Paige Daily "First Paige" (Benson Sound, 1982) (LP)
(Produced by Larry R. Benson)
A vanity album pressed for Laverne, Oklahoma's Paige Daily, winner of the state's 1982 Teen Miss Talent pageant... She sings country standards like "Tennessee Waltz," "Song For The Common Man" and "Your Cheatin' Heart" as well as contemporary stuff such as "Lookin' For Love," "On The Road Again" and -- of course -- "You're The Reason God Made Oklahoma." Plus, I was delighted to see her cover Dick Feller's "Some Days Are Diamonds," though I suppose that was because John Denver had just recorded his version of the song.

Maria Dallas -- see artist profile

Lacy J. Dalton -- see artist profile

Dan & Judy "Dan And Judy" (Preferred Stock Records, 19--?) (LP)
(Produced by Dan Stewart, Judy Joynes & Elden Stielstra)
This brother/sister duo from Ludington, Michigan certainly had an affinity for country material, though the instruments used on this album are hardly what you'd expect to hear on Hee-Haw. Dan Stewart's lead guitar is framed by saxophone, synthesizer, trumpet and tambourine, with nary a fiddle, banjo or pedal steel to be seen. Still, they are country-oriented if not all that twangy in sound... The country covers include "Amanda," "Silver Wings" and "Your Cheatin' Heart," while there's also a dip into oldies rock, heard on their versions of "Sixteen Candles" and Bob Seger's "Old Time Rock'n'Roll." (There's no date on this album, but the Seger track places it at least around 1979; if pressed, I'd guess 1980-81.) While the siblings are listed as co-producers, Elden Stielstra was the actual engineer/producer, operating out of Wild Honey Studios, in Scottsville, Michigan... Beyond that, this record remains a resolute mystery, with nary a smidge of information to be gleaned from the vast interwebs archives; the only mention I found of them playing live was at her sister's Ludington wedding in 1984.

Dale Daniel "Luck Of Our Own" (BNA Records, 1994)
(Produced by Jerry Crutchfield)
The lone solo album from this modest Nashville songbird... It's fairly generic early-'90s Nashville fare, with an okay bouncy, uptempo opening track, "In The Middle Of A Miracle," and then a bunch of less vigorous stuff, much of which has tinkly, thin-sounding production that sounds like leftovers from the 'Eighties. She's an okay singer, I guess, but doesn't make much of an impression. Strangely enough, the Nashville establishment seems to have agreed: not a single track on here got the least bit of traction in the Billboard charts... That's harsh! I mean, she kinda sounds like everybody else, so she must have had some major strikes against her to get so little love from the hitmakers... Wonder what the deal was... (?)

Taffy Danoff - see artist discography

Helen Darling "Helen Darling" (MCA-Decca, 1995)

Donna Darlene -- see artist profile

The Daughters Of American Bluegrass "The Daughters Of American Bluegrass" (CMH Records, 2004)

The Daughters Of Bluegrass "Back To The Well" (Blue Circle Records, 2006)

The Daughters Of Bluegrass "Bluegrass Bouquet" (Blue Circle Records, 2009)
(Produced by Dixie Hall, Paula Wolak & Frances Mooney)
When they say "daughters of bluegrass," they really mean "daughters of bluegrass": this disc features contributions from dozens of female artists, including folks like Carol Lee Cooper (daughter of Wilma Lee Cooper), Lisa Martin (Jimmy's daughter), Jeanie Stanley (Carter's "baby girl") and Sonya and Becky Isaacs, of the Isaacs family band... Along with a slew of other female picker, plunkers and harmonizers, including well-known artists and newcomers such as Tina Adair, Dale Ann Bradley, Becky Buller, Sierra Hull, Alecia Nugent and many more whose names are less familiar; Rhonda Vincent, who gets a teasing shout-out as a big star with a tour bus to travel in, also pitches in. It's a big helping of talent, with many faces that are doubtless familiar to folks who frequent the festivals and hang out at informal jam sessions. The project is the brainchild of Dixie and Tom T. Hall, who also wrote or co-wrote all of the songs on here, so if you're a bluegrass fan searching for new, original material, this disc is a much-welcome treasure trove as well. Good spirits, fine picking and fuzzy nostalgia mix together quite nicely here... It's a sweet humble, down-to-earth album that reflects the DIY culture of the modern bluegrass scene... Nice!

Dave & Sugar -- see artist profile

Debbie Lynn Davidson "I Want To Be A Country Singer" (Cornucopia Records, 1978-?) (LP)
All freckles and bangs, young Ms. Davidson looks to have been about ten years old when she recorded this album... She was a kid from from Columbia Crossroads, Pennsylvania who was recruited to sing an album that was half gospel, half secular, including songs such as "I Want To Be A Country Singer," "Country Fever," "Everybody's Looking For Love" and "I'm Just A Little Girl Looking For A Big Boy." Apparently this album was recorded following an appearance on the Hee Haw TV show, although I couldn't quite track down when that episode aired, nor when this album came out. According tot eh local papers, she did some local shows and took place in a few regional talent shows between from 1976-77, under the name Debbie Davidson, and was apparently a cast member of the Bob and Dean McNett country music show.

Dianne Davidson "Baby" (Janus Records, 1971) (LP)
(Produced by Charles Neese)
A native of West Tennessee, singer-picker Dianne Davidson dropped out of school in her teens and leapt full-tilt into a musical career which intersected blues, country and folkie material. While she recorded several albums in the early 'Seventies, she never quite broke through as a solo star, and eventually settled into a solid gig as a backup vocalist working with stars such as Jimmy Buffett, B.B. King, Linda Ronstadt and Leon Russell. This debut disc has a funky, Muscle Shoals feel, with backing by A-list Nashville pickers such as Mac Gayden, Kenny Buttrey, bassist Tim Drummond, piano player John Harris, Charlie McCoy and other guys in the orbit of the Area Code 615/Barefoot Jerry band. Though she subsequently got into a more rural, rootsy vibe, here there seems to be an attempt to go pop, showcasing distinctly Dusty Springfield-ish vocals, albeit with deeper soul roots than Springfield: Davidson was the real deal, a white soul sister of the kind that Springfield tried to shape herself into when she made her pilgrimage to Memphis. This authenticity may have been what held Davidson back professionally, as she consistently veers away from the brighter, more concise pop arrangements into a grittier, growlier, more improvisational blues style. But if you dig either the Dusty In Memphis sound, or other rootsy 'Seventies gals such as Jo Ann Kelly, Bonnie Raitt or Tracy Nelson, you're gonna want to hep yourself to Ms. Davidson and her remarkable recorded legacy. She was a trailblazer, for sure.

