Sandpaper dipped in sorghum
Bettye LaVette back with a masterpiece
René Spencer Saller
Oct 5, 2005 14:19 PM
As everyone from Homer to Oprah can
attest, people love comeback stories, the heartwarming testimonials
of odds-beaters and fate-cheaters, the inspirational tales of
prodigal sons and hard-luck daughters. To call I’ve Got My Own Hell to Raise a comeback album might make for a better story, but
it wouldn’t be accurate. Bettye LaVette, the 59-year-old
singer responsible for this masterpiece, never went away; we just
stopped paying attention to her. In 2004, when her previous
full-length won a prestigious blues award, she relayed the news on
her Web site thusly: “And of course, you must also know that
after all these years, I have won a W.C. Handy Award. Yep. Won for
Best Comeback Album of the Year. But I know it is strictly due to
you, my fans, that I have been able to hold on until THEY
‘came back’ and acknowledged me.”
LaVette’s tone — sardonic,
stubborn, self-assured — is perfectly consistent with her
vocal style and, one suspects, her character.
Born in Muskegon, Mich., and reared in
Detroit, LaVette (née Betty Haskin) came of age just as the
Motor City’s music scene was about to explode nationally. At
16, she scored a Top 10 hit on the R&B charts with “My
Man — He’s a Loving Man.” Although she continued
to perform and record over the next four decades, she never tasted
that much success again. Whether her commercial misfortune was a
result of the idiocy and corruption of the industry or of what
LaVette calls her own “buzzard luck” is impossible to
say. Whatever the case, I’ve Got
My Own Hell to Raise, a
collection of 10 tracks written by an eclectic assortment of female
songwriters, is proof that adversity just makes some talents burn
brighter.
Sympathetically produced by LA
singer/songwriter Joe Henry, who also worked with Solomon Burke on
the critically acclaimed 2002 release Don’t
Give Up on Me, LaVette’s
new CD is the quintessence of soul — an achievement all the more
remarkable for the fact that none of the songs, strictly speaking,
began as a soul song. The opening cut, an a cappella rendition of
Sinead O’Connor’s “I Do Not Want What I Haven’t
Got,” transforms the dreamy Irish air into a gritty Southern
spiritual; the closing track, a cover of Fiona Apple’s
“Sleep to Dream,” strips away the original’s
chamber-pop eccentricities to expose its bluesy guts. Between these
stellar bookends, LaVette subjects equally unlikely songs to her
interpretive alchemy: There’s “Joy,” written by
alt-country priestess Lucinda Williams; “Down to Zero,” by
British folk iconoclast Joan Armatrading; “How Am I
Different,” co-written by pop classicist Aimee Mann ; and
“The High Road,” by Leonard Cohen collaborator Sharon
Robinson, the only song on the disc written expressly for LaVette.
Picking out highlights from an album so
consistently brilliant is a fool’s endeavor, but under duress
I’d probably choose the obscure country weeper “Just
Say So,” a minimalist cri de
coeur worthy of Otis Redding; and
Dolly Parton’s “Little Sparrow,” a feminist
cautionary tale that’s funky, sinister, and improbably sexy.
Due credit must be given to the backing musicians (including former
Prince sidekick Lisa Coleman on keyboards and Eric Clapton
accomplice Doyle Bramhall II on electric guitar), who follow
LaVette’s unconventional phrasing with discretion and verve,
whether it’s on a down-and-dirty roadhouse shuffle or a
delicate, arpeggio-laced ballad. The guitars swing and sting; the
upright bass burbles and burns; the organs boomerang from juke
joint to church. The real wonder, though, is LaVette’s
hardship-honed voice, a raspy alto that’s like sandpaper
dipped in sorghum. Does she extract the soul from these songs or
impose it? Who knows? Whatever she’s doing, it’s magic.