Performing Songwriter, March/April 2002
Maybe it’s the water, but there’s something about Texas that
seems to have given rise to a number of outstanding
singer-songwriters over the years—from Bob Wills, Willie
Nelson, Guy Clark, Rodney Crowell and Townes Van Zandt
to Robert Earl Keen, Nanci Griffith, Iris DeMent, Lyle Lovett
and Pat Green. Well you can now add to that
ever-expanding list Dallas-born Denice Franke. In just a few
short years as a solo artist, Denice, who now calls Houston
home, has been mesmerizing audiences across the United
States and Europe with her honest, heartfelt observations on
indifference, lonely nights, and relationships gone south. Her
latest release, Comfort, is a brilliantly understated,
minor-key-inflected, auditory treat that showcases not only
her masterful storytelling---which is delivered in a rich, warm
alto---but also her commanding acoustic guitar work.
Denice's musical journey actually began when she was growing up
in Dallas. Her father, who sang in a local Lutheran church choir,
gave her a baritone ukulele as a Christmas present one year.
After getting the hang of the instrument, she gravitated to the
guitar and began writing and performing when she was a junior in
high school. After graduating from high school, Denice continued
performing as a solo artist while attending college in San Marcos.
It was at a gig at a local hamburger joint that she caught the
attention of guitarist David Wright, who asked her to join his band,
the Beacon City Boys. Denice accepted, and the group changed its
name to the Beacon City Band. The BCB cranked out a couple of records
and performed extensively during the late 70's, garnering quite a
strong following, particularly in the Southwest.
Within a couple of years, Denice and fellow band mate Doug Hudson split
from the group and formed a popular duo called Hudson and Franke, which
recorded and toured for about 12 years. During her time off, Denice
would perform background vocals for country-folk luminaries Nanci Griffith,
Robert Earl Keen and Hal Ketchum. In 1987, she moved to Houston and started
hanging out and performing with singer-songwriter-guitarist Eric Taylor.
Then in the early '90s, Denice decided it was time for a break from the music
scene, and she took a job as a bartender. "It was one of the best things that
ever happened to me," she says of her career switch. "I not only learned a new
skill, but the experience helped pull me out of my shell."
With some heavy coaxing from friend Eric Taylor, Denice returned to the music
fold in 1997 with a warm, richly textured acoustic gem of a CD called You
Don't Know Me. Produced by Taylor, the record caught critics' and fans ears,
and subsequently established Denice as a performing songwriter who showed genuine
promise and potential. That promise and potential reached full fruition and
exploded in 2001 with the release of the Taylor-produced Comfort---a tour
de force of tight and variegated ensemble playing, passionate singing, emotionally
stirring lyrics, and haunting, catchy melodies.
"I tend to be a spontaneous writer, but that's changing somewhat," Denice says of
her songwriting process. "If you depend on spontaneity and inspiration too much,
you can come up empty. You have to dig deeper. I don't put pressure on myself,
but I do make myself stay in my chair until I'm at least at a place where a song
is pretty much there. I used to do the verse-chorus thing---where I'd accumulate
just slivers---and then stop. But I'd go nuts because I'd sense the potential,
and then I'd drop the ball. I should have just kept going."
"Space inspires me," she continues. "The dynamics of life do, too. I look at
my songs as snapshots or portraits. With my song, you walk in a room and look
at the dynamics between two people. Melody always comes first, too, and the
guitar is instrumental in writing the melody. It gets the creative juices flowing."
Denice's guitar of choice when composing and performing is a Collings OM
that features a Martin Thinliner and L.R. Baggs Para-Acoustic pickup
system. In the string department, she favors light gauge Elixirs.
When asked how it feels to be an independent artist, Denice says the freedom it
affords her is wonderful, but she also points out that it's important to focus
on the business side of things, too, including coming up with a marketing strategy.
Her advice to aspiring singer-songwriters is pretty straightforward. "Do it for
the love, because that's what's going to sustain you," she notes. "If you're driven
by what you're doing, then go for it. But, be willing to sacrifice a lot.
Perseverance is extremely important. It's a lesson I'm constantly learning.
But what really juices me is just showing up for work every day. It doesn't get much
better than when it's just me and my guitar and my notebook at the kitchen table,
and then filling up that blank page with words and music."
