exploding into a galaxy of star spun songs. Since the Borrowed album re-introduced this multi-talented entertainer to music audiences in January 2023, a further five albums have surfaced including the recently US released DONT’T TURN AROUND that gets its formal European unveiling on November 13th. It is easy to label a current album ‘the best yet’ but the case is made moments after unwrapping its contents. The background narrative is strong; the songs stronger. If this standard remains, a Grey DeLisle drop each month wouldn’t be a chore.
All eleven tracks are solo written originals marking DeLisle’s prolific phase. The route to record began in harness with credited producer Andy Paley who sadly passed away before it came to fruition. Regular collaborator Marvin Etzioni completed the process before its treasures were unleashed on ears primed for this iconic style. DeLisle mixes the world of classic country and iconic 60s pop to forge a perfect soundtrack to songs dripping in emotion and realism. Her storied success may be as a renowned Hollywood voice actor but music, and songwriting in particular, is rapidly coming up on the rails.
The beauty of this record is the consummate ease the songs admirably spill out into something enjoyable. This is aided by a crack studio team including Stephen McCarthy (The Long Ryders), Murry Hammond (Old 97s and The Long Ryders) and Dave Alvin. The latter gets a featuring credit on second track ‘You’re Driving Me Away’, a duet song with a Tex Mex tinge reaffirming a break up and loss theme resonating throughout.
Gorgeous pedal steel launches the album introducing the wonderfully titled ‘Every Day of the Week End in Why’. With such smart irony, a winning array lies ahead. The spoken piece at the end is surely a nod to Dolly. No harm in joining the tribute throng. The classic tone is helped by lashings of strings in the background. ‘Drive Around’ is next up hailing an early 60s big pop sound with DeLisle reflecting on her tumultuous upbringing. While back stories can add value, this record stands alone as a pure exhibitive listening piece allowing an imagination to conjure scenarios. Title track ‘Don’t Turn Around’ shimmers before expanding into a big stage epic. This song sparked the project via engagement with the late Paley.
‘There’s the Door’ is described as a nod to George Jones’ ‘The Grand Tour’ from a female perspective and plants you right into a country heartbreak scene. Without the insight, you still get the drift with anger and sadness colliding. ‘Disneyland’ is a tempo detour adding a buoyant pace pushing the sound into a more Americana direction. A platonic relationship is examined in ‘Don’t Break the String’, a moment to praise DeLisle’s expressive vocal presence extracting extra influence and meaning from the lyrics.
Running a close second to the opening track in the most memorable title is the adoringly named ‘Open Mic at The Stumble Inn’. Regardless of the background info that stumble had to replace stagger, the image is pure parody. The tone and melody oozing out of this stellar track makes it one of the album picks on any day of the week. We would love to know more about The Stumble Inn.
As we arrive at the start of the final trio, ‘Your Momma Doesn’t Love Me Anymore’ views a break up from a different angle with the mother-in-law at the heart of the song. ‘The Lights Are Off But Somebody’s Home’ is paraded as a trucker song, certainly one with a difference as things move in a rockier direction. A timely reminder that DeLisle is an expert at merging a contemporary and classic country sound. ‘Claire’ closes this classy collection with the writing at its most personal and the vocals slipping into a dreamlike state. Another facet to a fascinating album.
Grey DeLisle’s music versatility was exposed in her duo album with Les Greene released earlier this year. That possessed real soul. DON’T TURN AROUND is defined by real guile. Make a record as fresh sounding in its umpteenth play as the first is a fitting epitaph to an initial engagement. More Grey DeLisle please, in good time.