Dianne Davidson "Backwoods Woman" (Janus Records, 1972) (LP)
(Produced by Charlie Tallent)
A more sluggish, downtempo sound prevails here, with curiously top-heavy covers of "Rocky Top," "Delta Dawn," and Elton John's "Country Comfort" though the album closes with a swell version of Cat Stevens' "Where Do The Children Play." This rest fo the record is packed with original material -- four songs from Dianne Davidson, and a couple more by composer John Drummond, who "hung out" at the sessions along with JJ Cale, while Mac Gayden anchored another all-star Nashville band, his own Area Code 615 cohorts bolstered by pros such as fiddler Vassar Clements and picker Bobby Thompson. Davidson backs away from the expansive, Motown-ish declarations of her first album, going for a more brooding, introspective, folk-informed style. Also worth noting is the presence of Tracy Nelson, who anchors a group of backup singers that also included Janis Siegel and the gals in her band, Laurel Canyon, along with Honey Combs, who also backed Nelson on one of her early albums. Though not as immediately appealing as the albums that sandwich it, this is a disc that stands up to repeat auditions, and sounds cooler each time you give it a whirl.

Dianne Davidson "Mountain Mama" (Janus Records, 1973) (LP)
(Produced by Diane Davidson & Charlie Tallent)
Easing into a more expansive, funkier sound, Davidson takes greater advantage of the versatility of the Area Code 615 crew, digging into a bluesier vibe that invites comparison to Tony Joe White, Brenda Patterson or Tracy Nelson (who not coincidentally sings backup on these sessions...) Davidson puts her stamp on a few current hits, including a version of Jesse Winchester's "Brand New Tennessee Waltz," and a couple of Jackson Browne tunes, "Song For Adam" and "Something Fine," as well as an oddly lethargic rendition of Joni Mitchell's "Carey." About half the album is original material penned either by Diane Davidson or her bassist, Tim Drummond; Mac Gayden claims a co-credit on "Ain't Gonna Be Treated This Way," a greasy, loose-limbed blues duet that closes the album out.

Gail Davies -- see artist profile

Brenda Davis & Jim Gregory "Somewhere Over The Rainbow" (Country Showcase Records, 1978) (LP)
Guitarist Jim Gregory was born in Oklahoma, grew up in California, and moved to North Carolina as an adult; singer Brenda Davis was his niece and joins him here on this mixed set of pop vocals/standards (on Side One) and country-oriented material, such as "Blue Eyes Crying In The Rain," "Cattle Call" and "Tennessee Waltz" (on Side Two.) Not a lot of info about this one: Mr. Gregory apparently recorded a few singles as well, including one distributed by the NSD consortium in Nashville, though the Country Showcase label (and presumably Mr. Gregory) was from Bailey, NC.

The Dale Davis Show "It's Gonna Be A Happy Day" (Dale Davis Productions, 1976-?) (LP)
(Produced by Dave Davis)
Moore, Oklahoma's Dale and Becky Davis led this compact band, joined by guitarist Gary Biel, Claudia Corley and Ziggy Fearn... They covered some pop/rock stuff, but also a bunch of country tunes such as "Wasted Days And Wasted Nights," "For The Good Times" and "I'm Not Lisa." This was one of those custom-made albums with a preprinted cover - not a lot of info about when it was recorded, but it must have around 1975-76, judging from the song selection. The title track, "It's Gonna Be A Happy Day," was a Dale Davis original which later became a chart entry for Jack Paris, who cracked into the very bottom of the Country Top 100 in 1978.

Linda Davis - see artist discography

Sheri Davis "I Could Fall In Love With You" (Damo Music Group, 1981) (LP)
(Produced by John R. Moore, Michael R. Radford & Gene Rice)
Not a lot of info about this slick-lookin' country gal, who was definitely trying to crack into the mainstream Top Forty scene with this well-produced, super-commercial sounding album. This was recorded in Nashville with a bunch of Music City studio pros backing her up, though her manager John Moore's business address is listed as being in Marion, Illinois, halfway between Nashville and Saint Louis, so it's possible she'd worked in the Ozarks mini-opry scene for a while. She sounds very Dolly-esque, especially on tracks like "Under The Influence Of Love," and on the whole this record sounds like it could have plausibly made her a chart artist... The backing musicians include Stu Basore on steel guitar and dobro, Mark Casstevens (guitar), Gregg Gailbraith (lead guitar), Gary Prim (piano), Jack Ross (bass), John Story on drums, and the Cates Sisters both singing backup and acting as a string section. No chart action, alas, but not for want to trying. If you're interested in professional-sounding but off-the-radar pop-country albums, this is a pretty strong example.

Skeeter Davis - see artist discography

Stephanie Davis - see artist discography

Delisa Dawn "Memories Of You" (Stardom Records, 19--?) (LP)
(Produced by Chuck Bartlett & Frank Evans)
Not sure when this one came out, but it seems to be an early 'Eighties kinda thing. Singer Delisa Dawn grew up in Independence, Missouri and started her performing career when she was just nine years old. She made her way to Nashville and wound up working for several older artists on tour, backing up falling stars such as Jack Greene, Faron Young and the Wilburn Brothers; she seems to have been in Jack Greene's band at the time this album came out. This was her first (and as far as I know, only) album, and may have been a Nashville songwriter's demo, produced by steel player Chuck Bartlett, who co-wrote the title track. Later she moved back to the Midwest, performing mainly in eastern Kansas and the Missouri Ozarks with with guitarist Dennis Cook in a group called Delisa Dawn & Route 66.

Julie Dawn "What About That" (JD Music Records, 198--?) (LP)
(Produced by David Johnson & Travis Wammack)
Dunno much about this Florida gal, though my curiosity was piqued by seeing twangbar whiz Travis Wammack on board as her producer... Also among the studio crew were Muscle Shoals regulars Ava Aldridge and Sue Richards singing backup, rootsy vocalists who both had modest solo careers themselves. Gotta admit, though, this one wasn't as twangy (or as satisfying) as I had hoped... Ms. Dawn seems to have been aiming for more of a rock/roots pop sound, and while a country vibe flutters through a few tunes, this is more of a rock kinda thing, with an occasionally muddled feel. Maybe of more interest to fans of the Southern roots/pop/R&B scene?