(Rick Petreycik)
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Music Reviews Quarterly
From the darker side of folk, much like the turf producer and player Eric Taylor defends,
comes Denice Franke. This acoustic recording offers the Comfort of been-there, felt-that
sympathy. As Franke delivers the David Olney-composed opening cut, she sings with
utter conviction: "You need a little bit of poison/ To keep you strong." It's a message she
bears out without flinching throughout Comfort.
With her deep, full voice and slow, measure tempos, Denice Franke sings of blunt, honest
observations set to often beautiful acoustic treatments that linger on the minor keys of the
heart's concerns. Neither Franke's voice, songs, nor accompaniments are morose, just
gravel-bottomed even when the sound on the surface is shimmering with softer glows.
Nor is there self pity here. Franke simply looks at the tougher aspects of life -
indifference, failed love, dark nights - and treats them with the grace of reality.
In touch with that reality is a production which delivers each instrument in clear dignity,
uncluttered even when the instrumentation takes on its most full-bodied approach. Franke
and producer Taylor regularly employ piano, sax, and cello to fill out an acoustic guitar
and voice centered sound, but partly because of the slow tempos adn the earthbound
nature of the songs themselves, each instrument gets to work quietly and effectively as it
is needed. Franke is a solid acoustic guitarist and handles most of the guitar chores on her
own, getting some help from time to time from Eric Taylor's deft, tasteful acoustic guitar
work. All of the players and singers here are accomplished performers, and they
blessedly show no need to show off. The feeling of a song gets held throughout, whether
it is simply being maintained by an acoustic guitar or a piano/mandolin/sax combination.
Denice Franke has been smart enough to surround herself with some excellent musicians
from the Austin area. Tommy Elskes, a superb guitarist, comes along only to provide
backing vocals, a task which the huskiness of his voice handles well when matched with
Franke's. Keyboardist Mike Sumler and drummer James Gilmer provide steady, tasteful
support, and on the songs where Eric Demmer provides sax work and John Hagen
provides cello, the integration of the sounds is seamless. Enough cannot be said for how
skillfully producer Eric Taylor works things here. He put a smooth, consistent, subtle
touch to Comfort's sound, and at every point his decisions prove to be wise ones.
For her part, Denice Franke has a spirit comfortably similar to Taylor's. She centers her
work on folk constructions and gives it an unvarnished realism. What makes Franke's
work different from her contemporaries like Gillian Welch or Lucinda Williams is the
subtler touch it has. Franke isn't trying for an ear-grabbing sound with a toughness built
into it; instead she uses a more traditional folk approach and builds the toughness into the
wordings. More like David Olney, she is a folk performer with a penchant for the darker
side of human emotions, and to her credit she handles it well. Not many performers have
the ability to look at the dark side and find it beautiful, but Franke does. That is her
Comfort. Back to List
Rhythms - Australia's Roots Music Monthly, October 2001
2001 is a big year for Texas singer/songwriter Denice Franke - opening for Janis Ian,
John Hammond, Cris Williamson, Steve Forbert, John Gorka and Chris Smither, as well as
releasing her third solo album, Comfort.
With her rich, expressive voice and pop/folk/country/blues sound, Franke is at times
reminiscent of the fine Canadian performer Lynn Miles (who has a new album
- Unravel). Franke's songs focus on the complexities of interpersonal
relationships, with the evocative lyrics telling of hurt, hope, confusion and the
ongoing quest for comfort. There are also songs from David Olney
('Little Bit of Poison') and Vince Bell ('100 Miles From Mexico').
The album's producer, Eric Taylor, uses acoustic guitar, pedal steel guitar, bass,
cello, violin, saxophone (Eric Demmer), piano, organ, drums and percussion to provide
an interesting (and almost stand-alone) instrumental accompaniment. And vocal support
is provided by Taylor and Tommy Elskes.
Denice Franke's Comfort is both haunting and very good listening. --- (Sue Barrett)
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Rambles - A Cultural Art Magazine, September 22, 2001
I like the sound of Denice Franke's second solo CD, Comfort. The album comprises nine
originals, two covers and a short instrumental used as an intro to the final song. The
lyrics are meaningful and, in more than one case, I felt I could relate the words to my
own life. In addition, Denice's rich alto adds an emotional touch to the many ballads
presented here. She knows how to connect with her audience.
Denice has roots in Dallas, but calls Houston home. While you can certainly hear her
Texas heritage throughout her music, Denice's appeal is sure to range beyond the South.
