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The Lonestar Companion-Vol. 2
Don DiLego
A "campfire" collection of acoustic-oriented songs meant as a resolution to Vol. 1 of the "Lonestar" series.
Collection Contents
| # | Title | Length | ||
|---|---|---|---|---|
| 1 |
|
Miss Louisa's Dafodils | 3:38 | Play |
| 2 |
|
The Last Desperado | 3:53 | Play |
| 3 |
|
August 18, 1805 | 4:11 | Play |
| 4 |
|
Swimming in Trees | 5:18 | Play |
| 5 |
|
Blue Avenue | 5:52 | Play |
| 6 |
|
Ol' Hank Williams | 4:27 | Play |
| 7 |
|
Election | 7:19 | Play |
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Description
Literally, a "companion" piece to Don DiLego's debut album "The Lonestar Hitchhiker", Volume Two contains out takes, lost songs, and an overall more "campfire" feel on the same theme to the more sonically ambitious Volume One. Originally intended as an acoustic follow-up, the stripped-down "Companion" puts the final thoughts on the journey that inspired the songs on Don's debut album.
RollingStone.com Review
"Alt-countryers who shudder every time Ryan Adams is held up like a God need look no further than New York City's emerging songsmith, Don DiLego. DiLego's "The Lonestar Companion" is a crossover gem, full of folk-twang, falsettos and road tales that are intended to accompany his ambitious 2001 debut, "The Lonestar Hitchhiker." But Vol. 2 can stand strongly on its own. In contrast to the layered, if-Beck-went-alt-country Vol. 1, Vol. 2 relies on acoustic guitar, engaging melodies and front-porch harmonies. Still, the same influences remain: Hank Williams, early Wilco and even the Beach Boys. And while DiLego is a talented multi-instrumentalist, like his influences, his emphasis is on songwriting. The gorgeous bridge in the upbeat opener "Miss Louisa's Daffodills" and the Casio keyboard in the experimental "Election" reflect DiLego's talent for penning at once dynamic and catchy songs. Vol. 2 also reveals DiLego's softer side, as he quiets down for the cello driven "August 18, 1805" and duets with folk-pop princess Bree Sharp -- whom he produces -- on "Ol' Hank Williams." Though the under forty minutes of music may leave some feeling cheated, this collection satisfies those who swear by Vol. 1, and provides everyone else with a noteworthy introduction to alt-country's next poster boy." (BENJAMIN FRIEDLAND)