Americana duo The Dinallos, on their self-titled Memphis International Records gem, spin gold out of 16 tracks that alternatively bristle with rock’n’roll indignation, chill with a laid-back country vibe, and get profound with singer-songwriter smarts. Michael Dinallo is a scientist of sound. His guitar does for The Dinallos what Pete Anderson used to do for Dwight Yoakam, and that is to provide a stinging commentary or the kind of rhythmic thrust that propels the narrative. He did it when he produced soul singer Eddie Floyd and he did it when he masterminded a spectacular Charlie Rich tribute album. Thus, anything he ever does is worth hearing. Here, he goes from lullabies and country-rock to the blues (almost) and radio-ready pop. The man can do no wrong. His wife, Juliet Dinallo, has the kind of voice that’s like the welcoming back of an old friend every time you hear it. She also writes lyrics to remember. Between the two, they’re Nashville royalty. Or should be.
-Mike Greenblatt - Goldmine Magazine

A name probably new to many readers over here, The Dinallos should appeal to any fan of top notch country music. To their base ingredient of country The Dinallos blend generous measures of blues and soul to create a fresh modern sound to complement their perceptive lyrics.

Though their first record together Juliet Simmons Dinallo and husband Michael each has an impressive musical CV. Based in Nashville both attended the prestigious Berklee School of music in Boston, although Juliet’s voice might suggest she’d been in Music City all her life. Just think Shelby Lynne or Emmylou Harris. With his roots and blues background Michael leans more towards Memphis having been guitarist in the 1990s Boston blues band Radio Kings and, among many other projects, he produced the acclaimed “Feel Like Going Home: The Songs of Charlie Rich”. The Dinallos take you on a musical journey from Nashville to Memphis. It’s a great ride.

The most lasting impression is the album’s variety. From reflective country ballad to assertive blues rockers the songs span accepting, dealing with and learning from life’s various obstacles and challenges. Along that road they find failure and loss but there no wallowing in self-pity, instead Juliet’s voice radiates a determination and happiness.

The album opens with the first of three instrumentals, another example of its scope. Inspired by a fairground carousel, ’All the Ponies Go ‘Round (Danny’s Lullaby)’ steps out on an elegant canter of their own. Tremolo guitars and B3 organ add to the sense of mystique and timelessness of these majestic creatures.

‘Kilimanjaro’ starts with a swaggering Memphis guitar line that leads into uplifting gospel from Juliet and the McCrary Sisters. The tempo and lyric exudes the resolve of the song’s beginnings; a person who, having recovered from serious illness, went on to climb that formidable peak. Layers of guitars B3 and harmonies add a hymnal touch to the McCrary’s harmonies.

Picking up the pace ‘When The World Was Mine’ is a big classic country sound. ‘Lemonade’ is a truly family affair as vocals by the Dinallo’s daughter Annabel (10) would indicate talent runs to the next generation. The chickaboom rhythm and spare guitar solo is pure Tennessee Three.

Emmylou echoes throughout ‘Time Machine’, a lilting recollection of a dream and ‘Fine Time of Year’, an aching, spare lament “it’s a fine of year to do it/ it’s a fine time of year to let me go/ it’s a fine time of you to watch you disappear”. The arrangement is correspondingly bleak. ‘Purgatory Road’ is a rolling piece of Americana complete with accordion that skips along to Juliet’s duet with Will Kimbrough. The dial sticks on Americana with the haunting ‘While You Were Looking Down’ before heading into the soulful ‘You Got Nothing on Me’. We have arrived in Memphis.

The Dinallos wrote all the songs bar one cover, a magnificently countryfied ‘Monday Morning’. After a cascading fiddle and two-step it takes a minute to recognise the song. This reviewer may never listen to the original again.

The only break in the record’s flow comes in ‘Private Hell’. The menacing riff that builds into a frenzied crescendo of voice and slide achieves its purpose but it does slightly jar with the rest of the album.

The album concludes with an instrumental aptly named ‘ The Long Goodbye’, not that it is in any way tedious. A hallmark of the record is the quality and inventiveness of the arrangements and production, courtesy of Michael, and this piece allows an opportunity for the many fine musicians who play on the album to exit with a bow.

Many new releases create an immediate impression often limited to one or two dimensions, perhaps vocals or specific instrumentation. When that first blast subsides and while still a good album, that is it. The Dinallos, like the healthiest sustenance, is a slow release of high quality production through Juliet’s expressive country soul voice, Michael’s playing and production and the contribution of so many others; Jim Gambino’s B3, Dave Jacques on bass, Tim Carter’s mandolin and banjo to name a few. On each spin something new emerges. The Dinallos is a keeper and we must hope Juliet and Michael will come over here one day.