In fact, many potential fans who are unfamiliar with her name, are probably familiar
with her vocals. According to the promotional materials, she has sung with "Lyle
Lovett, Nanci Griffith, Robert Earl Keen, Tom Russell, John Gorka, Eric Taylor and
others."
A good voice is only part of the equation. A very talented set of musicians has come
together to contribute their skills on Comfort. Denice plays acoustic guitar. Eric
Taylor also plays acoustic guitar as well as bass and provides some harmony vocals.
Mike Sumler takes care of the organ and piano. James Gilmer plays drums and percussion.
John Hagen is a very talented cello player. Gene Elders is just as competent on the
violin. Eric Demmer plays saxophone. Tommy Elskes provides backing vocals. And Craig
Holden knows his way around the pedal steel guitar.
I must warn listeners that the CD starts off with the weakest two selections. It took
several listens for me to warm up to the cover of "Little Bit of Poison" and the Franke
original "Personally." I am not saying these are bad songs, but they pale in comparison
to the rest of the CD.
The third song, "Kindred Skin," is what really drew me into Denice's world. The song is
about two strangers who have just met, yet seem right for each other. It doesn't hurt
that I am a sucker for the cello (or any instrument from the violin family). Add in the
piano and you have a very beautiful song indeed!
"Hard Comin' Home" has a similar feel, musically, with the mix of piano and violin this
time. The tempo is a little faster and the topic now focuses on an individual with a
ramblin' spirit. My favorite ballad, "Let Me Go," showcases the cello again (this time
without the accompaniment of a piano). The ending of a relationship is something almost
everyone has experienced, so this is probably a song most can relate to. These three
pieces portray Denice at her best on Comfort.
I am drawn to the emotional depth of "Morning Glories." This song deals with the
feelings of loneliness Denice feels when her love leaves her alone in their home. She
knows he will return, but.... The acoustic guitar riff is a simple, yet catchy hook
that grabbed me almost immediately.
The final song on the CD, "Dance To the Moon," is very reminiscent of Mary Chapin
Carpenter. In fact, if I had not just heard 10 previous selections where Denice's voice
is quite distinct, I might have thought I was hearing a new release from MCC. I do
consider Mary more country, however, while Denice is definitely more folk.
Denice has written some excellent material on this CD. She is a talented singer, writer
and guitar player. The artists that back her up on Comfort only add to the CD. This is
a mellow folk CD with perhaps a hint of blues every once in a while. If you like this
genre of music, then I recommend you find yourself a little spot of Comfort and sit
down for a listen. --- (Wil Owen ) Back to List
Country Music International, September Issue 2001
Texas singer songwriter Denice Franke's second album brings on board Eric Taylor as
producer, resulting in more laid back, simple arrangements that allow the sensitive
lyrics to breathe. "Indifference", with its gripping lyric and ultimate simplicity,
is most affecting and in fact, raises the bar in regard to what the listeners think
they know about this artist.
Musically, she keeps things straightforward, with acoustic guitar, restrained
keyboards, a gently urging beat, and a well placed touch of Eric Demmer's familiar
saxophone that also colours in the superb "100 Miles From Mexico".
The mid tempo "Hard Comin' Home" boasts a clever hook, memorable lyrics and infectious
melody. There are soft backup harmonies beneath delicate acoustic piano, haunting
violin from Gene Elders with the solo vocalist combination. Elders also plays a moving
violin on "Dance To The Moon". Co-written with Doug Hudson, the song is a well crafted
little number about the demise of relationships and features a haunting melody that
will illicit more turns around the dance floor than tears.
There's a sad-edge vibe running through this collection that will appeal to many
country music listeners, even though the album is some way off from what would usually
be considered mainstream country. Imagine a female Lyle Lovett for the best comparison
and you won't be too far off what to expect.
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Dirty Linen Magazine, August/September Issue 2001
Songwriter Denice Franke's strength is her deeply personal examinations of relationships.
Her lyrics go straight to the heart of the matter in an honest and open way She sings of
love and indifference, of relationships that aren't quite right, but still worth perusing.
Her deep and smoky voice carries the proper weight to sing of such matters, and leaves you
convinced she's lived through the problems of which she sings. Franke's songs have a
mid-tempo groove, with nice melodic twists and largely acoustic backing of piano, cello,
violin, and (at times intrusive) saxophone. The only thing that holds this recording back
is that all the songs are pitched in a mid-tempo rhythm and tend to melt into one another.
