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If you like your musical heroes to rock out like the jackhammer of a rockabilly saint but also deliver song sonnets from a contemplative place, then David Olney is your man. Nine years late, here we are, getting ready to welcome him again to New York City (On March 13, another show at Kathryna€™s Space a€” a Nashville-Austin pipeline). When he was 13, he got a guitar for Christmas, and after some lessons, could play a a€?really rousing version of a€?Row, Row, Row Your Boat.a€™a€? Davida€™s older brother, Peter, had a record collection with a lot of blues and bluegrass music, and it made a big impact. After graduating high school, David attended the University of North Carolina at Chapel Hill. For a man who today has more than 30 albums to his credit, containing many songs considered masterpieces, things took a while to jell. David displays an acute awareness of modern songwritinga€™s place on the historical spectrum. David posts a weekly video (every Tuesday since August 2008) on YouTube, Facebook and his website that he calls a€?You Never Know.a€? Ita€™s a great way to get a taste of his off-the-cuff humor.
He describes his childhood as a€?idyllic.a€? In that small, tranquil town, in 1950s America, his school gave dance classes. Later, David learned how to play a€?Whata€™d I Saya€? from a Ray Charles record in Petera€™s collection while he was away at college. A fellow UNC dropout, newly married musician friend, Bland Simpson, asked if David could get him a job there. Hea€™d been writing sporadically and had been advised to test his craft in a milieu that would allow him to gauge his prowess.
His second, Deeper Well, in 1988, from which Emmylou Harris covered the title track on her Grammy Award-winning album Wrecking Ball (1995) and essentially ushered David into the front ranks of Nashville songwriters.
Furthermore, videos from Hippie Jacka€™s Music Festival show David in the company of monster guitarist Sergio Webb. Sometimes, the patter can be a lead-in to the main lyric, as in the aforementioned a€?Sweet Poison,a€? where an imagined exchange takes place between Socrates and the jailer who serves the hemlock: a€?Would you mind getting me three lumps of sugar?


He opens each installment with some wry commentary on whata€™s happening with him and follows it up by playing a song (usually new) with the story behind it.
If you think you can handle it, sit and bask in the company of the man about whom the late legendary Townes Van Zant said, a€?Anytime anyone asks me who my favorite music writers are, I say Mozart, Lightnina€™ Hopkins, Bob Dylan, and Dave Olney a€¦ Dave Olney is one of the best songwriters Ia€™ve ever heard a€” and thata€™s true. He plied his paper route and could cut through the woods on a daily basis to get to his best frienda€™s house when he was only 8.
David came to view the South through the lens of family, rather than the prevailing a€™60s view of Southerners in sheets, eager to lynch the errant person of color.
A friend from Chapel Hill, Ben Jones, was acting in the Atlanta Childrena€™s Theater and got David a part in a play, which parlayed into a steady gig, enabling him to stay in Atlanta with his girlfriend. Emmylou also later recorded Davida€™s a€?Jerusalem Tomorrowa€? and a€?1917,a€? about a French prostitute who provides solace to a young World War I soldier. The beauty of the melody and the elegance of the lyrics are a mixture of ecstasy and sorrow, capturing the rages of fate and nature and the brave transfiguring resiliency of their survivors. I like my poison sweet.a€? While most of Davida€™s stage banter leans toward conversational whimsy, it can shift in a heartbeat to something theatrical, infusing his performances with an undercurrent of drama a€” laced with wicked humor. An enterprising woman, Marcia Wilson, moved to Chapel Hill from Maryland and opened a cafe, The Cata€™s Cradle.
The affair ended and, after a year-and-a-half in childrena€™s theater, David left for Nashville. Its lyrics capture the horror of war a€” death in the trenches and too many corpses to bury.
While therea€™s a perfectly lovely studio version on YouTube, I prefer the completely acoustic performance on his website a€?Newsa€? page, done for the The Nature Conservancya€™s If Trees Could Sing project. His songa€™ a€?Sweet Poison,a€? with its spoken introduction, blossoms like the love child of Jack Kerouac and ZZ Top. Both his brothera€™s record collection and visiting his Southern relatives infused in him the love of folk music.


This was a revelation to David, who didna€™t know anything beyond playing small gigs locally.
Its desperate refrain, tonight the war is over, brings home the futility of pawns in the clutches of a conflict between world powers. His entry into life as a performer came when he quit the basketball team to take part in a school play.
It became the center of my life.a€? Performing there, David began sliding his own songs into the middle of a set of Carter Family songs and the like, figuring if no one noticed, hea€™d written a good song.
In a€?Jerusalem Tomorrow,a€? a charlatan, peddling fake miracles, is told about the exploits of Jesus and tracks him down. His love of theatricality sprang from the first moment he stepped on a stage with a room full of adults waiting to hear what he had to say. Deciding to join him, we hear: Dona€™t see how too much can go wrong a€¦ Wea€™re headed for Jerusalem tomorrow. He was part of the release of one album, the eponymous Simpson (1971), and he learned a lot about the music business during that brief time. They had no name a€” just a€?David Olney and his band.a€? The fiddle player quit right away and David recruited an electric guitarist. There are videos of the group from the Austin City Limits TV show on YouTube, showing a youthful David Olney, as a rocker, leading the band through a wide range of material.



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