Wendy Dawn "Harper Valley PTA And Other Country Hits" (RCA-Camden, 1969) (LP)
(Produced by Bob Ferguson & Ethyl Gabriel)
A singer from Memphis, Texas -- not far from Amarillo -- Ms. Dawn covers hits of the day such as Tammy Wynette's "D-I-V-O-R-C-E," "Harper Valley PTA" and a gender-flipped version of "Only Mama That'll Walk The Line," as well as a Lynn Anderson tune or two. This soundalike set was her first (and apparently only) full album, though RCA gave her a test run on several singles the year before, including a novelty number, "John" which was an answer to John Wesley Ryles' hit, "Kay." Alas, none of those earlier tracks were included on this LP, in favor of more generic material such as "House Of The Rising Sun." Anyone know what happened to this Lone Star gal?

Jennifer Day "The Fun Of Your Love" (BNA Records, 2000)
Perky, upbeat country-pop. Pretty glossy, but not as weighed-down by would-be soul warbling as some of her Y2K Nashville contemporaries. It's okay, if you like the poppy stuff.

Paula Day "The Two Sides Of Paula Day" (197--?) (LP)
(Produced by Harold Harmel & Jeff Mooridian)
Raleigh, North Dakota, a microscopic hamlet just south of Bismarck, was the birthplace of guitar player/accordionist Paula Day -- aka Pauline Loeb Deichert (1928-2017) -- who wrote all but two of the songs on this album. The "two sides" in the title are country music on Side One, and "old time" music on Side Two, which up around the Great Lakes and high plains states meant polka and other old-world European ethnic dance music. Ms. Day and her husband Ben Deichert (1925-2001) both came from tight-knit German-American enclaves, though after marrying in the late 1940s they moved to the big city and lived in Fargo, managing the Seneca Inn for many years before moving to nearby Davenport, where they ran a place called the Shenandoah Supper Club (and presumably provided some of the entertainment as well.) Paula Day was a prolific songwriter and years earlier, around 1970-71 she made some trips to Nashville where she recorded at least four singles, including two for the North Dakotan label Jude Records, and two that came out on the Nashville-based Stop Records, with all the tracks being her own compositions. One of those songs, "Her Mother's Ring," is also included here, but with an all-local band backing her, rather than the all-star, A-list studio crew she worked with in Tennessee. The musicians include hubby Ben Deichert on drums, Ron Kerver (rhythm guitar), Jeff Mooridian (electric guitar and steel), Rick Murry (bass), Byron Quam (piano) and backup vocals by Ron Kerber and Rick Murry. I dunno how many of these folks performed regularly as part of her band, but I assume they were all Fargo-area locals. As on her singles, this album has a wealth of original material: along with a cover of Merle Haggard's "White Line Fever" there's a slew of Mrs. Deichert's own tunes such as "Double Or Nothing," "Bug Me," "Ich Bin Deine Rose" and "Raleigh Waltz." There's a strong Rose Maddox vibe on these recordings, showcasing a confident, middle-aged woman who's got a firm handle on the music, and takes a no-muss, no-fuss approach. There's no date on this album, but I think it's much later than 1970 guesstimate found on various online sources: she sounds (and looks) much older than she did on her 1970-71 Nashville singles. I'd say late 1970s, early '80s on this one...

The Deadly Nightshade "The Deadly Nightshade" (RCA-Phantom Records, 1975) (LP)
I dutifully wondered about The Deadly Nightshade for years -- decades, actually -- wondering if they were really country at all, and whether they were perhaps as good as they sounded on paper. One of the first all-woman rock bands to score a major-label contract, they had a distinctly feminist political stance, which was sometimes reflected in their lyrics... I gotta say it, though: their vocals as well as the overall vibe of this album is pretty iffy. I just don't think they were that good, or at least not that fun to listen to. Historically important, sure, but music I'd come back to for listening pleasure? Not so much.

The Deadly Nightshade "F&W" (RCA-Phantom Records, 1976) (LP)
(Produced by Joel Diamond & Charlie Calello)
Although the album title holds out a promise of country music inside, this is in essence a fairly dreadful '70s rock album, with some irritating, artsy passages. There are a couple of twang tunes, to be sure, notably the bluesy "Murphy's Bar" and "Show Me The Way Back Home," which lurches into some challenging (and I mean that in a good way) gallumphing, pre-punk rhythmic passages. Mostly, though, this is an album that you probably wouldn't want to put on while you had company over... It's pretty shrill and taxing. Their three-part gal harmonies recall the Roches, but the aggressive, looking-for-a-new-sound rock riffs are a little hard to take. True devotees of '70s experimentalism will want to check this out, but twangfans can pass.

Angel Dean & Sue Garner "Pot Liquor" (Diesel Only Records, 2004)
An interesting, modernized reworking of Carter Family-style harmonies and old-fashioned country murder ballads, along with some moody lo-fi introspection. Sounds a lot like Freakwater, with maybe less of a rough edge, and while the subject matter tends to be bleak, it suits the music well. Later in the album, they get into some uncommercial "pop" stuff with weird harmonies and aesthetic choices that reminded me quite a bit of the Roches. Nice stuff, though it might fit more into the "rock" side of the alt-y equation.

Donna Dean "Classic Country" (JRM Records, 1984) (LP)
(Produced by Jack Mullins & Rick Mullins)
Yeah, this is more Top Forty-oriented than I'm normally into, but it's definitely an off-the-radar outing. Singer Donna Dean was originally from Virginia, and started working in show biz at a very early age. According to the painfully detailed liner notes, she spent some time working in Vegas, had an on-camera job with Alan Funt's "Candid Camera" program, and did some stuff with country stars such as Mel Tillis and Jerry Reed. By the time she cut this album, she had returned to Virginia and was working as a weather reporter on WSLS-TV, in Roanoke, though she was still looking to break into Nashville. The backing band is refreshingly local and free of "usual suspect" superpickers -- as far as I can tell, these were all Virginia lads, including Allen Mason (keyboards), Randy Hurt (strings), Dale Thompson (lead guitar), Keith Guthrie (lead guitar), Rick Mullins (drums), Mike Sweeney (steel guitar), Steve Thomas (fiddle) and several different bass players... Mostly this was recorded in Salem, VA, though some tracks were laid down in Nashville, with help from Jerry Crutchfield. This seems to have been a songwriters demo disc -- Ms. Dean recorded on of her own songs, "Over At Last," while others come from folks like Larry Stewart and Troy Seals; three songs were co-written by a guy named J. D. Martin. This was Dean's first album, dunno if she made any others.

