Granted, a lot of this is because I really do like Dori Freeman as a singer-songwriter - she's got a distinctive personality that she can easily convey with understated charm but with real poise and maturity underscoring all of it. Oh, don't get me wrong, you'll definitely have fun with it, but as a whole, Letters Never Read can feel a tad slight, and I find myself wanting a fair bit more every time I'm finished with it. and just a shade not as good as her debut. Well, it's pretty damn good, and it's pretty much exactly the course you would expect for an artist like Dori Freeman on a sophomore project: more diverse tones, showcasing more sides of her personality, a little brighter overall. ![]() But on the other hand, it wasn't like Dori Freeman didn't pack her last album with detail on its short length, so what did I find on Letters Never Read? Now I did have a few reservations about this - more than a few songs were covers this time around, and yet it was only a ten song release that somehow is even shorter than the last two ten song records I covered, clocking less than a half hour. ![]() at least until you go back and remind yourself exactly why it's so damn good, which you can bet I did before listening to Letters Never Read, her follow-up that was just released. But subtle, plain-spoken indie country records like this can be easy to overlook, especially given the understated presentation. There's a part of me that's always a little surprised that Dori Freeman doesn't get more buzz - but then I go back to that self-titled record from last year and remember instantly.Īnd believe it or not that's not a diss or anything! Dori Freeman's debut was one of many fantastic records from women in indie country in 2016, anchored in terrific layered and textured production from Teddy Thompson - son of the legendary Richard Thompson - and bound together with Freeman's writing that was subtle enough to soothe but sharp enough to sting when you least expect it.
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