It's nothing new for record companies to scavenge the archives of dead
legends for unreleased material; if you doubt it, just take a look at
the number of posthumous releases by Jimi Hendrix. (I count more than
250 from a man who only issued four albums during his lifetime.) Now
we're seeing the same phenomenon playing out with more underground
musicians, and the results are mixed, judging from the trio of new discs
by late cult-hero singers and songwriters Elliott Smith, Nick Drake and
Jeff Buckley.
For a posthumous release to be worth anything more than a historical
footnote, you have to ask: Is this music the artist would have released
had he lived? Held up to that standard, as well as the beginning-to-end
pleasures contained in its 24 tracks, Smith's sprawling double album
"New Moon" is by far the pick of the latest crop.
Smith first made his mark on the music world in the early '90s as
part of the Portland-based indie-rock band Heat Miser. Striking out on
his own in 1994, he released five albums of gorgeous, introspective
Beatlesesque pop; made his biggest impact on the mainstream when he
performed "Miss Misery" at the 1998 Academy Awards (nominated for its
place on the soundtrack of "Good Will Hunting," it lost out to that
dreadful tune from "Titanic"), and died under mysterious circumstances
at age 34 in 2003 from what may or may not have been self-inflicted
knife wounds to the chest.
A lo-fi devotee, Smith recorded constantly, and he released most of
what he put down on tape. But the tracks on "New Moon" stem from the
transitional period between Heat Miser and the full blossoming of his
solo career, from 1994 to 1997, and it seems likely that they simply
fell between the cracks. Now, his friend Larry Crane, owner of
Portland's Jackpot! Recording Studio, has compiled these tunes at the
request of Smith's family, showing the devotion of a fan by tinkering
very little with the bare-bones productions and the ears of an objective
archivist by choosing the strongest songs and the ones that best
illuminate Smith's talents.
To that end, we get a poignant reading of Big Star's "Thirteen," a
song with a melancholy yet upbeat vibe that obviously set the tone for
many of Smith's originals at the time; a work-in-progress version of
"Miss Misery" that illustrates how the musician used the process of
recording to hone his material, and previously unheard gems such as the
wily pop tune "Looking Over My Shoulder," the wistful "Angel in the
Snow," and the obligatory Beatles nod "New Monkey" -- all of them good
enough to stand beside the best material Smith released in his day.
'Family Tree' mostly filler
Unjustly slighted by some listeners for his alleged mopiness, Smith's
prevailing mood on "New Moon" is actually one of guarded optimism -- and
the same can be said of Drake on "Family Tree." Barely 20 at the start
of his career, the English musician released three brilliant albums
between 1969 and 1972: the lush orchestral-pop masterpieces "Five Leaves
Left" and "Bryter Later" and the Spartan acoustic effort "Pink Moon,"
recorded not long before his death, a likely suicide, from an overdose
of antidepressants in 1974.
Drake's career has benefited from a surge of interest in recent
years, and he's emerged as a major influence on ork-pop bands such as
the Decemberists and the Arcade Fire and even won a hint of the pop
stardom so elusive in his lifetime. The sound of the 28 tracks on
"Family Tree" will be familiar to anyone who's heard the title track of
"Pink Moon" in that now-infamous car commercial, since these are mostly
spare acoustic demos recorded at home on a home reel-to-reel tape
machine long before the making of "Five Leaves Left." In that sense, the
new disc could have been an ideal companion to "Pink Moon" -- an
optimistic bookend to the lonely pessimism of Drake's last release. But
the material simply isn't as strong.
The artist's family clearly was scraping the bottom of the barrel
here, including two songs written and performed by Drake's mother Molly;
other tunes that find him harmonizing with his sister Gabrielle and
playing clarinet with his aunt and uncle on a piece by Mozart, and his
first tentative and largely unsuccessful stabs at songwriting, via
tracks such as "They're Leaving Me Behind," "Blossom" and "Come Into the
Garden." But the best moments by far are the handful of revealing covers
that show him polishing his husky baritone and unique finger-picking
guitar style, including "Strolling Down the Highway" by British folk
hero Bert Jansch, the traditional "Black Mountain Blues" and "Cocaine
Blues," which was popularized by Blind Boy Fuller.
Trimmed down to an EP or tacked on as the bonus tracks in a box set,
these songs would have been worthy additions to Drake's discography. As
it is, though, "Family Tree" is mostly filler and eminently skippable --
yet as exploitation goes, it's still preferable to "So Real: Songs from
Jeff Buckley."
Reputation overly lofty
The hyper-emotional musical offspring of '60s folkie Tim Buckley, Jeff
won a passionate cult following for his live performances, but his
recorded legacy doesn't support his lofty reputation: During his
lifetime, he only released one mediocre EP and one promising though
overrated album. (Fans of 1994's "Grace" wax rhapsodic about Buckley's
reading of "Hallelujah," but one suspects it's because they never heard
the superior original by Leonard Cohen or the cover by John Cale.)
Buckley drowned in the Mississippi River at age 30 a decade ago last
Tuesday, but that hasn't stopped his survivors from releasing everything
he left behind. Partly a collection of alternate takes and partly an
unwarranted greatest-hits set, "So Real" includes eight of the 10 tracks
that appeared on "Grace." Others are familiar from "Live at Sin-e," and
the few that appear in different versions aren't any better or more
noteworthy here. In fact, the only real discovery is a cover of "I Know
It's Over" by the Smiths, a choice that is so obvious it's silly, given
Buckley's Morrissey-like aesthetic, and a song he's far too much in awe
of to really claim as his own.
No matter how familiar you are with an artist, it does that person a
disservice to second guess what he or she might have done had they
lived, and that's especially true of famously moody figures such as
Smith, Drake and Buckley. Nevertheless, it's tempting to think of Smith
smiling about fans taking pleasure from this worthy new addition to his
catalog, while Drake and Buckley frown with even more misery than they
displayed at their untimely ends.
ELLIOTT SMITH
"New Moon"
(Kill Rock Stars)
¼¼¼ ½
NICK DRAKE
"Family Tree"
(Tsunami/Fontana)
¼¼
JEFF BUCKLEY
"So Real"
(Columbia/Legacy)
¼