Dallin Applebaum
The Only One
This is one of those artists that once you “get,” you’ll be mad that you didn’t find them sooner. Effortless vocals, great storytelling, fabulous production and a daring style - that’s Dallin Applebaum, unconventional and essential. She’s also a great pianist. Daring because you can’t pigeonhole her into one specific genre - as perfectly displayed with this track (“The Only One”). She was based in NYC, working with some big names in the industry and had a host of placements in the 2018 Olympics under an alias. Diving through her catalog it’s easy to hear the influence she’s had on artists like Matchbox 20, Rachel Platten and Phillip Phillips. As of early last year, she’s back in Nashville - it’ll be amazing to see what type of influence this town has on her upcoming releases. In the meantime, let’s dive into “The Only One,” here’s my review:
Track starts with an old-school piano riff - boogie style, c minor - and a clever mix over the first 8 bars that gives you the impression you’re listening to an early recording. (Might have to steal that riff and use it in my practice routine.) I, IV, V in minor, and very cool - love the walking bass line - well played, loose feel but tight to the rhythm with a good bounce. Great shuffle sidestick feel from the drummer. Vocals come in and her effortless, airy tone is a solid match. Love the descending melody and the images she’s laying down - very jazzy. Nice mix up in the melody on the back half of the first verse - love to be surprised like that. As the verse builds, so does the intensity of the track with the nice addition of a solid kick pattern. Really adore how modern and current her vocals and the kick sound, when contrasted against the snare tones and the piano tones. Great engineering work.
First chorus drops in as a complete surprise. Somehow, she’s able to switch over to a simple 4:4 feel with a gorgeous melody and make it work. It’s a complete departure from the verse, but if you let the lyrics lead you you’ll see the path. Sonically, she jumps up to the Relative Major which creates a great sense of relief, and, provides a perfect spring board back into the boogie verse. Damn that’s cool.
Second verse goes back to the boogie feel, with the clever addition of a walking bass line that matches the piano. There’s great syncopation hits, and incredible background vocals that really build the track nicely. Very cool phaser/chorus effect on the backgrounds - that adds a nice current touch to the old-school production of the rhythm section. The second chorus takes us back to the Relative Major, but she keeps the bass and background vocals in, and, adds strings. It’s a beautiful arrangement that keeps building. To finish it all off, she brings us back to the boogie for four bars. A smart-alecky move but I dig it. Really love everything about this track!
Go back and read the first paragraph again. The word you’re looking for is daring. How many other writers do you know could pull this off? How many care too much about what others think to not even try? This is what art is supposed to sound and feel like - an unapologetic and unabashed approach. Pretentious jazzers may not like it, but whatever. Three chord Nashville writers will be too afraid to try this, but whatever. The honest public will love it because it’s a beautiful representation of their (chaotic) lives. I adore it, obviously. This is going on my list of favorites tonight.
I hope you’ll scroll down to check out the rest of her impressive catalog. Her effortless vocals float perfectly over the great story line and chord changes in “Des Res.” The Rhodes tone alone is reason enough to listen to it. “Ghosttown USA” is as intimate and solid as any release by Patty Griffin, again with stellar vocals. “King’s Highway,” from 2007, has a beautiful structure and feel - perfectly matching the pop piano genre of that time. It’s also really cool to hear her voice fifteen years ago (as strong as it is), in comparison to today. And lastly, even an Atheist like me can appreciate her version of “Maoz Tzur.” Rumor has it, she has a full length record coming out in the spring of this year - can’t wait!
Beautiful work, Dallin, hope to catch you around Nashville soon!