Search - Patti Smith :: Twelve

Not without merit.

ST | New York City | 04/27/2007

(4 out of 5 stars)

"It is almost impossible to understand what tempted the original rock poetess, an icon, a heroine to put her reputation under the microscope with this album of twelve cover versions, with tracks by Bob Dylan, Jimi Hendrix, the Stones and the Beatles among others.

If you love the sound of her voice, it is impossible to find the album entirely without merit, and on the plus side there are laid-back, rocky versions of the Doors' "Soul Kitchen" and the Allman Brothers' "Midnight Rider".

But does the world need to hear her take on Tears for Fears' "Everybody Wants to Rule the World"?

The interpretations make Smith's distinctive delivery sound like a parody of itself. Because her essence is missing, the album feels like a waste of her considerable talent.

Patti Smith doing old chestnuts from Tears For Fears and Paul Simon holds out no promise of magic.

However, there are joyful surprises here.

"Gimme Shelter is definitive Stones, "White Rabbit" the essence of psychedelia, and "Pastime Paradise" gorgeous beyond words.

With the help of that wonderful voice, still maturing, and a set of imaginative arrangements, Smith has reinvented all three and given us versions good enough to set beside the originals.

Best of all is a banjo and fiddle-driven romp through "Smells Like Teen Spirit" which reveals the splendour of that song in a different light. Seizing the moment, the rock poetess adds some sizzling words that Kurt Cobain would have been proud to call his own."

Dust off your vinyl & feed your head

Katherine McCarthy | Forest Hills, NY United States | 05/06/2007

(4 out of 5 stars)

"Patti's always had a way with cover songs. In the early days, she'd begin her gigs with the Velvet Underground's "We're Gonna Have a Real Good Time Together." She's always had a tendency towards wacky - I've seen her cover "Tomorrow" from Annie and "You Light Up My Life" in concerts. She's always paid homage to her musical influences - the Who's "My Generation", Manfred Mann's "5,4,3,2,1". Even Prince's "When Doves Cry". Not every cover song can be deconstructed & reinvented like "Gloria." That she pulled that off at all is a feat few would dare, little less succeed at.



I was looking forward to this set of cover songs just to see what was going on in Patti's mind. Her appreciation of rock music, heroes, and history is comprehensive. With Lenny Kaye at her side, a musical encyclopedia, it proves to be quite a collection.



Most of the criticism seems to center around the fact that she doesn't take the bait and tear the songs apart to reinvent them. While that critique is correct, in my opinion, it misses the point. There is a warmth, almost a reverence, to the collection of songs. There is true affection, and a personal connection, to each of these songs that makes Twelve unique in her canon. Never has Patti & Company sounded so relaxed, confident, and warm. There is none of her trademark urgency or stridence.



Instead, her voice shows a new maturity. When did Patti learn to sing? She practically croons Everybody Wants to Rule the World. Personally, I never much cared for the song, but find myself hitting replay for her version. Soul Kitchen has the same relaxed vibe - somehow it's much, much sexier with her singing the song than Jim Morrison's version. I also like the garbage truck story in the booklet about how it came to be included.



I'm glad that the connection between Grace Slick and Patti isn't just in my head. There actually IS a connection between these two maverick queens of rock & roll, these two non-R&B chick singers that stand alone amongst all the great women vocalists of rock. Patti's take on White Rabbit is wonderful - complete with feedback, spoken word poetry, and then the crisp bass & drum bolero.



Even more telling is the unplugged retake on Smells Like Teen Spirit. Truthfully, I never had a clue what Kurt Cobain was singing lyrically. Patti enunciates the lyrics (which are formidible.) I love the banjo, dulcimer, accoustic guitars and upright bass. The bass is the only thing that ties this version to the original. Outstanding!



Partime Paradise is also performed beautifully. I hadn't thought of that song in years, maybe even a decade. There are no out & out misses here. Just a couple where it would be impossible, by anybody, to improve upon the original - Gimme Shelter, The Boy in the Bubble, Are You Experienced?, Helpless, Changing of the Guards (OK, point well taken by the reviewer who mentioned the elimination of the background singers on Street Legal. But I've always felt Dylan is the best interpreter of Dylan - despite everybody's best efforts.)



There are also a couple that were pretty mediocre to begin with - Within You Without You, and Midnight Rider. Patti puts her stamp on them, and I find them evocative, but ultimately placeholders until she gets around to another song I like better.



As befitting a poet, it's mostly about the words and their power. Patti puts the emphasis on the lyrics with ALL the songs - she bites the liness out, enunciates, emphasizes, emotes. There are unexpected musical flourishes with clarinets, dulcimers, mandolins, banjos. This is what elevates the collection for me. With only a couple of exceptions, she feels no need to add her own lyrics or poetry. Considering her own talent in this area, her omission is telling.



Take it for what it is - a bedroom slippers, glass of cognac, late night CD of memories, reminders, and mile posts of one person's life in rock & roll. Who would make up your Twelve?"

Patti And The Band Do Themselves Proud

S. Kurtz | Almost Asbury Park | 04/25/2007

(5 out of 5 stars)

"Anytime an artist of this stature releases a "covers" record...especially one so thoughtfully put together and skillfully played as this one...it's hardly a "wasted opportunity" as someone here has already termed it.



In this case, it's a cause for celebration.



Twelve songs...twelve chapters in musical history that are not only re-imagined here by Patti and her band, but brought to new life with the care and class that she brings to all her recordings.



Lenny Kaye has never sounded so clean...part of this has to do with the superb production and part of it has to do with the restraint he brings to the project.



Tony Shanahan is a monster on bass, and the bass is mixed beautifully on this record, as are Jay Dee Daugherty's drums. Everything is just pure and melodic.



And then there's Patti.



Thank god for Patti Smith.



Between her and her children, Jesse and Jackson, who contribute subtly and in fine fashion, and the various guests...Flea, Rich Robinson, Sam Shepard, etc...the record comes off sounding like a labour of love that already has me salivating for TWELVE 2.



There's not a wrong note in the batch and, to these ears right now, the Standouts among an album of standouts, are The Beatles' WITHIN YOU WITHOUT YOU and Stevie Wonders' PASTTIME PARADISE.





I sat and listened to this twice last night (the night of release) and, although I've been in Patti's corner since 1975 and HORSES...as a matter of fact, EASTER (to me) is the second greatest rock album ever recorded, just a half-step behind BORN TO RUN...I felt that I was being re-introduced to the woman again, through this stellar collection of other artists songs, and, as then, I loved what I heard. This is an artist who spoke to me thirty two years ago, clearly and without pretension, and continues to do so.



With TWELVE, I hear you as clearly as I did in 1975 Patti, and your music...be it from your pen or another's...continues to move me, shake me, and take me places very few artists can take me.



Congratulations on a beautiful record and one that takes an honored place in my collection.



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