Lyndon Bolton - Your Life In A Song: Country Music from a UK Perspective

Vocalist Juliet Simmons Dinallo joins with hubby guitarist Michael Dinallo and a team of Jim Gambino/key, Tim Carter/mand-banj, Dave Jacques-Dave Roe-b, Mike McAdams/g, om Hambridge-Justin Amaral/dr and a rotating guest list on a mix of vintage root sounds. You get some fun rockabilly on “Lemonade”, glorious bluegrass harmonies and pickings on “Monday Morning and 50s riffs on the ballad "Time Machine” and the jumping “Nothing To Lose But The Blues” while there are hints of Springsteen angst on “All The Ponies Go ‘Round” and “Purgatory Road”. A Nashville skyline of “Fine Time of Year” shows that this lady has a Cumberland Gap of a heart.
-George Harris, Jazz Weekly - Jazz Weekly

"I’ve been aware of Juliet since reviewing her Dream Girl album a couple of years ago and enjoy the emotional honesty in her lyrics as well as her singing. Michael Dinallo is a brilliant producer with a better set of ears than most, and his guitar playing is understated yet impactful as he creates these 16 near perfect vehicles for his wife’s observations and voice. Having the legendary McCrary Sisters pitch in on backup vocals is the icing on an already pretty delicious cake. The Dinallos is the intersection of great songwriting and fine musicianship with an Americana vibe and it’s proving to be excellent company.”
-John Kereiff, The Rock Doctor - GonzooKanagan

“Kilimanjaro” is an apt introduction to the music, much of which carries a hint of 1960s pop but with a charming bit of twang. And it’s a nice sample of Juliet’s songwriting prowess, a breakup song where the protagonist is so determined to get over her love she’s willing to climb a mountain. And, Juliet delivers the lyrics with the kind of subtle emotional impact that evokes ‘60s icons like Dusty Springfield, or later ones like Tanya Tucker.”
-Jay Miller, The Patriot Ledger - Patriot Ledger

“The Dinallos’ eponymous debut is a family and friends affair. It’s the first record that Boston roots-veterans and husband-and-wife pair Michael Dinallo and Juliet Simmons Dinallo have made together under a group name, and it features the assistance of musical compadres from both of the locales, Boston and Nashville, between which the two split their time, as well as a vocal turn by their 10-year old daughter, Annabel. The result of this pooling of resources – a little bit country-soul, a healthy serving of Americana, some harder-rocking fare, a countried-up Fleetwood Mac cover – is a variegated whole that, as with all successful collaborations, is greater than the sum of its parts. Essential track: ‘When the World Was Mine’”
-Stuart Munro, The Boston Globe - Boston Globe

To turn a twist on an old expression, the family that sings together stays to- gether. That seems to be the case with the Dinallos, a cou- ple consisting of Michael Dinallo (whose credits in- clude oversight of a critically acclaimed tribute to Charlie Rich and production work on the debut by Billy Prine, John’s brother) and singer Juliet Simmons Dinallo, who can claim a superb solo career all on her own.

They also enlist 9-year-old daughter Annabel, who makes a marvelous singing debut while taking the lead on “Lemonade.” To be sure, they have outside help as well with an all-star roster of great guest artists, among them, the McCrary Sisters, ace session bassists Dave Jacques and Dave Roe, drummer Tom Hambridge and Will Kimbrough, whose harmonies help spark the upbeat “Purgatory Road,” one of several songs that give the album its rousing reviv- al feel. Wholly written by the Dinallos—the sole exception being a fiddle-fueled take on Lindsey Buckingham’s “Monday Morning”— The Dinallos provides the couple with an ex- ceptional duo debut, one that has us looking forward to more. (thedinallos.com) - American Songwriter

The Dinallos - The Dinallos
Memphis International Records

****

This album is a masterful example of classic pop-rock songcraft and accomplished musical performance. It holds attention from track to track, varying the palette just enough to keep the interest intact. These different sonic textures are held together by Juliet Dinallo’s vocals. What makes the record such a worthwhile listen is the way she merges the singing style of a throwback classic pop-folk chanteuse with forward-thinking arrangements and instrumentation. Ace guitarist Michael Dinallo met his future wife Juliet at the Berklee School of Music some 30 years ago. Over the years Juliet has released three solo albums, whilst Michael has been a long-time member of Boston rock band the Radio Kings and an acclaimed producer. This is their first album together and it begs the question, why has it taken this long. The couple’s tightly structured pop is an invigorating take on an evergreen sound. The songs, mainly written by Juliet, deliver a poignant and evocative reflection on the disappointments, the fears, the joys, and the hopes we face in our lives. Listening to the sheer spirit behind her singing though, it almost seems silly to confine the Dinallos to the boundaries of one genre or another. The music is here in all its glory, and that's what matters. Clearly then, they prioritise more than Juliet’s emphatic delivery, with a sound that is crisp and concise, thanks in part to some astute auxiliary players. In addition to Michael’s superb guitar work that is front-and-centre, there are such well-known players as Dave Roe, Mike Daly, Mike McAdam, Dave Jacques, Aaron Till, Justin Amaral, Tom Hambridge and Tim Carter, who shares production with Michael.