Honi Deaton "What Should Have Been" (Chateau Music, 2003)

Honi Deaton & Dream "Promise To A Soldier" (Chateau Music, 2005)
Heartfelt independent bluegrass, with several 'grassed-up cover tunes -- "Walkin' After Midnight," "Send Me The Pillow That You Dream On" and Patsy Montana's classic "Cowboy's Sweetheart" -- along with a slew of first-rate original tunes. Deaton's greatest strength is as a songwriter, particularly as a gospel composer... Songs such as "I'm Callin' Jesus," "Here I Am Lord" and "Glory, Glory" have the ring of classics, indeed, I was surprised to find out they were new songs written by Deaton in recent years. Her band, Dream, has gotten much tighter as well, and the picking is pretty solid, taking off at a pretty fast clip and keeping the pace through the length of the album. Definitely worth a spin!

Honi Deaton "Chasin' Dreams" (C & L Entertainment, 2007)

Honi Deaton "The Other Side" (C & L Entertainment, 2009)

Kathy Dee "DEE Lightful" (BW Records, 1963) (LP)
(Produced by Quentin "Reed" Welby)
The Midwest's Kathleen Mae Potts, aka Kathy Dee, enjoyed modest success with a pair of singles issued by United Artists -- her debut was the 1963 hit, "Unkind Words," which rose to #18 on the charts, although the followup, "Don't Leave Me Lonely Too Long," was perhaps a flop, peaking at #44, and was her last chart entry. Although regional success, starting at a very young age, Kathy Dee suffered from diabetes and was eventually felled by the disease in 1968, when she suffered a stroke and slipped into a fatal coma. Born in West Virginia, Dee was managed by an Ohio impresario, Quentin Welty, whose regionally-based BW Records label released several dozen singles in various musical styles, including a number of country recordings. This included Kathy Dee's early singles, which were licensed to United Artists where they found a national audience. This album features a dozen other songs recorded for BW (though sadly, not her hits) and was reissued on a budget label, as seen below. Her style was similar to that of Sue Thompson, an odd mix of country ballads and girl group-ish pop - not quite gritty honkytonk, but she had some twang in there, for sure, Definitely worth a spin!

Kathy Dee "Teardrops In My Heart" (Guest Star Records, 1964) (LP)
This LP was basically a budget reissue of the BW album above, with ten tracks instead of twelve. The two songs that were left off this album are "Go On Home" and "Funny How Time Slips Away," with all the other songs being the same. As of this writing, all her recordings, including her UA singles, remain unissued in digital form.

Ruby Dee & The Snakehandlers "North Of Bakersfield" (Dionysus Records, 2006)
A nice blast of honkytonk twang and retrobilly from the hip habitats of the Pacific Northwest... Ruby Dee and her Seattle-based rock'n'roll pals kick out the jams and deliver on of the most high-energy albums this side of Neko Case's old albums, or even an old Janis Martin platter or two. The songs all start to sound the same by the end of the album, but the first impressions are pretty strong and last a long time. A strong set of all-original material, too... Bet these folks are a lot of fun live!

Ruby Dee & The Snakehandlers "Miles From Home" (Dionysus Records, 2008)
(Produced by Conrad Uno & Jorge Harada)
Raspy, raucous, freewheeling and fiesty indiebilly from up in the Pacific Northwest. This gal obviously has a major jones for 'Fifties-era Wanda Jackson (I'm with you there!) as well as a deep background in modern DIY indiephonics... It's a little chaotic for me at times, but on the more straightforward retrobilly tunes, this is a lot of fun. Bet they're fun live!

Penny DeHaven "Penny DeHaven" (United Artists, 1972) (LP)

Penny DeHaven "Penny DeHaven" (Main Street, 1984) (LP)
A later album by singer-actress Penny DeHaven... She recorded for a variety of labels, starting in the mid-1960s, and is probably best known for her duets with Del Reeves ("Land Mark Tavern" was a Top 20 hit, back in 1970...)

Dehlia Low "Dehlia Low" (2008)
A bluegrass/old timey band from North Carolina, featuring two female lead singers, fiddler Anya Hinkle and guitarist Stacy Claude... ("Dehlia Low" is the band's name, not the name of a person in the band...)

Dehlia Low "Tellico" (2009)

Dehlia Low "Live" (2010)

Dehlia Low "Ravens & Crows" (Rebel Records, 2011)
(Produced by Travis Brook & Dehlia Low)

Delaney & Bonnie -- see artist profile

Ethel Delaney "Goin' To The Country With Ethel Delaney" (Ohio Records, 1972-?) (LP)

Ethel Delaney "Heeeere's Ethel!" (Ohio Records, 1976-?) (LP)
A veteran performer of many decades and eras of country music history, Ohio's Ethel Delaney (1927-2005) started her professional career in 1934 at age eight, singing on Wheeling, West Virginia's WWVA radio station, and went on to become one of America's most famous female yodelers. Not sure when these albums came out -- looks like the early-to-mid '70s(?) and the middle-aged Ms. Delaney was clearly still plugging away with a tour bus of her own, emblazoned with the name of her band, the Buckeye Strings. She eventually moved to Las Vegas in the 1990s, but continued to perform for years, giving her last public performance in 2004(!) seventy years after she first took the stage.

Ethel Delaney "...And Her Buckeye Strings" (Ohio Records, 1976-?) (LP)
This one includes covers of oldies like "I Want To Be A Cowboy's Sweetheart" and "Steel Guitar Rag" along with more contemporary hits such as Bobby G. Rice's 1973 hit, "You Lay So Easy On My Mind," Charley Pride's "We Could," and Charlie Rich's "Behind Closed Doors." Also featured is "A Bottle, A Blond And A Barroom," which appears to be an original...

