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<\/a><\/div>\nGOOD-BYE LIZELLE<\/p>\n
Glitterhouse Records 2014<\/p>\n
\u2605\u2605\u2605\u2605 MOJO MAGAZINE ~\u00a0\u00a0\u201cAmericana Album of the Month\u201d<\/p>\n
\u2605\u2605\u2605\u2605 Rolling Stone<\/p>\n
\u2018His gift for rootsy Americana remains undimmed … vibrant\u2019 – UNCUT<\/p>\n
\u2018An album of great warmth and intimacy …\u2019 – RECORD COLLECTOR<\/p>\n
\u201cA significant, bold and beautiful record\u201d<\/p>\n
Americana UK<\/a><\/p>\n \u201cLizelle Djan combines non-mainstream instrumentation with a modern dramatic vocal. There\u2019s a distinct flirtation with Eastern rhythms and vocal melody lines; \u2018Running Circles,\u2019 \u2018Say You Are the River\u2019 and \u2018Jesse In An Old World\u2019 float ethereally with ambitious complexity.\u201d<\/p>\n \u201cAs a complete listening experience, it\u2019s a little like being immersed in someone else\u2019s dream;\u201d<\/p>\n \u201cTurn off all those modern telecommunications devices, throw away your me-machines, and bask in some old-school sound.\u201d<\/p>\n – Popmatters.com<\/a><\/p>\n \u201cIf you want things to be different, then you have to go out and do it yourself. Go plant yourself a field without genetically modified crops.\u201d<\/p>\n Blurt Magazine<\/a><\/p>\n MANY COLORED KITE<\/p>\n Rykodisc 2010<\/p>\n \u201cA deeply introspective set of songs, with a keenly spiritual undertow running through these meditations on love, nature, and humanity.\u201d<\/p>\n Allmusic.com<\/a><\/p>\n \u201cVashti Bunyan adds pale backing vocals to \u2018No Time to Live Without Her\u2019 while \u2018Beehive\u2019s acoustic guitar\/strings are Nick Drake from the prairie, battered by the wind.\u201d<\/p>\n BBC<\/a><\/p>\n \u201cThe gorgeous \u2018Beehive\u2019 features Olson and his charmingly vulnerable voice backed only by acoustic guitar and a soaring string section. \u2018Scholastica’ finds him \u2018walking on the shores of goodbye,\u2019 snarling and quivering like Young on After the Gold Rush. The reassuring arpeggios of \u2018Wind and Rain,\u2019 cruise smoothly beneath the angelic harmony vocals of Ingunn Ringvold.\u201d<\/p>\n Relix<\/a><\/p>\n SALVATION BLUES<\/p>\n Hacktone 2007<\/p>\n \u201cSalvation Blues is the kind of contemporary singer\/songwriter record that we need more of: poetry as part and parcel of life itself, captured in a music so utterly simple and convincing, it is almost impossible to separate it from the artist who made it — except that it recalls our own experiences so closely in places we have no choice but to give thanks\u201c<\/p>\n Allmusic.com<\/a><\/p>\n MYSTIC THEATRE<\/p>\n Glitterhouse Records 2004<\/p>\n \u201cTheir best record since 1999\u2019s Zola And The Tulip Tree; rural folk, western swing and bluegrass still bubble with contentment. Neither restless nor self-destructive, the \u2018Dippers are uniquely postmodern US roots musicians: it\u2019s the sound of what happens once you\u2019re done with the Great Lost Highway\u201d<\/p>\n UNCUT<\/a><\/p>\n CREEKDIPPIN’ FOR THE FIRST TIME<\/p>\n Fargo Records 2003<\/p>\n 10\/10 Americana UK<\/p>\n \u201cIt\u2019s testament to Olson\u2019s understated genius that this collection of tracks from his first three albums with the (then called) Original Harmony Ridge Creedkippers really does blow away anything\u2019 his former band have done.\u201d<\/p>\n \u201cEverything about \u201cCreekdippin\u201d feels as authentic, beautiful, unconventionally dazzling and poignant a collection of songs as you\u2019re likely to hear from any artist in recent memory \u2013 and yup, that\u2019s a bit overwhelming a description, but in this case it\u2019s true \u2013 it\u2019s that good a record.\u201d<\/p>\n Americana UK<\/a><\/p>\n DECEMBER’S CHILD<\/p>\n Glitterhouse 2001 Dualtone 2001<\/p>\n \u201cWhether singing about around-the-clock meth labs or newspaper roses sold by the side of the road, he creates fully realized worlds within each song on December’s Child.”<\/p>\n Allmusic.com<\/a><\/p>\n \u201cThere are five of them now, these albums credited to a California desert aggregate called the Original Harmony Ridge Creekdippers -Five records in six years is a remarkable output in the modern-day music industry, but then the Creekdippers’ aim from the start was to work outside\u201d<\/p>\n No Depression<\/a><\/p>\n MY OWN JO ELLEN<\/p>\n Glitterhouse 2000 Hightone 2000<\/p>\n \u201cOne of the very best albums of 2000, and one destined to be played for years to come.\u201d<\/p>\n \u201cEvery cut sounds like an instant classic; and, like the songs of, say, the Band, they seem timeless, as if they’ve been around for ages.\u201d<\/p>\n Allmusic.com<\/a><\/p>\n ZOLA AND THE TULIP TREE<\/p>\n 1999 Chaparral Bottoms Studio<\/p>\n \u201cBefore closing out this endearing disc with a plaintive love song, \u2018Big Old Sign\u2019, Olson puts on a formidable display of his singing, phrasing, and melodic skills on \u2018Into The Yard\u2019, inducing the listener to hang on his every word — and on the Creek Dippers’ every note.\u201d<\/p>\n No Depression<\/a><\/p>\n PACIFIC COAST RAMBLER<\/p>\n Chaparral Bottoms Studio 1998<\/p>\n \u201cOlson’s and Williams’ songs commemorate such common, everyday pleasures as a good rain and changing seasons. This is intimate music that recalls old-time traditions and manages to avoid the cloying earnestness that often afflicts folkies and unplugged rockers.\u201d<\/p>\n Allmusic.com<\/a><\/p>\n \u201cYou\u2019d swear in a blind listening test that these were old field recordings. Olson cites early Holy Modal Rounder recordings and Lucinda Williams\u2019 early Folkways work as seminal influences on the Creekdippers sounds, and it really comes across.\u201d<\/p>\n