'Opening for The Devil's Own at the Rite Spot Cafe, Sara Corrigan, singer from Dolly Rocker, seemed out of place among the slightly brighter than blood red walls and candlelit, speakeasy atmosphere, with her open smile and sheepish, down-home mannerisms. And though I was there to review the more forthright country rock of The Devil's Own, I was glad I was early enough to see Corrigan. Her voice has a refreshing, delicate quality, reminiscent of a light rain shower during a desert stroll. 'Won't you miss me?' she sang in a smoky whisper. 'Wouldn't you miss me at all?' ... I missed her already.' In the summer of 2003, writing for the San Francisco Bay Guardian, Duncan Scott Davidson so reviewed Dolly Rocker's singer/songwriter, performing live in her native city. Following the debut 'Hello, Dolly Rocker!' (2001), Dolly Rocker's second album, 'Funny Lullabies' (2006), has a decidedly western sound. On songs like 'Monsieur La Fleur' and 'Cutting Room,' credit the slide-guitar work and bass lines of Kevin Franke, and the violin strains of Cara Tramontano. Minimal percussion also enhances the Nico-esque vocal melodies. Speaking of 'Funny Lullabies,' one friendly critic remarked: 'It wouldn't sound so upbeat if you hadn't heard the first Dolly Rocker album.'
'Opening for The Devil's Own at the Rite Spot Cafe, Sara Corrigan, singer from Dolly Rocker, seemed out of place among the slightly brighter than blood red walls and candlelit, speakeasy atmosphere, with her open smile and sheepish, down-home mannerisms. And though I was there to review the more forthright country rock of The Devil's Own, I was glad I was early enough to see Corrigan. Her voice has a refreshing, delicate quality, reminiscent of a light rain shower during a desert stroll. 'Won't you miss me?' she sang in a smoky whisper. 'Wouldn't you miss me at all?' ... I missed her already.' In the summer of 2003, writing for the San Francisco Bay Guardian, Duncan Scott Davidson so reviewed Dolly Rocker's singer/songwriter, performing live in her native city. Following the debut 'Hello, Dolly Rocker!' (2001), Dolly Rocker's second album, 'Funny Lullabies' (2006), has a decidedly western sound. On songs like 'Monsieur La Fleur' and 'Cutting Room,' credit the slide-guitar work and bass lines of Kevin Franke, and the violin strains of Cara Tramontano. Minimal percussion also enhances the Nico-esque vocal melodies. Speaking of 'Funny Lullabies,' one friendly critic remarked: 'It wouldn't sound so upbeat if you hadn't heard the first Dolly Rocker album.'
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