Grey DeLisle "The Small Time" (2000)

Grey DeLisle "Home Wrecker" (Hummin'bird Records, 2003)

Grey DeLisle "The Graceful Ghost" (Sugar Hill Records, 2004)
Wow... talk about a shift of direction! After self-releasing a pair of semi-dismal rockabilly-retro albums, LA-based singer-songwriter Grey DeLisle has apparently found her metier, slowing things down and penning a brace of Carter Family/Dolly Parton-styled acoustic, old-timey ballads, material that fits her somewhat shaky voice much better than the uptempo bluesiness of the 'billy scene. Before this disc came out, she was firmly planted on my "danger sign" list -- now I'm kind of curious to see where she goes from here. Admittedly, this disc is still gimmicky and bandwagonesque in a different kind of way, but it has an atmospheric feel that works for me. Definitely worth checking out... Fans of Be Good Tanyas and Jolie Holland will probably like this as well.

Grey Delisle "Iron Flowers" (Sugar Hill Records, 2005)
Hmmm. I guess my love-hate relationship to Ms. Delisle is back on again... Her first albums of tepid, wannabee rockabilly retro soured me to her early on, but her last record, the moody, eerily moving Graceful Ghost, was a surprisingly strong album that really made me think twice. Here, she's delved too deep into the wellspring of oversculpted Americana uber-artsiness, with a slow, solemn, Gothically morose batch of tunes, the sort of densely produced, darkly poetic stuff that some folks really dig, but I find pretentious and impenetrable. There are wisps of Cowboy Junkies and various slowcore, indierock mopesters, but only a tune or two where the lyrics rose above the self-consciously artful presentation. I would have to say, in all honesty, I might not be the right person to ask about this album -- if it's the kind of thing you like, this might be a masterpiece.

Della Mae "This World Oft Can Be" (Rounder Records, 2013)

Kris Delmhorst "Appetite" (Signature Sounds, 1998)

Kris Delmhorst "Oddlot" (Signature Sounds, 2000)

Kris Delmhorst "Five Stories" (Big Bean Music, 2001)
This Boston-area singer-songwriter drifts between folkie-confessional meanderings and more compelling melodic grace, mixing country, pop and folk sensibilities, after the manner of Dar Williams or the Be Good Tanyas. Sometimes I'd find myself drifting away from her, slightly irritated by seeming droniness, and then I'd be riveted by gemlike songs such as "Broken White Line," entranced by the mandolin and the firmly sculpted lyrics. Definitely worth checking out.

Kris Delmhorst "Songs For A Hurricane" (Signature Sounds, 2003)
Perhaps a bit more doleful than her previous album, but still bridging the gaps between folk, adult pop and twangy Americana. When she gets behind a strong beat, Delmhorst really grabs my attention -- others may find her slower, more contemplative stuff intriguing as well: fans of Be Good Tanyas, take heed!

Kris Delmhorst & Redbird "Redbird" (Signature Sounds, 2005)

Kris Delmhorst "Strange Conversation" (Signature Sounds, 2006)

Kay Delsite "Feels It's Spring" (Valley Records, 1972-?) (LP)
(Produced by Robert Ramsey)

The Delta Sisters "Music From The Old Timey Motel" (Rooster Records, 1981) (LP)
(Produced by Stephen Schneider & Walton Amey)
Old-timey tunes, bluegrass and cajun tunes played by the California-based acoustic duo of Frannie Leopold and Jeanie McLerie, with a slew of cool guest musicians, including Gene Parsons, Sue Draheim, Jody Stecher, and Eric & Suzie Thompson. Nice stuff from the west Coast contingent!

Iris Dement - see artist discography

Brigitte DeMeyer "Nothing Comes Free" (2003)

Brigitte DeMeyer "Something After All" (33rd Street Records, 2006)

Brigitte DeMeyer "Red River Flower" (Brigitte DeMeyer Music, 2007)
(Produced by Brady Blade)
An exquisite Americana offering from this California-based, bluesy roots crooner... Where earlier albums had a rougher edge, this is a languid, mellow set, with a healthy dose of the smoky, sultry vibe made famous by Norah Jones... Indeed, this sounds sort of like the country album many wish Jones would record, filled with deep, soulful pedal steel and unhurried acoustic guitar, and excellent songwriting. Each song is a gem, as the album flows from strength to strength. Several Alt-Americana luminaries pitch in, such as Buddy Miller and Brady Blade (bandmates in Emmylou Harris' Spyboy band) as well as pedal steel legend Al Perkins, contributing some sweet licks to an album that is sure to hold up well over the years. Recommended!

Brigitte DeMeyer "Rose Of Jericho" (Brigitte DeMeyer Music, 2011)
(Produced by Brigitte DeMeyer & Brady Blade)
On her fifth album, Ms. DeMeyer steps back from her earlier twang, and plunges into a funky, soulful gospel vibe, drawing more on the bluesy African-American gospel tradition than on the hillbilly/Southern style. Her immediacy and strong artistic presence still comes through, but the music has a much different feel from earlier records, bringing to mind those old Leon Russell albums, or the soul-tinged country-pop of Shelby Lynne... Some listeners might get turned off, others will be enraptured. Not my cup of tea, but I can hear the skill in her songcraft and the passion in her voice... Definitely worth checking out, particularly if you're into similar recent Americana-spiritual searches from Kasey Chambers, Steve Earle, Buddy Miller or Kate Campbell.

Brigette DeMeyer "Savannah Road" (Brigette DeMeyer Music, 2014)
(Produced by Brigette DeMeyer)
More soulful, sultry vocals mixed with the backwoods twang of steel guitar, mandolin and banjo, with sweet, precise arrangements and evocative, haunting lyrics... Her stylistic likeness to Shelby Lynne remains striking and strong, and as far as I'm concerned, that's a good thing, although there's also a bit of Rumours-era Fleetwood Mac in there as well, with the crisp, concise picking of multi-instrumentalists Will Kimbrough and Guthrie Trapp... Nice stuff that holds up to repeated spins.