But it's her lyrics that really count, and in that department, Franke comes through a real
winner. - (Jim Lee)
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Rockzone.com Review, June 30, 2001
One of America's greatest forms of music is Folk. It's the one type of music
where you can hear honest to God tales of life in this world. There aren't any
sugar-coated love songs or catch hooks, there's just gritty, honest music with no
hidden agenda.
Denice Franke is true to the folk spirit with this album. It's got a cleaner
sound than a lot of other folk recordings, but it's honest and to the point. It's rare
in these times to find great songwriters who can give you something beyond
watered-down love songs and boring homages to one's self. These songs are
gritty and full of true emotion. It's a story of life told by someone who is living.
It's folk in it's purest strain.
The album opens with "A Little Bit Of Poison," which is one of the few songs
on the album that wasn't written by Franke. It gets the door open so you can
explore the rest of the wonderful songs on this album.
"Hard Comin' Home" is my favorite track on the album. It's got that gritty
edge, but Franke's melodic vocals give it a welcoming feel. The vocals on this
album are harsh enough to give the music credibility, but soothing enough to allow
you to put your guard down. Franke is truly blessed in this regard.
This album has a lot to offer anyone who is willing to give it a listen. I
enjoyed this CD from beginning to end and I have a feeling you will do the same.
This album is one folk album that will have no problem finding a place in someones
heart. Just relax, listen, and enjoy. (Samuel Barker)
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Music Matters Review, June 16, 2001
Denice Franke has a rich, deep
voice full of color and nuance.
She sings of personal
relationships and possibilities,
and the downside of those
connections when they fail. She
hails from Texas where she has
worked with the likes of Nanci
Griffith, and has been lauded by
Lyle Lovett. It's easy to see
why. Her songs are so well crafted, and her lyrics are so
knowing and true, that it's only a matter of time before the
powers that be have her signing on the dotted line.
Songs like "Kindred Skin"
make her a singer-songwriter who
is not easy to forget. Lyrics like these stay with you:
I hunger for your wisdom
I'm turning in your eyes
that always see the big picture
that always see through the disguise
snow don't fall in Houston, Texas
hurricanes rarely visit New York
It didn't even take an hour
to let this stranger in
many call it kindred spirits
I call it kindred skin.
On a recording filled with unforgettable songs, it is difficult to
single out two or three for special mention. "Hard Comin' Home"
would certainly be on that list. With stellar vocals by Franke, the tune
describes the difficulties of loving someone whose work
often takes them away from home. Knowing the right
moment to walk away from a love that has fallen apart is
achingly expressed by Franke in the tender and lovely "Let Me Go":
walk away from me
and leave the keys when you go
don't hesitate, don't turn around
lift your head
you're always talking to the floor
you never look me in the eyes
I feel your fever comin' on
I cannot breathe when you hold on...
The recording closes with the delightful, celebratory
"Dance to the Moon."
It's a tribute to life, to love, and to the wonder of the natural world.
Denice Franke's talent is a gift. And her latest recording,
Comfort, is the beautifully crafted work of a truly original
artist. I think it's time that someone takes notice. Franke sits
on the threshold of greatness. —Roberta B. Schwartz
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Folk & Acoustic Music Exchange, May 2001
Denice Franke has a rich, dark alto, as fine as good Belgian chocolate. Emerging out of
the lively Texas music scene, Franke's work has been promoted by the likes of Lyle
Lovett and Nanci Griffith.
Comfort is Franke's sophomore recording, a compelling, mature and engaging followup
to her 1997 debut, You Don't Know Me. In the three years between projects, Franke
has honed her already considerable skills, producing a recording that is so good it is
sure to appear on many best of the year lists.
Franke is simply one of the best songwriters around. Take Kindred Skin, for example. It
is an achingly pretty love song played to perfection by Franke on guitar, with Mike
Sumler's eloquent phrasing on piano, and John Hagen on cello. How can you not love
lyrics like these:
It didn't even take an hour
to let this stranger in
Many call it kindred spirits
I call it kindred skin
Franke has a way with portraying difficult situations and their attendant emotions in
song. Hard Comin' Home is one of these. Describing a life where one is at home, and
the other is always leaving, things degenerate to the point where "I never would have
done if you hadn't said/ never would have said if you hadn't did/ never would have done
if you hadn't done it to me."
