Independent ladies of song…
Vocalist Juliet Simmons Dinall joins with hubby guitarist Michael Dinallo and a team of Jim Gambino/key, Tim Carter/mand-banj, Dave Jacques-Dave Roe-b, Mike McAdams/g, om Hambridge-Justin Amaral/dr and a rotating guest list on a mix of vintage root sounds. You 
get some fun rockabilly on “Lemonade”, glorious bluegrass harmonies and pickings on “Monday Morning and 50s riffs on the ballad Time Machine” and the jumping “Nothing To Lose But The Blues” while there are hints of Springsteen angst on “All The Ponies Go ‘Round” and “Purgatory Road”. A Nashville skyline of “Fine Time of Year” shows that this lady has a Cumberland Gap of a heart.
Natalie Napoleon plays acoustic guitar as she sings with a minstrel team of Dan Phillips/p-pec, Jim Connolly/b, Doug Pettibone/g and a handful of singing and instrumental guests. With Angus Cooke’s cello, she is dreamy on “Soft” and looking for meaning in life on the contemplative “Meanint”. While the indie rocker “Wildflowers” has a Nicollette Larson feel. Troubadour moods abound on “Thunder Road” and “Second Time Around” while a Billy Joel perspective and piano playing is heard on “No Longer Mine”. Looking for answers; is she in the right places?
Brigitte DeMeyer creates a bluesy folk team of Jano Rix/p-dr, Ted Pecchio/b, Kris Donegan/g, JP Ruggieri/g and a cameo collection of sitting in guests for an album reminiscent of a night at the VFW. Her nasally tone gets frisky on “Salt of the Earth” while Rix’s piano goes to the saloon on “Calamity Gone”. Stark guitars surround her on the harrowing “Ain’t No Mister” and she saunters into the juke joint on “Cat Man Do”. She knows how to tell a story, as on the upbeat “All The Blue” while her title track is a rich mix of reflections. Is there a two drink minimum?
Dark and dramatic soundscapes are crated by Maia Sharp, supported by Will Honaker/b, Ross McReynolds/dr, Joshua Grange/g and a mix and match of guests. The ideas get impressionistic on “Whatever We Are” and she is casual and bluesy on the Wurlitzer on “You’ll Know Who Loves You”. Strings add drama to her vulnerable delivery on “Mercy Rising” with her Norah Jones-styled voice sounding sardonic on “Not Your Friend”. Echoey effects create a Hound of Baskervilles milieu on “Junkyard Dog” and her loneliness is surrounded by synth sounds on “Missions”. A lady in waiting.