Betty Dempsey "Walking After Midnight" (Self-Released, 2002)

Betty Dempsey "Country Favorites" (Self-Released, 2002)

Betty Dempsey "Tribute To Betty Dempsey" (Self-Released, 2007)

Denny & Donna "Love Of The Common People" (Musicountry Records, 1973)
(Produced by John Stoecker & Ron Jeffreys)
A country-pop duo from Rock Valley, Iowa, singing some original material written by Donna Chapel Wrede, as well as covers of Eddy Raven, Jan Crutchfield and the Bee Gees... Donna Wrede had a family background in the music business, having performed along with her father, Don Chapel, in Tammy Wynette's road show. She was the stronger of the two singers, an emotive vocalist who belts it out sometimes, and has a pronounced Wynette-ish streak as well. She contributes three tunes to this album: "It's Time For Us To Fall In Love Again," "My Heart Feels Right At Home" and "More Love For You," which she had previously released as a single in 1973. (Footnote: Years later, Donna Wrede recorded a semi-infamous single, "Johnny Doesn't Live Here Anymore," a topical song based on a missing child case, and continued to write and perform original material through the early '80s, singing with her husband Denny, who became a highschool basketball coach and math teacher... So they were indeed regular folks, in case you wondered.) I think this was their only album, though she seems to have recorded a few singles as well, including a lot of gospel material. To be honest, this isn't the greatest country record ever, but they really put their hearts into it, and that counts for something.

Clyde And Marie Denny & The Drifting Kentuckians "Monticello" (Country Star, Inc., 1977) (LP)
(Produced by Gordon Reid & Carmine Lombardo)
Independent bluegrass with a country-ish fling... Most of the songs are Denny originals, though the Dennys get the trad stamp of approval, with old-timer Carl Story providing laudatory liner notes. The label was from Franklin, Pennsylvania, and I imagine the Dennys lived there as well, or at least nearby.

Jeannie Denver "Yorkshire Rose" (Westwood Records, 1975) (LP)
(Produced by Dusty Gordon, David Whitely & Kelvin Henderson)
One of the most UK's popular country singers of the 1970s, Yorkshire-born Jeannie Denver was a pub singer who "went country" in 1973, joining Kelvin Henderson's band where she quickly stole the show and became a showcase performer. She went solo in '75, recruiting several members of Henderson's ensemble to form the JD Band, including her husband, hotshot guitarist Stewart Barnes. This was her first album, and it leaned heavily on cover songs and current hits such as "Delta Dawn," "Field Of Stone," "Jolene," and "For The Good Times," with obvious nods to American "girl" singers such as Dolly Parton and Tanya Tucker.

Jeannie Denver/Various Artists "The Music Festival Show" (Westwood Records, 1975) (LP)
(Produced by Gordon Davies & Mike Naylor)
Here, the up-and-coming Denver shares billing with several of her bandmembers and labelmates, British twangsters such as Nick Carter, Lee Williams and steel guitarist Slim Pickins, all packed by her own group, the JD Band.

Jeannie Denver "Queen Of The Silver Dollar" (Westwood Records, 1975) (LP)

Jeannie Denver & Slim Pickens "At The Spur And Saddle" (Westwood Records, 1976) (LP)
Recorded live at the Welsh country music venue, The Spur And Saddle.

Jeannie Denver "With Love" (Westwood Records, 1978) (LP)
(Produced by Gordon Davies & Bob Whitely)

Desperado "Desperado" (Calfdisk Records, 1978) (LP)
(Produced by Desperado)
East Coast twang... The leading light behind this Ithaca, New York al-country group was singer-guitarist Walton Amey, though the spotlight often fell on vocalist Carol Lee (aka Carolee Goodgold) who was a performing arts student at the university and who went on to a very successful career as a commercial singer and voiceover artist. The band was rounded out by bass player Doug Robinson and Paul Marino on banjo and guitar. These folks made two records together, though I'm not sure what happened after that... I think Mr. Amey was originally from Bucks County, Pennsylvania (near Philadelphia) and may have returned there later in life. At any rate, there's a fair amount of original material on here, as well as several well-chosen cover tunes, including a version of the Peter Rowan song, "Midnight Moonlight."

Dyan Diamond "In The Dark" (MCA, 1978) (LP)

The Diana Sisters "Wild And Wonderful" (Celebrity Records, 196--?) (LP)
Blue comedy from a duo that had country influences, but branched out into pop standards as well... The Diana Sisters gave their names as Diane and Lynda Diana, and though their label was in New York, the gals themselves were apparently from North Carolina. Their schtick was to sing mildly obscene parodies of popular songs, both hits and standards, with the punchlines usually being either about some guy's studliness, or his failure to perform. It's not very sophisticated humor, but their carnality is striking, even given that these records were cut in the late 'Sixties, at the height of the sexual revolution. For an act with such ripe kitsch potential, the Diana Sisters have a remarkably low profile online: I poked around for quite a while and found no info other than what was written in the liner notes. They play several instruments -- guitars, banjo, violin and drums -- and purport to have gone to the Juilliard music school, though I would take this info (along with their names and biographies) with a grain salt. But the musical end of their act was pretty solid, apparently all generated by the gals themselves. This was their first album, released around 1967 or '68, and features parodies of country songs such as "Roly Poly," "Feudin' Fiddler," "Steel Guitar Rag," as well as non-country material and comedic skits. Anyone know more about this duo? I'm all ears.

The Diana Sisters "Go Wild!" (Celebrity Records, 196--?) (LP)
On their second album, the gals include versions of "Just Because," "Orange Blossom Special," "The Race Is On" and "Madam Of The House," a lampoon of "King Of The Road." Again, it's not strictly a country record, but there's certainly enough twang to earn a spot here. There's also a version of Nancy Sinatra's "These Boots Are Made For Walking," which devolves into a Sophie Tucker-like discourse. Not as kinky as one might desire, but hey, this was a long, long time ago...

The Diana Sisters "We're Not Angels" (Celebrity Records, 196--?) (LP)
Their third album also integrates a bunch of country material, including takeoffs on "Alabama Jubilee," "Folsom Prison Blues," "Strawberry Roan," and "We've Been Everywhere," a lampoon of Hank Snow's classic, "I've Been Everywhere."

Diane (Leigh) "Diane... Country Queen" (Birchmount Records, 1972) (LP)
A Canadian country (and pop) singer who had success on both sides of the border... Although most of her records were issued under her full name, for some reason they issued this one under a mononym... Features a bunch of originals written by Al Rain, a songwriter from Toronto, Ontario. Leigh was the featured vocalist with a group called the Sons Of The Saddle, and recorded with them as well.