Let Me Go is about the moment when you know that your relationship is for naught -
when you know that it is just about to fall apart, and that it takes just one to let the other
go. Franke has the uncanny ability to describe the feelings of that moment in only a few
poignant lyrics. And her voice takes us along with her on that journey into dark, new
territory. It is absolutely haunting and lovely at the same time. John Hagen on cello is
especially good here.
All is not sad and lost in Franke's world. One of the recording's best cuts is Friends Out
There, which celebrates the connections we make with others.
The CD closes with a tune called Dance to the Moon, introduced by a wonderful solo on
saxophone by Eric Demmer. Life is just a dance "with no band playin' music/ no feet
keepin' score/ no band playin' music, no feet keepin' score."
Eric Taylor has produced Franke's work with just the right mix of players employing fairly
uncomplicated arrangements. You will also find his touch on nearly every tune, whether
it's playing acoustic guitar, bass or providing harmony vocals.
Denice Franke's Comfort provides just that and more. It clearly chronicles the difficulties
of watching a relationship unravel, but there is little gloom and doom here. Franke's rich
vocals and expert lyric making lead the way to a brighter tomorrow. Comfort is a
stunning success, and an important work. Denice Franke is clearly on the road to
something big.
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Performing Songwriter, May 2001
An attempt to categorize Denice Franke’s Comfort as Americana, folk, or
alt/country would simply not do her or her new record justice. Franke is as
decidedly Southwestern as Willie Nelson and her voice is as folky as Joni
Mitchell, but this record offers musical options as roomy and inviting as a
Texas landscape.
Aside from two covers (David Olney’s “Little Bit of Poison” and Vince Bell’s
“100 Miles from Mexico”), Comfort is filled with Franke’s detailed narratives and
intricate settings. Her style is much akin to the smooth country of Nanci Griffith
and Mary Chapin Carpenter, but Franke incorporates the grievous balladeer
sensitivity of Lyle Lovett with a delivery all her own. She has performed with both
Lovett and Griffith, and they are counted among her impressive list of songwriter
fans, which also includes Robert Earl Keen, Tom Russell, and Eric Taylor, who
produced Comfort.
Franke possesses a light, easy ability to settle into a soothing, warm groove and
let a song meander until it reaches its pleasurable, even if hopeless, conclusion.
(Clay Steakley)
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LA Daily News Review, April 2001
The work of Texas singer-songwriter Franke will remind you of Joni Mitchell's
lust-colored romanticism and Phoebe Snow's more bitter longings.
There's a beatnik artsiness to both her husky yet melodious voice and her
poetry, but that intelligence more often enhances, rather than overwhelms,
the feeling of strong sense of place in her songs of wandering hearts.
"Snow don't fall in Houston, Texas / Hurricanes rarely
visit New York," she enunciates exquisitely on the ode
to opposites-attract passion, "Kindred Skin" -- and,
as she does on many of the cuts here, Franke makes you feel
privy to every complexity of an intimate relationship.
(Bob Strauss)
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Victory Review, April 2001
Denice Franke's third album immediately draws us in with her distinctively
warm, earthy voice and emotional delivery. The restless, rootsy band
arrangements only deepen the spell, providing the perfect setting for
Franke's vivid explorations of love and longing. She has a gift for seeing
the most familiar romantic situations with a personal and original poetic
eye, surprising us with unusual details and unexpected insights. In addition
to her own songs, her strong, sensitive interpretations of David Olney's
"Little Bit of Poison" and Vince Bell's "100 Miles From Mexico"
are among the album's highlights. A gifted singer and songwriter who seems
destined to reach a wider audience in the coming months. Nice stuff - recommended.
(Richard Middleton)
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St. Paul Pioneer Press, March 25, 2001
She's pals with Nanci Griffith, John Gorka and Lyle Lovett, and at this rate,
she should soon be pals with you. Texas singer/songwriter Denice Franke has a
terrific way with a song, whether telling a story or merely setting a scene.
She has a smoky alto voice that is a terrific vehicle for telling her
stories, and a nifty sense of instrumental combinations that perfectly
complements them.
If there's a theme running through this disc, it's the ebb and flow of
relationships. On one song, the singer's eagerly awaiting a lover's arrival
(or return); on the next, he or she's on the way out the door ... but not
without some hint of a better future. "Morning Glories"' heart-broken
protagonist finds hope and solace in a mere wave of a hand.
The set opens with a cover (one of two) of David Olney's "Little Bit of
Poison," a sort of lover's answer to the hair of the dog....each successive
affair is a little easier to handle. "Kindred Skin" tells how fast a
relationship can blossom; the following "Indifference" finds volumes in a
lover's inability to even make eye contact. The roller-coaster ride of
elation and dejection is clearly evident.
