 
Speaking of cover versions, you don’t often get CDs nowadays that open with an a cappella track…especially if it’s a Sinead O’Connor song. LaVette cuts away all the fat from “I Do Not Want What I Haven’t Got” and turns in a raw, bare-ass version that should go down as the best vocal performance of the year. Period. And that’s just the beginning. The folks at Anti have done us all a favor. The criminally unknown 59 year-old soul singer has seen her fair share of bad luck…and if there’s any real justice in this world, I’ve Got My Own Hell To Raise should put her name at the top were it belongs. LaVette is no stranger to recording other people’s songs as she’s tackled such would-be standards as Joe South’s “Games People Play” and Etta James “Damn Your Eyes” to extremely unlikely choices as Kenny Rogers & The First Edition’s “What Condition My Condition Was In”, and my absolute favorite, a version of Free’s 1970 hit “The Stealer”. Hotcha! Now that’s variety. Recorded in a scant three days this past May, IGMOHTR, has LaVette taking on female songwriters; a concept that, according to the liner notes, she didn’t like at first. (“Hell no!” were her exact words, actually.) After the O’Connor track, though, LaVette and her band strut themselves right into the heart of Lucinda Williams’ “Joy,” with some improvised lyrics thrown in for good measure, just to make sure we all know who is in charge here. Dolly Parton’s “Little Sparrow” is plucked from the blue mountains of Kentucky and dropped onto the vacant streets of Detroit where it’s all pain. Same with Joan Armatrading’s “Down To Zero”, all anguish squeezed into three minutes. Aimee Mann’s “How Am I Different” on the other hand, is all confidence. Toni Bown’s “Only Time Will Tell” is switched to 70’s velvety funk complete with distorted electric piano and a wha-wha guitar lead. Closing out the record is her version of Fiona Apple’s “Sleep To Dream” which is done so well it’s laughable as she throws them at the song’s antagonist. LaVette doesn’t over-sing, doesn’t push herself through the notes like most of the self-conscious, spoiled little brats that are washing up on the music shores today. It just comes naturally. Luckily, the production is closed-in, making it seem as if this as was all recorded in a closet…otherwise known as “playing loud in a small room”. It only forces us to focus on her vocals and interpretation of each song. Producer Joe Henry lets the musicians fool around with the music and ends up getting some imaginative tricks down on tape. A quiet strand of feedback at the end of Rosanne Cash’s “On The Surface”, for example, or the creeping throb of “Little Sparrow” or the cold, thin chop of “Sleep To Dream” with its muffled drums and clickety-clack guitar parts. No, this isn’t yer standard soul/covers CD; this is inventive
funk ‘n ballads unlike anything else you’ll hear this year.
From the awesome black and gold minimalist cover art to the 100% VOCALS
syruping from the speakers, this is a victory in the making for Bettye
LaVette. This shit is genius…where have we been? - Andrew
Lau |
Bettye LaVette