Judging by the CD cover artwork, you might assume that Nashville-based singer/songwriter David Olney is one tough hombre. He's a modern-day soothsayer who pokes some fun at life's circumstances via socio-lyricism that elicits chuckles and contemplation. Highly-revered, Olney combines blues-country and rock amid some ragtag jazz in spots. Nonetheless, he gets his message across with the gait and intentions of a gent who lived the experiences he sings about.
No doubt, Olney surfaces as a man of wisdom here, but his entertaining parables equate to an artist who is clever and keenly observant. On "Who's The Dummy Now, the singer and his band convey a roadhouse-like Dixieland motif, where he communicates an after-hours nightclub groove, littered with empty beer bottles and dank cigar smoke.
Olney's a mystic and means business when he declares his intentions of knocking some sense into the local town-folk. During the low-key acoustic guitar driven "No Lies, he's seemingly writing a love-letter, proclaiming his intent upon drowning his sorrows in whiskey, to complement his opaque delineation between honesty and deceit.
The fun continues on the gospel-hued Delta Blues vamp "See How The Mighty Have Fallen. But the album's secret is uncovered during the country-folk title track, where Olney globalizes the "One Tough Town insinuation into the vastness of planet earth. Witty, humorous and slightly cantankerous, Olney's at the very top of his game.
Track Listing: Whistle Blow; Sweet Poison; Who's The Dummy Now?; Little Mustang; No Lies; Oh Yeah (Dead Man's Shoes);Snake Song; Panama City; Sweet Potato; See How The Mighty Have Fallen; One Tough Town; Postcard From Mexico; Rainbow's End.
Personnel: David Olney: guitars, ukulele, bones, laughter,harmonica, vocals; Dave Roe: bass; Craig Wright: percussion; Bill Huber: tuba, trombone; Jim Hoke: clarinet; Jack Irwin: slap box, piano; Richard Bailey: banjo; Sergio Webb: electric guitar; Bobby Daniels: vocals.
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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