Hazel Dickens - see artist discography

Debbie Dierks "Lucky Chicago" (Cherish Records, 1973) (LP)
(Produced by Dan Hoffman)
Originally hailing from Kansas, Debbie Dierks made her way to Nashville in the early '70s to try and make it big in Music City. In addition to several singles for the Kansa label, and at age nineteen singer she cut this excellent album for Cherish Records, a side project of radio DJ Dan Hoffman. He produced the record and provided several songs he'd written himself along with other compositions by songwriters in his orbit. It's pure perky, early '70s Nashville pop with bouncy little melodies and just enough twang to make it fun, featuring pedal steel by Bubba Seymour and fiddles by Buddy Spicher. Dierks's plainspoken girl-next-door vocals recall girl-groupish country gals such as Skeeter Davis and Jody Miller -- very pleasant overall. Unfortunately, like many Nashville indies of this era, Cherish was really more of a vehicle for promoting songs rather than artists, and Dierks was simply a vehicle to deliver their hopeful hits. However, she was able to record one song of her own, "Daddy's Little Girl," a heartfelt remembrance of her own father, who had passed away before the family moved to Tennessee. All too quickly, her country career foundered and by '74 she signed with the Christian-oriented Dove label, setting out on a different musical path. Decades later, recording under her married name, Debbie Dierks Montgomery remains a religious singer and has long since moved back to the heartland, living and working in the Kansas City suburbs. This is a fun record, though, if you can manage to track it down!

Amber Digby "Here Come The Teardrops" (Heart Of Texas Records, 2004)

Amber Digby "Music From The Honky Tonks" (Heart Of Texas Records, 2007)

Amber Digby & Justin Trevino "Keeping Up Appearances" (Heart Of Texas Records, 2010)

Lola Jean Dillon "Sings Songs She Wrote For Dolly Parton, Waylon Jennings, Cal Smith, Loretta Lynn..." (Cabin Records, 19--?) (LP)
Not sure just when this record came out, but I sure would love to hear it... Along with her partner, L. E. White, Ms. Dillon was a very successful country songwriter in the 1960s and early '70s, and -- as this album's title makes plain -- her stuff was covered by a bunch of heavyweight country stars. Her compositions include "You're The Reason Our Kids Are Ugly..." This is doubtless a very cool record.

Carol Dills & The Rainy Mountain Boys "Sings Country Favorites" (NAME Records, 1983) (LP)
(Produced by Dave A. Huber)

The Dinning Sisters "Back In Country Style" (Jasmine Records, 2002)
A family act that had its roots in Oklahoma's Depression-era country music scene, the Dinnings took western swing and added the sleek, jazzy harmony vocals of the Boswell and Andrews Sisters, a cosmopolitan style which they excelled at. They became a national act and for many years were major competitors of the Andrews Sisters... It might be easy to dismiss them as mere imitators, but as this disc demonstrates, their country roots set them apart and made them distinctive... It's nice stuff, maybe a little too jazzy for some twangfans, but still quite fun. Guitarist George Barnes, whose own career also spanned country, pop and jazz, backs the Dinnings on about two-thirds of the tracks of this generously programmed set... Recommended! (Footnote: the late Jean Dinning also wrote the 1959 pop hit, "Teen Angel," which was recorded by her brother Mark and became a teenpop anthem and kicked off a fad of teen-car crash songs... Go figure!)

Dixiana "Dixiana" (Sony-Epic Records, 1992)
Another moderately-successful none-hit wonder, one-album band... Lead singer Cindy Murphy had a slightly rugged voice, but it's at odds with the glossy, belatedly '80s-ed-out production; hard to tell whether she bugs me because she's singing in the wrong style, or whether she just bugs me. At any rate, this is one of those bands that never manages to balance honkytonk with country-pop (they try, but their "hard" country sound is still too glossy) and I wasn't able to find anything here that appealed to me. Still, if you are a fan of, say, the Judds, or Juice Newton, you might like this as well.

Dixie Chicks - see artist discography

Dixie Rose "Dixie Rose" (Safari Records, 19--?) (LP)

Dogtooth Violet "Dogtooth Violet" (Dogtooth, 1976)
(Produced by Dogtooth Violet & Jeffs Wells)
One of Houston, Texas's premier 1970s country-rock bands, Dogtooth Violet was formed in 1973 by Bob Oldreive and several other locals. The eclectic, folk-tinged band was on a hot streak when fabled record producer Huey P. Meaux offered them a contract, but they chose to self-release their own indie album instead... The lineup included Bill Bertinot, Pam Grimes, Richard Jacob, Joe Lindley, Bob Oldreive, Marty Smith and many others (with most bandmembers performing on multiple instruments...) As it turned out, this was their only album, though after the band split up its members went into various other Houston-area bands, perhaps most notably Bob Oldreive, who later joined the group Hickory, which released several albums in the late '70s and early '80s.

Don & Deanna "...And The Prentice Ramblers" (Jam USA Records, 1970-?) (LP)
A no-frills local country band from Prentice, Wisconsin, up in the northern end of the state. Don Lasee and Deanna Hass formed the core of this group along with lead guitarist Larry Hass, and various other bandmembers moving through the group. According to researcher Gary Meyers the Prentice Ramblers got together in 1965, and played together until the early 'Eighties, mostly around Eau Claire. This album was recorded when Don and Deanna performed at the Wheeling Jamboree, which at the time was rebranding itself as Jamboree, USA. Several tracks also came out as singles, though this seems to have been their only album. (I'm not sure if the guitarist was the same Larry Hass of La Crosse who later worked as an Elvis imitator and died onstage in 2004 at age 54... If so, he would have been pretty darn young when they cut this album...)

Don & Laurie "The Music Mates" (RJ Recording, 19--?) (LP)
A (very!) 'Seventies private pressing country album from Hoffman Estates, Illinois... On the album cover, he looks like a John Anderson-esque longhaired dude, while she's in cutoffs and cowboy boots...

Roberta Donnay & The Prohibition Mob Band "A Little Sugar" (Motema Records, 2012)
(Produced by Roberta Donnay & Sam Bevan)
Sleek, sly, sexy torch songs from jazz-blues revivalist Roberta Donnay, who worked with Dick Oxtot's trad-jazz band in the early 1980s and, more recently, with roots-kook Dan Hicks in a revamped lineup of his Lickettes backup singers. Her compact, six-person band on this record has a big sound, ranging from robust New Orleans-style blues to more winsome arrangements that showcase pianist John R. Burr, a subtle accompanist who gives a sophisticated, lounge-y tone to much of the album. Nice song selection, with tasty classics from Ida Cox, Fats Waller, Irving Berlin, Hoagy Carmichael and -- a nice surprise -- a couple of tunes from pioneering African-American bandleader Clarence Williams. The album closes with one of her own songs, "Empty Bed Blues," a languid, steamy number that would make Ethel Waters or Maria Muldaur proud.