The album is book-ended by a couple of instrumentals featuring Michael’s guitar work. All The Ponies Go ‘Round (Danny’s Lullaby) is a subdued melody set-up by delicate guitar with Jim Gambino’s swirling B3 wafting away in the background creating the vision of a slowly turning carousel. The aptly titled The Long Goodbye, which closes the album, has a steady groove with all of the musicians taking their turn to solo with Jim Gambino’s piano dove-tailing perfectly with Michael’s soulful electric lead. There’s a third, very brief, instrumental, Eggemoggin Interlude, midway through the 16 tracks, with a heady atmospheric vibe.

Each song on the record stands out in its own way. Kilimanjaro is a polished pop gem overflowing with magnetic personality. Driven forward by Juliet’s charismatic vocal and the uplifting gospel-styled background voices of the three McCrary Sisters, this mesmeric song about ending a toxic relationship will have you unthinkingly singing the chorus after just one listen. There’s a singalong feel to When the World Was Mine, with more than a hint of 1960s girl-groups vocal vibe brought to the fore by the lyrical fluidity and brief spoken line. The couple’s daughter, Annabel¸ takes the lead on the chunky Lemonade, with Juliet joining in on the chorus and Michael providing bluesy guitar in the break. Purgatory Road is a foot stompin,’ instant singalong as Will Kimbrough’s duet vocal dovetails perfectly with Juliet’s crystal voice like prime Richard and Linda Thompson on this catchy reflection on the joys of first love from some 20 years past.

Other tracks—I Need To Be Free, Private Hell and Nothing To Lose But the Blues—come across with equal measures of drive and determination. In fact, with the exception of the forlorn, dreamy Time Machine, there’s not a single song that doesn’t possess that upbeat impulse. There's a haunted, ethereal quality to the song, with spiritually searching lyrics, impeccable harmonies, that give way to wistful, heart-aching intertwined steel and electric guitars, to create a gorgeous bittersweet balm.
With sharply focused lyrics, the Dinallos bring their perceptions of modern life to the fore. That ability to express emotions so effusively shows that they’re also unwilling to waste any time while creating an emphatic impression. The songs possess a vividness and might that begets artists of their calibre and they astonish with their forward-moving, straight-shooting direction. All the while they will earn even more respect from those who put a premium on musical skill, integrity, originality and inventiveness. Ultimately then, this dynamic debut suggests that whatever follows will be cause for ever-increasing anticipation.


March 2021 - Alan Cackett

The Dinallos
The Dinallos
Album Reviews | March 22nd, 2021
Artist: The Dinallos
Album: The Dinallos
Label: Memphis International
Release Date: 3.26.2021
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The Dinallos are a husband-and-wife team with two different musical backgrounds, Juliet Simmons Dinallo the acclaimed singer-songwriter and Michael Dinallo the guitarist and bandleader for the popular Boston-based rock ‘n’ roll band, The Radio Kings. It was inevitable that the two would merge their individual talents into an album, especially after the success of Juliet’s 2018 Dream Girl, which Michael produced. This generous 16-track collection, at least half of which are highly impressive, was recorded both in their home state of Massachusetts and Tennessee and features plenty of Nashville’s well- known names such as Will Kimbrough (vocal duet on “Purgatory Road”), the three McCrary Sisters, Tim Carter (mandolin, banjo, co-producer), Dave Roe (electric bass), Dave Jacques (acoustic and electric bass), Tom Hambridge (drums), and Mike Daly (pedal steel), among several others.

All songs were penned by one or both Dinallos except a cover of Fleetwood Mac’s “Monday Morning.” While the album is mostly a charged capsule of bursting, unrelenting energy, they tease with the opening instrumental “All the Ponies Go ‘Round (Danny’s Lullaby)” featuring Michael’s tremolo guitar and Jim Gambino’s swirling B3. The lead single and album standout “Kilimanjaro” follows with Juliet’s soaring vocals backed by the McCrary Sisters with an infectious gospel chorus; the song delivers a lesson in letting go of a toxic relationship to seek newfound freedom.