On the other cover, Vince Bell's "100 Miles From Mexico," Franke sets up a
mood for the story of hitchhiking in the moonlight that anybody who's ever
been out on the road will know. And "Let Me Go" is a beguiling ballad that
asks the eternal question, "who's the saddest fool of all/the one letting go,
the one hangin' on?"
No overnight sensation, Franke has been working the circuit for 20 years. The
second solo record should have you hooked in about 20 minutes.
(James M. Tarbox)
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The Tennessean, March 19, 2001
Dig down through the most visible layers of the Texas singer/songwriter
scene, past Nanci Griffith, Lyle Lovett, Guy Clark, and their ilk, and you'll
find a seething community of talented artists who love nothing so much as
painting their worlds with a guitar and weighty words. Denice Franke occupies
an increasingly honored place in that second stratum, along with folks like
Vince Bell, Willis Allen Ramsey and Eric Taylor. This is her second album,
and it's a subdued, lush and emotionally exposed project produced by Taylor
with a potent, acoustic naturalism.
At the opening, a voice from the studio says, "hang on," and for anyone
willing to follow Franke down her various emotional tunnels, that's good
advice. This is adult stuff, full of people trying to feel something, afraid
of feeling anything, luring their lovers into the light, and pushing
difficult things back into the darkness. The title of the album is not a
single song, but an elusive notion that suffuses the entire record.
Franke's bold and vibrato-laden alto lends the same kind of earnestness to
her lyrics that one hears in the work of Nashville's Kate Campbell. Sometimes
the languid pace of these songs makes for a gorgeous sound laden with cello,
piano, and Franke's accomplished guitar playing, and sometimes it grows just
too sluggish and blue for my tastes. Though her own songs contain some
striking images and revelations, none stick in my brain musically as
effectively as her intense, vigorous cover of David Olney's "Little Bit of
Poison." But as a chronicler of character and moment, Franke proves a sure
hand.
(Craig Havighurst)
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Houston Press, February 22, 2001
Even if you have watched Denice Franke evolve from a backup singer for Nanci
Griffith to a tentative songwriter to a poet, you won't be prepared for the
leap she's taken on her new album, Comfort. "I think there's
something to be said / about the more in the less," she sings on
"To the Light." That couplet nicely sums up the maturity of
Franke's writing these days.
The Houston resident writes in a conversational style that bubbles with
emotional intensity just below the surface. Her main theme here is
"home" - and how to create it. When you think about how we
force our musicians to spend the bulk of their lives on the road to
earn a living, it's an important question.
On "Friends Out There," Franke hints at the sadness of the
peripatetic life, while "Hard Comin' Home" wonders whether
it's really worth leaving at all.
And on the achingly beautiful waltz tune "Dance to the Moon," Franke
compares the continual grind of the road to a worn-down ritualized dance as
well as the snarl of an old gray tomcat who's been fighting too long.
A single image recurs in several of Franke's songs: the moment when the
traveler arrives home and is met at the door by a loved one. The image
surfaces on "Personally," "Indifference" and
"To the Light." Franke savors the shadows that fall on peoples'
faces, the looks they give each
other - images that create a world of their own.
Houston producer and arranger Eric Taylor, better known for his own
idiosyncratic music, adds muscle to Franke's songs. He understands how to
make these tunes sound commercial without messing with their integrity. Taylor
also straps on a guitar and bass; he's joined in the studio by keyboardist
Mike Sumler and Lyle Lovett regulars cellist John Hagen and percussionist
James Gilmer. They, along with Franke's nuanced vocals, take the music to a
higher level. You can indeed take Comfort.
(Aaron Howard)
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Houston Chronicle, February 1, 2001
Houston vocalist Denice Franke has shared a stage with Nanci Griffith,
Robert Earl Keen and Lyle Lovett.
But it took a different kind of backup gig to find her voice and
personality as a solo artist - backing up the waiters and waitresses
as a bartender at Cafe Express.
After a 20-plus-year career spent with the Beacon City Band and later
as a duo with Doug Hudson, the timid Franke began thinking that music
might not be her forte anymore. She and Hudson reached a pinnacle in
1988 as supporting singers for Griffith's live hits album
One Fair Summer Evening, recorded at Houston's Anderson Fair.
