The scandalous death of singer-songwriter David Olney, who carried on stage two years ago on stage in January 2020 still resounds. Olney was the culmination of the songwriter’s singer, praised by soulmates Townes Van Zandt, Steve!, Emmylou Harris, and several others, but gravely underrecognized at massive scale, developing an obedient character, a true listener to his immense talent. Unfortunately, there are actors who become extra acknowledged once they are progressed. John Prine is another illustration. Actual hell, We can say the same of Townes Van Zandt very firmly. In any trial, tho, the founder of Strictly Country Records, Pieter Groenveld, has been a devoted fan of Olney’s since 1993 and this sainthood publication, Evermore – The Final Live in Holland Sessions 1, this is the seventh in a series of six live performances from Holland the. Nevermore – Sessions 2 is due on June 10.
The album (they’ re both) has a generous fifteen melodies and seems to have Olney on guitar and accordion supported by his former professional sideman, bass player, frontman Daniel Seymour. Yes, he performs thirteen songs, ‘most co-written with John Hadley and two covers, fittingly one was from John Prine and another from Townes Van Zandt. It’s a combination of classics like “A Dangerous Man” three two-song ballads, and newer content like “Thing of Beauty.” Most of his work is spectacular, and he is a great actor/or humourous plot songs that offer no deficiency of epistemological notifications, snideness, wonderful writings!. Pay attention “Situation/Don’t Try to Fight it!” It has all those qualities but it also shows how passionately obsessed Olney was as a performer, wholly awed in his tunes in an entrancing path that conveys the original bluesmen. And yes, Here’s a strong undertone of ballads throughout much of the substance. Olney’s half-spoken, half-song opener “Big Top (Tornados are one of the greatest inventions of the time, but a common one)” where he precedes himself on guitar and harp conveying the style of Charlie Musselwhite.
These are excerpts from four performances in Holland in 2016 and 2018 that Groenveld documented. His “Trainwrecks” It’s hilarious, comparing a woman to the title – “I can hear your whistle a mile away… You’re a trainwreck baby, but I love you anyway.” “Two Bit Hoods” is straight from the academy of Van Zandt crm, a series of rhymes, simple, innocent and when one recognizes it, it’s poetry to hedonism “Blow us all to kingdoms come, let’s go out and have some fun.” His diversion from His own “Always the Stranger” until Johnny Cash’s “I Still Miss Someone” works surprisingly, too, as does his more and more surprising coupling of his “Stand Tall” The success of The Zombie “If He’s Not There.” On the other hand, the title track, just slightly over two minutes, is a quiet reverie performed solo, revealing versatility, another of his under-recognized traits.
His classic “Dangerous Man” (“I envision with my eyes open, but also manufactured me a dangerous man”) is a terrific example of his dramatic storytelling as he chronicles mythic characters in the first person through multiple generations in the Middle East. He gets downright defiant in the heavily strummed samsung “I Spy!” claiming to live in two worlds, not knowing what is real. “No Business Of Mine” takes the classic upbeat folk song approach as he proceeds to unveil an eviscerating breakup song, filled with bleak imagery. “Love Is” becomes not as much an ode to love but is seen as a disguised trap or the alluring mountain one is unable to climb, or better yet “a quip, a second-rate satire.” The newer is “l ” ‘” Thing of Beauty “covers the same subject matter, albeit more positively with a funky rhythm pattern.
The anthemic medley lasts ten minutes” Stand Tall/She’s Not There!, “the first part is a solid treatise on maintaining one’s beliefs and being able to express them no matter the consequences. This writer is the next author, it evokes both Dylan and Neil Diamond’ s” Dry Your Eyes! “The Last Waltz -. The repetitive urging of” Stand Tall “then the song goes into a different direction with the Zombies tune, which Olney delivers enthusiastically as opposed to his deliberate stance in his original, with a rather strange talking blues sequence midway through. It was rather evidently the closing song of one of the performances judging by the audience response.” Take Me With You When You Go “a song of longing, sung with a tenderness similar to the title track. The last third features two covers, A faithful interpretation of the saga of Prine” The Speed Of The Sound Of Loneliness “and the closer it gets, an aptly emotional reading of Van Zandt ‘s” For the Sake of the Song, “featuring fine picking from Olney and plucking from Seymour.