The album is packed with strong songs as “When the World Was Mine.” Daughter Annabel Dinallo takes the vocal lead on the punchy, joyous “Lemonade,” punctuated by Michael’s bluesy guitar, before Juliet showcases her marvelous alto on the dreamy ballad “Time Machine” and “You Got Nothing on Me.“ The slow-waltzing “Fine Time of the Year” proves the couple can deliver with restrained beauty too, one of the best examples of Juliet’s lead and the McCrarys’ incomparable harmonies. Rock ‘n’ roll is front and center with Kimbrough duetting with Juliet on the ideal singalong, “Purgatory Road.”

The couple met at Boston’s esteemed Berklee School of Music. Juliet has two solo albums and Michael had cut three with the Radio Kings and is also acknowledged as producer, along with Ducky Carlisle, collectively as the Tremolo Twins, for Eddie Floyd’s return to Stax with Eddie Loves You So. Michael was at helm for the various artist tribute Feel Like Going Home: The Songs of Charlie Rich. While this album was primarily recorded in Nashville, the spirit of Memphis also pervades: the label is owned by Johnny Phillips and his son, respectively the nephew and grand-nephew of Sam Phillips. Johnny Rich signed Michael to his first record deal with The Radio Kings in 1994, and the two also worked together on the Charlie Rich tribute. This really is a “family” record.

With the talents of Michael’s production, writing, and guitar playing combined with Juliet’s lyrics and subtly powerful vocals, this was bound to be a strong effort, made even more potent by the high caliber of supporting musicians and vocalists. This is a keeper.

—Jim Hynes - Elmore Magazine

“I loved working with Michael Dinallo on the wonderful Charlie Rich tribute record, Feel Like Going Home: The Songs of Charlie Rich. Singing with Juliet on ‘Purgatory Road’ was the same - I'm glad to be part of real, honest heartfelt music. Hats off to The Dinallos!” - Will Kimbrough

Do you have a minute? Say hello to Juliet Simmons Dinallo and her husband, Michael Dinallo. The Dinallos. We know you’re a busy man, sure, but go ahead. Say hello.

Juliet and Michael are residents of good old 37206, the East Nashville zip code where you spent a bunch of time in the last few years. That’s right. They’re walking the streets by the Ryman, listening to the music coming out the doors on lower Broadway, heading for gigs here and there, plugging into the studios and cranking out their own sound. Living the dream.

Juliet, she’s the red-headed one with the voice just about as pure as tap water from heaven. Michael, he’s the one with the guitar and that 1958 Brylcreem haircut, looks like he just came from a recording session with Elvis and the Jordanaires. They’re doing that Nashville couple thing, you know, holding that treasure map, trying to follow the footsteps of Johnny and June, George and Tammy, Guy and Susanna. Maybe without a bunch of the drama.

They have a new album coming out in early 2021, Juliet and Michael, called The Dinallos. The sound is a mix of country and soul, a lot of 37206 put together with a good dose of 38103, which is Beale Street, Memphis, TN.

Take a listen. This is all the stuff you were talking about in the 16-hour PBS series, Country Music. Isn’t it? Roots. Americana. Did we mention how much we liked the series? There might have been some omissions here and there, sure, can’t please everybody, but you carved out the heart of the subject and put it on the kitchen table for everyone to see.

Take a listen. The heart’s still beating. Juliet Simmons Dinallo and Michael Dinallo. That’s their 10-year-old daughter, Annabel, who’s with them. The one with the leather jacket and the touch of blue in her hair. She’s singing, too. Following the footsteps of Brenda Lee. Yes, she is.

Take a listen. The Dinallos. Maybe you’ll want to do that sequel…. - Leigh Montville

"Juliet Simmons Dinallo draws on a variety of influences - Shelby Lynne, Dusty Springfield and Emmylou Harris all play out among them - but given her sweet caress and compelling stance, it's all but impossible to think of anyone other than Dinallo herself when listening to this utterly alluring album. In short, consider this an album for the ages.” - Lee Zimmerman - Country Standard Time

"The only question is why has it taken multi-talented Michael Dinallo 30 years to finally come out with a debut? Crooked Road Songs is, in a word, spectacular. Dinallo’s originals reek of late-night honky-tonk floozies and bare-bones front-porch Appalachia. The man knows how to put a record together. He’s done so producing Eddie Floyd on Stax and the Charlie Rich tribute album last year, both projects brimming with ideas, alacrity and total joyousness. Rock on, dude. I’m a fan." - Mike Greenblatt - Goldmine