„Valtz de mon pere“ could have fitted on Emmylou Harris‘ „Wreckin‘ Ball“, one of country music’s darkest hours. Like in that famous scene of Maya Deren’s short film „Meshes of the Afternoon“, Rickie Lee Jones‘ New Orleans-fuelled album is changing scenes dramatically, from step to step and track to track, and it all makes dark sense for a woman, 58, who now lives on a street made famous by Tennessee Williams‘ „A Streetcar named Desire“. Manafonista’s only real country girl will open an old bottle of her best Bordeaux in the woods.