Shortly after that, however, she and Hudson parted ways, and Franke
thought her desire to create music might have gone with him.
"I went into this funk on stage. I was slowly losing interest in
listening to music, going to hearing and writing it," Franke recalls.
"I was letting it slip away."
Not quite knowing what to do next, Franke took the job as a bartender.
She now believes it was one of her most vital career moves, helping to
cultivate the multiple moods of her second album, Comfort,
which will be released Feb. 27. A CD-release party for her hometown
fans will be held Saturday - a fair winter evening - at Anderson Fair.
"Bartending opened me up. I became more approachable and was able
to talk to people," says a rejuvenated Franke, who was forced to
be social with customers while shaking their martinis or cosmopolitans.
"Before that, I'd be singing my soul out on stage, but I'd be
looking at my shoes."
It was fellow singer-songwriter and Houstonian Eric Taylor who helped
transfer that newfound congeniality into music. After supplementing
his own vocals with hers for a self-named 1995 album, Taylor told
Franke that when she was ready to make an album he'd produce it.
"It blew me away," Franke says. "I finally stopped
procrastinating, called Eric and said, 'What's your calendar look like?'
"
Her solo debut, 1998's aptly titled You Don't Know Me, was a
solid song set that Franke admits suffered a bit from a lack of
discipline - but it was a complete labor of love. Its triumph is the
sheepish journal entry "Rainy Night in Detroit."
"I had no calluses on my hands, and my voice was out of shape,"
Franke says. "I was uncomfortable singing and playing, but by the
end of the process Eric and I were like proud parents."
Comfort is a much bolder and varied collection with ample guitar
textures and strings over Franke's alto. "Kindred Skin" is a ballad
about long-distance love that rivals the infatuation of Joni Mitchell's
"A Case of You."
Only those who haven't experienced separation won't get goose bumps
when she sings, "Snow don't fall in Houston, Texas. Hurricanes
rarely visit New York."
Equally impressive is a relaxed rough cut of David Olney's "Little Bit
of Poison" and the lush catgut-and-ivory prelude leading off a cover
of Vince Bell's "100 Miles From Mexico." In both cases Franke takes
the songs of two very individual singer-songwriters and makes them
her own.
(Michael D. Clark)
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Buddy Magazine, February, 2001
If lyrics are content (what a song says) and music is context (what a song
means, at a deeper level), then Comfort is a deep, dark, contemplative
album with just enough of a hint of optimism that we expect the sun will
rise again. Denice Franke shares nine of her own songs with interpretations
of David Olney's "Little Bit of Poison" and Vince Bell's "100 Miles
from Mexico."
Franke's deep alto is as much an instrument of delivery as is Gene Elders'
excellent violin work, James Gilmer's hand percussion, and Eric Demmer's
sax on a takes-itself-seriously CD that blends folk with touches of blues
and jazz and other sounds.
Producer Eric Taylor - one of our best songwriters and riveting
solo performers - brings content and context together. Franke and Taylor
have been friends for more than 20 years; Franke has performed with Taylor
for more than half of those years and has, unsurprisingly, picked up some
of Taylor's habits.
"There are songs on the record where I hear Eric's influence,
especially sometimes in my phrasing," she said. "It probably comes from
years of singing backup with him. I look at Comfort as a collaboration
reflecting me as the singer, writer, and interpreter I am today. It
reflects Eric as the producer he is today. I presented the songs and gave
him full control over the production. I offered a few suggestions here and
there but what you hear in the final product is the vision Eric Taylor had
for my songs."
"So many artists go into the studio without giving much thought to
the producer and they come out with a record that sounds like just a band
behind the songs. Working with Eric, you get textures, breath, smoke, skin.
And he knows when to get out of the way of the song. That's what I love
about working with him," she said.
Lyrically, Franke is beginning to move into the territory of
writers like Olney and Bell who don't attract a lot of mainstream attention
but who attract justifiably enthusiastic followers. She uses specific
lyrics to explore universal moments, and delivers half a dozen fine new
songs, including the closing duet, "Dance to the Moon," with Taylor.
While the lyric content of Comfort is strong and worthy on its own
merits, the CD's greatest strength is in the context created by fine
musicians and arrangements - in what we feel when we listen.
