Dryvetyme Onlyne

Various Artists
Crayon Angel: A Tribute to the Music of Judee Sill
American Dust; 2009

Earlier this year, when I penned my review of Loving Takes This Course: A Tribute to the Songs of Kath Bloom, I baldly stated that, from now on, I would only take the time to listen to albums created in homage to people I’d never heard before. There was a depth and near-majesty to that project in hearing a collection of artists put together a project that served as a joyful eulogy to Bloom and her canon. The same can and should be said about Crayon Angel: A Tribute to the Music of Judee Sill, in that the back-story, concept, approach, and result are quite similar. Both women were quirky, off-beat ‘70s folk singers who recorded a couple of albums and passed into obscurity too quickly, they both earned small cult followings behind their relatively limited output, and when those records were re-discovered 30 years later, new-school arty folk singers fell in love with the music anew. It’s a enchanting little story that almost seems a too cute for its own good, but the songs themselves back up the adoration and the need for tribute to be paid.

Crayon Angel is a gloriously beautiful and reverential project that is marked by the artists’ apparent desire to honor Sill’s music and the time period from whence it came. Obviously, the assembled players have put their own respective spin on the song they each chose to perform, but it’s difficult to ignore how the sounds of ‘70s folk and pop shine through on a regular basis. Moreover, these covers are a bit more straight-forward than those on the Kath Bloom record, in that, with that release, the artists poured themselves and their styles into Bloom’s songs. Here, it feels that the artists allowed Sill’s originals to read and lead them as they craft and create the corresponding cover track.

The record’s middle third unfortunately lags and sags, seemingly under the weight of possibly trying too hard to pay proper homage to Sill’s ethic and aesthetic. “Soldier of the Heart” (Nicolai Dunger), “Lady-O” (Trembling Blue Stars), and “The Phoenix” (Colossal Yes with Ben Chasny) just feel too tepid and tame when placed against outstanding tracks like “Waterfall” (Daniel Rossen), “The Kiss” (Marissa Nadler & Black Hole Infinity), and “When The Bridegroom Comes” (Meg Baird).

The real stars of Crayon Angel are Beth Orton, Frida Hyvönen, Final Fantasy, The Bye Bye Blackbirds, and Bill Callahan. Orton and Callahan faced the most difficult challenge as they were tasked with working up covers for Sill songs that had never been recorded before. “Reach For The Sky” (Orton) and “For A Rainbow” (Callahan) were in mere sheet music form when they were located in Sill’s archives, yet Orton’s stellar voice provides fresh, new life to Sill’s words, while Callahan’s baritone and penchant for dense, droning slow-core folk are luxuriously elegiac (though it’s the piano that seals the deal on this track).

“The Donor” by Final Fantasy is easily the quirkiest, progressive selection, but it’s made all the more accessible by the lush strings and choir vocals that back up Owen Pallet’s syncopated violin plucking. And even though they’ve been pared against these more well-known voices, “Jesus was a Cross Maker” (Hyvönen) and “There’s a Rugged Road” (The Bye Bye Blackbirds) hold their own, as the former is a enchanting folk tune sung by a golden voice and the latter possesses a nifty campfire sing-along feel that I found to be rather delightful.

There is a deliciously sweet strength in the delicacy of much of this record. There is an innocence of spirit that prevails, to which we can attribute the fact that Sill’s words are deservedly placed front-and-center on most selections, backed by relatively simple arrangements and instrumentation. Moreover, it’s her lyrics that provides my ears much fodder for reflection and contemplation – not only is much of it teeming with hope, but it’s filled with highly religious and spiritual imagery. As someone who is somewhat schooled in the highly organic roots of the sadly slick world of contemporary Christian music, I would contend that Sill’s sound and lyrical thrust could easily have fit in with the folk-pop, post-hippie tunes of the great-grandfathers of CCM (Lovesong, Second Chapter Of Acts, Randy Stonehill, Keith Green, etc.). And trust me – I mean that as a sincere compliment.

Crayon Angel is a success because, not only does it allow the fans of Judee Sill’s music to honor and memorialize her through her own songs, but because it serves as yet another reminder that the best music of a generation often isn’t found until long after that generation has passed. If it takes a tribute record of covers to accomplish such a task, so be it: this is one reviewer who will keep listening.