Review by LarryG
3 stars out of 4
On Sweet Relief, musicians recorded Victoria Williams' songs.
The proceeds went towards paying medical bills for Williams, who has
multiple sclerosis. The record was for a good cause and it also was a
good introduction, to a wider audience, of one of the most interesting
writers around. Sweet Relief also was a very good showcase for a group
of singer songwriters, mostly good writers in their own right.
Williams' own records are worth checking out but it's nice, on Sweet
Relief, to hear Williams' very good songs without her sometimes
distracting girlish singing, vocal idiosyncracies and often meandering
arrangements.
Most of the performers on Sweet Relief showed respect for
Williams' songs but made them their own. Eddie Vedder's typical
intensity is appropriate on Pearl Jam's solemn version of Crazy Mary.
He clearly shares Williams' empathy for the title character who lives
a sad life and is bound for a sad end. Maria McKee, whose material
often hasn't been as good as her voice, shares Williams' sunny world
view. Benmont Tench joyful piano matches McKee's soaring vocals on
Opelousas(Sweet Relief), Williams' song about finding joy in all
things. Soul Asylum, who haven't know what to do since the surprise
success of Runaway Train and also haven't written songs worthy of
their skills as performers, do a good job with Summer of Drugs. Dave
Pirner's gritty, wry vocals(with the Jayhawks having fun on backing
vocals) work on Williams' cheeky song about kids "too young to be
hippies" and have a cause so they just do a lot of drugs. Michael
Penn's typical stark, atmospheric music, with its simple, banging
drum, works well on Weeds, Williams' story of finding beauty in the
mundane. Everything Lou Reed does sounds like Lou Reed but Tarbelly
and Featherfoot is a fun, loose version of a colorful song which ends
with a woman flying away from an unworthy man. Accompanied only by his
acoustic guitar, Evan Dando finds real poignancy in Frying Pan.
The songs that aren't transcendent are still likable. Lucinda
Williams is sometimes a little stiff on her own excellent songs, and
she also is Victoria's memory song Main Road. Her solid, well made
version still does it justice. Buffalo Tom's garage rock version of
Merry Go Round is slight but fun. This Moment finds Matthew Sweet in
sincere mode on a nice psychedelic country version of This Moment.
Mike Scott of the Waterboys shares Williams' tendency to get a little
cutesy. His Why Look at the Moon is silly, but fun. The Jayhawks,
whose co-leader Mark Olson married Williams and later left the band to
make music with her, lend their sincere integrity to a solid version
of Lights. My least favorite song is Michelle Shocked's gospel version
of Holy Spirit which, like much of her work, strikes me as pretentious
and humorless.
Luckily, Victoria Williams has been well enough to put out more
records since Sweet Relief. Williams has a great spirit and a unique,
always interesting, writing perspective. Even without the good cause,
Sweet Relief is worth buying. It's filled with very good, distinctive
songs given very fine presentations. The second Sweet Relief record,
with a similarly star studded group doing Vic Chestnut's very good
songs, is also recommended.
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