(Tom Geddie)
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South Florida Entertainment News, February 2001
No title could be truer. The second album by this talented Texas singer
and songwriter is a wonderfully wistful affair, full of sweet sentiments
and emotional embraces. Having worked with the likes of Lyle Lovett
and Nanci Griffith, Franke has won the kudos of the other artists
with whom she's been associated and it's easy to see why. Comfort
is one of the warmest and winning albums to come from the Lone Star
State in quite some time.
Part of the appeal lies in Franke's beguiling vocals, a style that's
both innocent and intuitive all at the same time. At times, she bears
a striking similarity to a young Joni Mitchell, especially in such
as "Kindred Skin," the compelling "Friends Out There," and the gorgeous
and engaging "Dance To The Moon," a touching, tender duet with her
mentor and producer Eric Taylor. She has her edgier elements as well!
The album's opener "A Little Bit Of Poison" is cutting and confident,
as is "Personally," a seared and scarred tale of turbulent romance.
Her sentiments soften in the songs that follow, as she interweaves
beguiling beauty with an edgy attitude, verve with vulnerability.
A beautiful ballad like "Let Me Go" shows the impact of her compositional
skills and an exceptional ability to connect musically and emotionally.
"Morning Glories" betrays a longing and loneliness that's tender and
touching.
Franke shows the promise and potential that could make her an important
voice for the decade just begun. Comfort is just that, a welcome
respite and a soothing sojourn.
(Lee Zimmerman)
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Pause Record, January 2001
This is only Franke's second solo recording, but fans of the folk and
alt-country scenes are probably already familiar with her luxuriant alto
from stints singing harmony with folks like Lyle Lovett, Nanci Griffith,
Robert Earl Keen, Tom Russell, John Gorka, Eric Taylor and others. Those
artists and many others have been pushing for Franke to release more of
her own songs, which have been heard after hours at festivals and in
folk clubs for close to two decades. Franke has been a staple of the
Texas music circuit for all those years, and this release may have been
a long time coming but it was certainly worth the wait.
Franke's songs are deeply personal affairs, to be sure, but they are also artfully
crafted pieces, not just self-reflection. Dominated by gentle ballads,
this album does sound like the comfort of talking with an old friend
about all their hopes and hurts, highways and homes. Franke accompanies
herself with an extremely percussive acoustic guitar style, while various tracks feature
electric guitars, rhythm sections, pedal steel, even a bit of saxophone,
cello and violin here and there.
And if the idea of folk ballads and
coffeehouses sounds like it might be a little bit tame, think again. In
the opening track Franke sings a Dave Olney lyric over a gypsy blues
groove with more than a little bit of conviction: "I need a little bit
of poison," Franke insists, "to keep me strong."
The album won't be in stores until late February, but West Coasters
should be on the lookout for Franke now, as she is on tour in the region.
(da Flower Punk)
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Rootstown Music Magazine, 2001
Texan singer Denice Franke has spent many years in the company of Eric
Taylor, for whom she provided harmony vocals with her deep, warm and
slightly husky voice. Therefore it will come as no surprise that her latest,
second, album COMFORT is characterised by a similar atmosphere as an Eric
Taylor album. Which is further enhanced by the fact that Eric took care of
producing the album, as was the case for her debut YOU DON'T KNOW ME,
released in 1997. Just like him, Denice wraps her songs in such intimacy
that frequently the songs reach straight for the heart. Initially, COMFORT
may give the impression of being a wee bit dismal, but a more intensive
listen will reveal that Denice is by no means a sombre person. Accompanied
by choice, renowned session artists, like violinist Gene Elders, pianist
Mike Sumler and Lyle Lovett's cellist John Hagen, Denice Franke blends her
delicate, folky songs with whiffs of jazz and blues. Her beautiful songs
contain poetic lyrics, occasionally describing emerging relationships,
though more often relating about those that have faded away, without,
however, ever giving in to self-pity. The way in which Denice looks upon and
sings about these utterly personal matters is indicative of the aptness of
the album title.
Next to 9 original songs COMFORT contains 2 covers, David Olney's Little Bit
Of Poison and Vince Bell's 100 miles From Mexico. The contributions of these
kindred spirits blend seamlessly with Denice's repertoire.
On the closing track, Dance To The Moon, dating back from 1987, our friend
Eric Taylor contributes some fine vocals, turning it into one of the most
touching ballads to be released lately. Denice Franke may have been an
active singer for over 20 years, to me she stands on the threshold of a
great career; she is destined to go a long way and COMFORT constitutes a
firm step forward in that respect. -
- (Jos van den Boom) The Netherlands
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