Reviews and press clip[s from the 2018 release Dream Girl on BFD/Sony RED/ The Orchard:
“Juliet Simmons Dinallo is perhaps best-known as a belter, but she turns more dreamily reflective on this new album, which includes a stunning mother's lament, "Fly (A Prayer for Sandy Hook)."
-Steve Morse, former longtime Boston Globe staff critic who now teaches a course in music history for Berklee College of Music
Press clips and reviews from 2013 release No Regrets on Tree-O-Records:
“Being compared by critics to Lucinda Williams and making the CMA CloseUp Magazine’s “Who New To Watch in 2013” list have got to be hard to live up to, but Juliet and the Lonesome Romeos do just that with their debut album, No Regrets. The final track here is her finest moment – the waltz “Learn to Love Again” – where she must dip into someplace deep for such longing in her performance. Not since Deana Carter’s “Strawberry Wine” has 3⁄4-time deserved a spot back on contemporary radio playlists.”
— Janet Goodman, Music News Nashville
“Before the financial crash a few years ago, there was a wealth of indie cowpunk and insurgent country records that were just mind blowing and coming out on a regular basis. Then it dried up. This set heralds the return of left of center country. Taking the weight of the world off Elizabeth Cook’s shoulders, Juliet Simmons Dinallo fuses the various sincerities of Emmylou Harris and Lucinda Williams into her own special stew loaded with the flavor your ears have been missing. Hot stuff.”
— Chris Spector, Midwest Record, Chicago
“On the most affecting tune here, “Faded Highway,” concerning a soul completely adrift in a world full of people similarly disenfranchised, she brings it all together: the writing, replete with striking metaphors and incisive personal confessions in honky tonk weeper fueled by lap steel, betrays a Rosanne Cash-like gift for unadorned, poetic confessions, which are further enhanced by a nuanced vocal that rises from a measured ache to a bruised shout. … At the end she leaves the listener not adrift, as she is on “Faded Highway,” but with something positive: in the hopeful verses of “Learn to Love Again,” a hymn to healing a broken heart, the lyrics’ earnest sentiments are burnished by the hum of Jeff Allison’s church-like B3, an electric guitar’s spare, robust punctuations and Ms. Dinallo’s own soft voice soaring assuredly at the end as she announces, “I want to sail away on a ship of fools/to a place far away/where I can start something new/regain my smile, rest my weary soul for awhile/I want to sail away on a ship of fools/to a desolate isle/where I can hide for awhile/where my heart can mend/ and I can learn to love…again/where I can learn…to love…again.” She repeats “I can learn to love again” a third time, the song quietly fades, and you believe her.”
— David McGee, Deep Roots
“Its combination of grit and equanimity makes Juliet and the Lonesome Romeos’ No Regrets an assured full-length debut — the record skirts Americana, but it’s more formally acute than the genre’s usual country-rock pastiches. North Carolina native Juliet Simmons Dinallo sings in a soulful alt-country voice on such originals as “Narcissus,” and her songs — most written with guitarist Michael A. Gray — breathe life into time-honored tropes of individualism and constraint. The Boston band benefits from the production of Ducky Carlisle and Michael Dinallo, who add chiming guitars and accordion to the mix. At its best, No Regrets suggests the influence of Southernstyle power pop — with its nervous, Beatles-esque chord changes, “Last Kiss” could almost be an outtake from The dB’s Like This. Juliet’s songs are as tough as her vocals: “Goodbye to you / I deflect all those daggers that you self-project,” she sings on the title track, and you believe her."
— Edd Hurt, Nashville Scene
“Juliet Simmons Dinallo and her Lonesome Romeos have been a steady presence on the area roots and country scene for a
while now, but apart from a couple of compilation tracks, you’ve had to see her live to hear her songs and her soulful, rasp-edged singing. Her full-length debut is about to change that. It’s a capacious affair, incorporating elements of country, rock ’n’ roll, folk, and pop into a rootsy base, and adding a Katrina lament (“September Day”) and a heartfelt song about a loved one’s descent into mental illness (“Unkindest Cut”) to the usual shades of love in full sway or gone south. The album kicks off with the roots-pop of the title track, finds time on “Wishing Well” for a bit of Neil Young crunch before bending to bring in a delicious, poppy “ooh ooh” chorus, adds some meat-and-potatoes rock ’n’ roll with the snarling “Narcissus” (“he’ll never love you like he loves himself”) and culminates in the intense shimmer of “Learn to Love Again.” But the album’s most affecting moment might be its simplest: On the gorgeous “Winter Night,” accompanied only by guitar, Simmons Dinallo’s voice rings, as crisp and clear as the winter night she’s singing about."
— Stuart Munro, The Boston Globe
“Juliet Simmons Dinallo couldn’t sound any different on this debut album than she does, a silky-voiced, pop rocker with just a bit of twang.”
— Chris Jorgensen, Billings Gazette
Press clips forJuliet Simmons Dinallo’s performance of “Whirlwind” on Feel Like Going Home: The Songs of Charlie Rich released on Memphis International Records in 2016:
“....sizzling rocker by Juliet Simmons Dinallo, romping through ‘Whirlwind’ with a lively, echoed vocal uncannily reminiscent of the young Rosanne Cash complemented by a wildly romping guitar...."
— David McGee, Deep Roots Magazine
“Juliet Simmons Dinallo’s ‘Whirlwind’ is driven by an incredible beat that has the undiluted joy of original rockabilly written all over it.”
— Maurice Hope, Flying Shoes Review
“Some feisty women also receive a few well-deserved spotlights. Juliet Simmons Dinallo storms through "Whirlwind.’”
— Dan MacIntosh, Country Standard Time
“Highlights included Juliet Simmons Dinallo’s hot rockabilly ‘Whirlwind.’”
— Hyperbolium (A Critical Element), November 2016
“....Juliet’s buoyant rockabilly take on “Whirlwind” …”
— Jay Miller, The Patriot Ledger