Raised on Croatian folk songs and American standards like"Blue Bayou" upon a farm clinging to a working class town near Perth, Australia the singer-songwriter (family legend has it that she's related to Bonaparte) has made her mark on the roots music scene with her two EP’s “After the Flood” and “Here in California”.Since releasing her debut solo EP, Natalie has played shows with the likes of Kenny Edwards, Victoria Williams, John Doe and Todd Snider. Having received a prestigious West Australian Dept of Culture and the Arts Grant, Natalie recorded her album in Santa Barbara. Recorded in SB’s famed Sound Design Studios, the location that has given rise to recordings by Beck, Radiohead and the last two Depeche Mode albums, the album’s production was helmed by David Piltch. Having worked closely with the likes of kd lang, Madeleine Peyroux and Bonnie Raitt, Piltch was not only well-tuned to D-Napoleon’s musical yearning, but quickly got to the heart of its message.A cast of musicians was assembled, the pedigree of which equalled their talents. With Piltch on bass, Linda Ronstadt’s longtime sideman, Kenny Edwards, contributed guitars and mandolin. The album was to be Edwards’s last recorded statement prior to his untimely passing. Aaron Sterling (Fiona Apple/John Mayer) handled drums and percussion while Dan Phillips (Glen Phillips) played piano, Hammond B3 and sung. Melanie Robinson (Tim Rogers/Gurramul) contributed cello, Phil Parlapiano (Grant Lee Buffalo/Lucinda Williams) accordion and banjo, Greg Leisz (Wilco/Sheryl Crow) pedal steel and folk icon Victoria Williams stopped by to play banjo and add backing vocals.The roots-infused orchestration on Leaving Me Dry poignantly underpins D-Napoleon’s emotive vocal yearning as she serenades about love lost, love found and the long roads traveled to find redemption.Opportunities like those that heralded the production of Leaving Me Dry don’t come along very often. Neither does an album like this.