In My Own Time

by

Karen Dalton

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Karen Dalton's second and final album, "In My Own Time," has finally been released on November 7th, 2006--35 years after it was cut on vinyl. Once you listen to it, you'll understand why this is an outrage.

Simply put, Dalton has one of the most complex, emotive voices I've ever heard. It's something about the way it comes out of her--the listener can hear at least three different timbres in Dalton's voice: from the whispered, muffled breath that gives the singer her inimitable languid time, to the aching, trebly brunt of her sound to a more hidden harmonic resonance that lingers behind every word, Dalton has one of the most unique styles I've ever had the pleasure of listening to.

The song choice is excellent--her unique way of singing, timing and phrasing completely transforms familiar tunes like "When a Man Loves a Woman" and Richard Manuel's "In A Station," and "How Sweet it Is" giving them entirely new meanings and making them Dalton's own. Every song is completely enchanting, and even though the chord structures and instrumentation are familiar, Dalton takes the music to a completely different place.

The backing instrumentation is great--Dylan's early bassist is along for the ride, the electric guitar is fluid, lively and interesting in its own right, and Dalton's banjo brings some cuts a dark, country feel, adding to the album's stylistic diversity.

This album is recommended for fans of folk, blues and jazz (yes, Dalton has been compared to Holliday, but she's in a register all her own), and anyone who appreciates a unique voice. Sure, it's laid back music, but if you let yourself get into the words and emotions, there's energy there that even the loudest music can't equal. Once you're hooked on Dalton's voice, check out her lesser classic, It's So Hard To Tell Who's Going To Love You The Best.

Please forgive the nay-saying, because I absolutely love Karen Dalton. I don't blame her for this misconceived effort, because it's clear that there was a production decision to give her the full Woodstock/LA 1970s pop funkmeister treatment. But one size most certainly does not fit all. The slick production doesn't work with her otherworldly voice. The production has a trivializing effect that taints about 3/4 of the tracks here, against which the sparser tracks like "Katie Cruel" and "Same Old Man" shine in comparison.

I don't think it's just hindsight that indicts this production; Joe Boyd produced records in the same era that (a) did the artists real justice, and (b) still hold up today. Sorry Harvey, but I wish we could have seen what Joe Boyd would do with Karen Dalton.

If you like Karen Dalton, go with her first album, "It's So Hard To Tell Who's Going To Love You The Best." Or cherry-pick the best cuts from this one and leave the desecration of "How Sweet It Is" for James Taylor.