My Kind of Country

Country music from a fan's point of view since 2008

Tag Archives: Lynn Gillespie Chater

Album Review: Donna Ulisse – ‘Trouble At The Door’

There was a lot of great music in 1991, and the debut album by Virginia-born Donna Ulisse fell through the cracks. Produced by Ray Baker, Josh Leo and Larry Michael Lee and released on Atlantic Records, which was dipping its toes into country music, it showcased Donna’s beautiful alto voice.

Lead single ‘Things Are Mostly Fine’ is an understated mournful ballad about not getting over an ex, which Donna sings beautifully. It is one of four songs written by John Adrian, whose other writing credits appear to be for Billy ‘Crash’ Craddock. Sadly it peaked in the 70s on the country charts. Also gorgeous is his tender steel-laced ‘Fall Apart With You’, about seeking consolation in a one night stand with some guy who a looks a little like her true love. The gentle waltz ‘My Broken Hearts Breaking All Over Again’ has lovely fiddle and an exquisite vocal. ‘Legend In My Heart’ is another ballad, a tender tribute to a real life hero who is better than fictional characters, with a beautiful melody.

The bright fiddle-led up-tempo ‘When Was The Last Time’ did a little better as the second single, with its #66 peak making it Donna’s most successful stab at radio. The Buck Moore/Frank D Myers song urges the protagonist’s husband to keep their love life fresh despite struggling through hard times. It is a really nice song which deserved to be a hit.

The title track failed to chart. Written by husband and wife team Kerry and Lynn Gillespie Chater, it is an emotionally intense but subtly sung story about a wife who answers the door to her husband’s secret lover:

She says she knows you
And she’s got the right address
She’s talkin’ crazy
So I didn’t catch the rest
She wouldn’t tell me
Just what her name is
There’s one thing for sure
Boy, you’ve got trouble at the door

I tried to tell her
That you’ve been out of town
She seems to know that
But she still won’t calm down
I even mentioned that it was business
She tells me it was more
Boy, you’ve got trouble at the door

Tell me she’s crazy
Tell me she’s wrong
Say that she’s mistaken
Say that you were strong
Tell me she’s lyin’
Then tell me one thing more
Tell me that’s not trouble at the door

This is a great song which should have been a career making record.

Bob McDill and Jim Weatherly contributed ‘Fire In An Old Flame’s Eyes’, a fine ballad about yearning for an ex, with regret for the path not taken replaced by a rekindling of that early passion. ‘Guess Who’s Back In Town’, written by Ernie Rowell and Dave Lindsey, is an up-tempo tune bewailing an on-and-off relationship. ‘Out Of Sight, Out Of Mind’ is a determinedly positive song about moving on after a breakup.

‘You Always Take Her Memory Out On Me’, written by R C Bannon, is another excellent emotional ballad, about dealing with the overpowering shadow of her partner’s ex:

I’m not the one who lied to you
Made you fall apart
I didn’t find someone else
And leave you in the dark
I’ve tried my best to heal the wounds and ease your misery
Then you turn around and take her memory out on me

How long before you let go of who let go of you?
How can you be blind to all her faults,
Then find fault in everything I do?

This album should have made Donna a star. Perhaps being on Atlantic was the problem, and a label with greater influence would have helped. Donna retired into obscurity, only emerging years later as a bluegrass singer-songwriter. I like her current work, but this is still my favorite of her albums. It does not appear to be available on iTunes, but used copies of the CD can be found cheaply. It is highly recommended.

Grade: A+

Album Review: Nancy Beaudette – ‘South Branch Road’

CD400_outA virtue of the independent music scene is the joy in discovering artists for which the act of creating music is a deeply personal art. Nancy Beaudette, who hails from Cornwall, Ontario, but has made a name for herself in Central Massachusetts, is one such singer-songwriter. With South Branch Road, her eighth release, Beaudette’s homespun tales are the most fully realized of her nearly three-decade career.