Dorothy (Freyberger) "Everybody's Mother Swings Heavy" (Studio 5, 19--?) (LP)
Like Cher and Nico, Minneapolis native Dorothy Freyberger (1921-2010) simply went by her first name, but fans also knew her by her nickname, "Everybody's Mother." She made her name as a frequent performer at the Minnesota State Fair and other local/regional events, as well as appearances on radio and TV. Her repertoire included pop and country oldies and covers of contemporary hits. Mrs. Freyberger occasionally worked with Sherwin Linton, another legendarily persistent, under-the-radar regional performer. This was the first of two albums she recorded -- not sure of the year, but I'm guessing these are both early '70s releases.

Dorothy (Freyberger) "Everybody's Mother Goes Country" (Studio 5, 19--?) (LP)

Amber Dotson "I'll Try Anything" (EP) (Capitol Records, 2005)

Dottie Lou "...Sings One More Memory" (Oxboro Records, 19--?) (LP)
(Produced by Gene Norell)
Fun stuff. Although she was an inconsistent singer, Bruno, Minnesota's own Dottie Lou Bolme exudes enthusiasm and real rural charm, evoking stars such as Lynn Anderson and Loretta Lynn, though she also tackles some tonier countrypolitan ballads such as "Drinking Champagne" and "There Must Be A Way," in addition to uptempo novelty numbers like "Little Arrows," "You Know Where You Can Go" and a version of Liz Anderson's "Ride Ride Ride." The liner notes identify her band The Tumbleweeds as a trio -- with Dottie Lou on piano, bass and vocals, Gene Norell on rhythm guitar and Toby Berndt playing lead -- but there's also some really swell pedal steel throughout with some fairly wild licks (though, sadly, no indication of who's playing...) There are also several original songs, including a few credited to the Newkeys Music publishing company, which represented Gene Norell along with Tom T. Hall, whose "Now I Lay Me Down To Cry," which is also spotlighted on this album. Great, honest album by some real-deal Great Lakes locals.

Dottsy "The Sweetest Thing" (RCA Victor, 1976) (LP)
(Produced by Roy Dea)
A likeable minor leaguer who had a few respectable chart hits in the mid-'70s, Texas native Dottsy (nee Dorothy Brodt...) hitched a ride with Johnny Rodriguez's road show, and after a half year or so touring with him, landed a contract with RCA. She had an okay voice, nothing earthshaking, but sincere and heartfelt, perhaps a little on the demure side, as if she could easily be overwhelmed by a powerful enough arrangement. There wasn't too much risk of that, though: the band behind her was pretty much a standard-issue Nashville studio session crew, and they stuck to a mellow, low-key tempo. The song selection was interesting, though -- in addition to some bland offerings by John Denver and Billy Joel, she also covered a few folks from the nascent "outlaw" scene, including a ballad by Kinky Friedman (!), Jessi Colter's "Storms Never Last," and a slushy version of Susannah Clark's "I'll Be Your San Antone Rose" (which she apparently got first crack at, ahead of Emmylou Harris...) Nothing all that compelling, but a nice slice of '70s style country crooning, with backing by a bunch of Nashville "usual suspect" superpickers -- Harold Bradley, Bobby Emmons, Weldon Myrick, Jerry Shook, et. al.

Dottsy "Tryin' To Satisfy You" (RCA Victor, 1979) (LP)

Dixie Dover "Haunting Memories" (Twileen Records, 1979) (LP)
(Produced by Clyde Varner & Tommy Strong)
Hailing from Birmingham, Alabama, singer-songwriter Dixie Dover wrote most of these songs herself, with one co-written with producer Clyde "Josh" Varner... The set includes her songs "Truck Driver's Dream," as well as "He's Living In Your House (But He's Sleeping In Mine)." Recorded in Nashville, this album has an all-pro studio crew, with folks like DJ Fontana, Willie Rainsfield, Dale Sellars

Doyle And Leilani "At The Sky Dome" (1974-?) (LP)
A bit of a mystery disc. This super-amateur duo mixed Hawaiian pop and hapa haole songs ("Pearly Shells," "Tiny Bubbles") with early 'Seventies soft rock and several country songs, including hits such as "Delta Dawn," "For The Good Times," "Help Me Make It Through The Night," "Tie A Yellow Ribbon," and "Top Of The World," as well as another Carpenters classic, "Superstar." This was apparently their only album, recorded live at the Revolving Sky Dome Lounge in Arlington, Virginia. Alas, there's no biographical info about the artists, not even their last names, or anything about backing musicians -- although I think this is just the two of them with a drum machine and organ. There's also no date on the disc, though judging from the repertoire -- which includes "Top Of The World" -- a big hit in December, '73 -- I'd say 1974 is our best bet. You can hear crowd chatter in the background and apparently these guys really did a few live gigs; I found at least one show notice from a 1977 date in Delaware, which also mentions this album being for sale. Still, this disc really seems like more of a personal memento than a professional calling card. It's, um, very DIY. Possibly this couple was Mr. and Mrs. Donald Joseph Doyle, who met and married in Hawaii, although her obituary (1941-2019) made no mention of any interest in music.

Drifters "Power Of Love" (RWW Productions, 19--?) (LP)
(Produced by The Drifters)
Not to be confused with "The" Drifters, this Minneapolis lounge band covered pop and soul as well as (a lot of) country material... On the country side are some pretty mainstream, AOR-aligned hits, tunes like Jessi Colter's "I'm Not Lisa," "Annie's Song" by John Denver, "Silver Threads And Golden Needles," and Doug Kershaw's "Louisiana Man." The group centered around the vocal trio of Marc Ratajczak (lead guitar), Sharon Ratajczak, and Greg Weeg (bass), with additional backing by steel guitarist Randy Barnes and drummer Steve Webb.

Whitney Duncan "Whitney Duncan" (Self-Released, 2007)

Whitney Duncan "Right Road Now" (Warner Nashville, 2010)

Whitney Duncan "One Shot" (2013)

Holly Dunn -- see artist profile

Leah Durelle "Nine Days In Nashville" (JR Music, 2006)

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Hick Music Index
Sisters Who Swung: Women In Jazz & Blues

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