David Olney PDF Print E-mail

thumb_cd21. Two Kinds of Love (Olney Song) 3:11
2. Sister Angelina
(Olney Song) 3:21
3. Luckiest Man
(Hayes Court Music-Irving Music)
4:04
4. Shaken But Not Stirred
(Olney Song)
3:45
5. Running From Love
(Hayes Court Music-Irving Music) 4:02
6. If It Wasn't for the Wind (Hardball Music-Diving Duck Music) 3:34
7. Jerusalem Tomorrow (Hardball Music) 4:49
8. Message to Garcia (Olney Song) /
Soldier of Misfortune (Warner Bros.) 7:52
9. That's My Story (Olney Music
) 3:39
10. If My Eyes Were Blind (Warner Bros.) 3:38 (Listen to a sample below)

11. Barrymore Remembers (Hayes Court Music-Irving Music) 3:45 (Listen to a sample below)

12. Love's Been Linked to the Blues (Hayes Court Music-Irving Music) 3:37
13. Evil Twin (Hayes Court Music-Irving Music) 3:37
14. Charleston Knife
(Olney Song) /
Who Do You Love? (Arc Music) 5:09
15. Contender (Mighty Mighty Music) 6:26 (Listen to a sample below)




Even being a fan of Olney is intense.

And fans. Well, truth be told, fans of singer/songwriters always measure their favorites. They don't rate them by number, or sort 'em by letter. Some kind of short order algebraic's come into play amongst certain folk/nazis. The stick contains markers for live performance, guitar prowess (or lack of), lyrical courage, and some form of microevolution concerning the set list! Dave Olney confirms all the above while unintentionally diminishing the the muse... ain't an ounce of fat on the boy's music!

But the real test of a songwriter's talent and credibility is never measured by chart position, sales, or post show chaos. It is measured by what his fellow songwriters say about him when he's not around. In David Olney's case, such appreciation runs wide and often. His peers realize the difficulty and utter revulsion that goes into the process that allows a certain song to form in the first place (the act of putting it to paper being only a small part of the ordeal). Only his peers can totally understand the liaison between David Olney's life in music, and his life in general. What Olney seems to understand is somewhere in connection of those two lives, a lot of dust must be scattered, and you can't go to the desert to do it (that's cheatin'). It must be done within 'your' world. It appears through his observations, his thoughts and his readings, that he is writing his life... filtered through his realistic imagination. It don't get no better than that.

However!... the ultimate tribute a songwriter can receive (and one that Olney receives quite often)... is the 'raised eyebrow'. It usually takes place immediately following a new song. A few songwriters hanging back by the bar turn to each other in cadence... one will look at the other, as both raise their eyebrows while simultaneously dropping their heads... all others soon follow. Not a word... no overt celebration, no jealousy, just a deep appreciation and a quiet understanding that something worthwhile has just been achieved. It is the ultimate tribute a songwriter can receive. It is more treasured than a Grammy.

I love this project. I like its attack and its hollowness. It's honest and it's rich in proclamation. One man; one guitar, and one pool of white light shining upon the face of a master tunesmith, set as one night, in Detroit's on-going 'La Casa Music Series'.

And that's all I got to say about it... for now.

Mark Germino

Nashville, Tennessee

September 1999

Last Updated ( Saturday, 03 January 2009 23:25 )
 
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