The gorgeous title track, where the gentle strums of an acoustic guitar frame Beaudette’s elegant ode to her childhood, is a perfect example:

I fell in love with tar and stone

And a county lined with maple and oak

In sixty-one with three kids in tow

Mom and dad bought a place there and made it home

I spent my summers on a steel blue bike

Weaving shoulder to shoulder like wind in a kite

Dreaming big and reaching high

Riding further and further out on my own

The image of a girl and her bike surfaces again on “Ride On,” a wispy ballad chronicling a daughter’s relationship with her father. The track, co-written by Beaudette, Kerry Chater, and Lynn Gillespie Chater, succeeds on the fact it doesn’t end with the father’s death, like these songs almost always do. The journey of life surfaces again on “Can’t Hold Back,” a mid-tempo ballad co-written with Rick Lang. The track beautifully employs a nature metaphor that Beaudette and Lang keep fresh and exciting with their clever lyric.

Beaudette solely penned the masterfully constructed “Something Tells Me,” the devastating centerpiece of South Branch Road. An unpredictable twist follows a story that sits in an air of mystery until the final verse belts you square in the gut. I haven’t felt this much emotion towards a song in years, probably because the woman in the song and my mom are the same age.

Beaudette clearly isn’t a novice, as she smartly surrounds “Something Tells Me,” the most affecting number on South Branch Road, with joyous moments of levity. These moments are the heart and soul of the record, showcasing Beaudette’s everywoman nature and her ability to draw you in with her aptitude for turning narratives into conversations, as though you were just casually catching up over a cup of coffee.

“’Till The Tomatoes Ripen” takes me back to my childhood and my grandfather’s tradition of planting an insanely large garden of the titular vegetable. I fondly remember the pleasure of going through the rows and picking the red ones by the basketful. Beaudette’s lyric conveys the much simpler notion of planting the garden itself and the contented happiness that comes from watching it grow. The peaceful oceanfront setting in which she places said garden only increases the joy abounding from the proceedings.

The bonds of newly minted friendship take center ice on “Shoot to Score,” a hockey-themed uptempo number that values the importance of dream visualization. Cornwall is a hockey city, so Beaudette is right-at-home name-checking the likes of Bobby Orr and Wayne Gretzky. The lyric turns wonderfully personal when Beaudette recounts her own memories with the sport:

I loved to play but I wasn’t great

An’ I showed up with my figure skates

And my first step out onto the ice

And I fell flat on my face

“End of Line” is the purest country song on South Branch Road. Banjo and fiddle abound on a story about a couple, their love of watching trains, and the moment their relationship has to end. The rollicking tune feels almost like a prelude to “Between Your Heart and Mine,” a mournful ballad about a woman, a lost love, and a stroll across the Brooklyn Bridge. I can’t remember an instance when such a memorable walk was so delightfully clouded in ambiguity.

“Build It Up” teams Beaudette with Marc Rossi, a Nashville-based songwriter who graduated from high school with my parents. The lyric details a farmhouse fire in the early 20th century and the way lives were altered as a result. The slicker production, which recalls Forget About It era Alison Krauss, is perfectly in service to the downbeat but catchy lyric. Opener “Starlight” harkens back to early 1990s Mary Chapin Carpenter with a gloriously bright production and Beaudette’s high energy vocal.

South Branch Road is extraordinarily layered and nuanced. Channeling her inner Don Williams, Beaudette draws you in with her natural simplicity. Her songwriting gets to the heart of the matter by conveying emotion without bogging down the listener with unnecessarily clunky lyrics. She’s a master storyteller, which in turn has informed her ability to craft lyrical compositions that fully utilize this very rare gift.

Beaudette’s relatability, and the personal connections I’ve found within these songs, drew me in to fully appreciate the magic of South Branch Road; a window into her soul. She’s constructed an album from the inside out, using her own life to give the listener a deeply personal tour of her many winds and roads, reflecting on the lessons learned around each curve and bend. Beaudette is already a bright bulb on the independent music scene but the release of South Branch Road demands that light shine even brighter.

Grade: A+