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a r t i s t : Judee Sill
t i t l e : Dreams Come True
d a t e : 2005
l a b e l : Water (water140)
g e n r e : Folk
r l s. d a t e : November/2005
t r a c k s : 20
b i t r a t e : VBRkbps
s i z e : 87,4 MB
_______________________________________________________________________
Ripper's note: The album is subtitled "Hi - I Love You Right
Heartily Here - New Songs." Disc 2 is titled "Lost Songs."
The beautiful 72-page booklet included with this set is
unfortunately unscannable and is therefore not included. Disc 2
also has a 12-minute 5-song live Quicktime video, again not
included with this release.
Enjoy.
From William S. Fields, Stylus magazine:
Re-appraisals of "lost" recordings by overlooked artists
routinely evoke the "ahead of their time" genius narrative and,
on an infrequent basis, the conceit may apply. Here, to the
music's credit and listener's benefit, it does not. Sill was
very much of her time (and I refuse to use the "G" word, which
serves only to incite reverence but describes very little of
the music or the musician themselves). While the industry
sustains itself increasingly on the packaging and re-packaging
of proven quick-sale Wal-Mart music it trammels over the larger
part of the musical conversation and some years down the road
we're left with a very distorted chart-centric view of the
musical past, populated by over-compartmentalized caricatures.
In light of this, I find every re-issue, every alert announcing
some forgotten also-ran talent to be like adding additional
rooms onto the house I plan to retire to. You may not love all
rooms equally, but even the swankest one-room loft can prove
oppressive over time (not that I would know on either count).
Dreams Come True is presumably the final installation in a
series of re-releases of Sill's material by the small San
Francisco label "4 Men With Beards/Water Records" (limited
edition releases have also been collected by Rhino Handmade)-a
gorgeously packaged 2 disc set including the complete re-mixed,
mastered material from the unfinished recordings that would
have been the follow-up to 1973's critically-enjoyed,
commercially passed-over Heart Food. The second disc is
reserved for unreleased home recordings and rarities (of
varying quality and of more interest to the collector and fan
than the uninitiated listener) and a 12 minute, five song live
video clip including a delicately restored video recording of a
1973 University of Southern California performance.
After building a reputation as a songwriter and performer
(partly based on the penning of a couple of mid-level hits for
The Turtles) Judee Sill was among the first artists (along with
Joni Mitchell and Carole King) signed to David Geffen's then
newly formed Asylum label. Sill released two under-selling
records (1971's Judee Sill and 1973's Heart Food), allegedly
under-promoted by David Geffen after Sill publicly insulted
Geffen's pink shoes (another less flattering version has her
directly gay-bashing Geffen onstage across Europe). Following a
car accident and a series of excruciating semi-failed back
surgeries, Sill began work on the third record at Michael
Nesmith's studio (these sessions) and, shortly after
Thanksgiving, died of a drug overdose at age 35.
Like other dead people who chance to express themselves in
song, Sill's myth grows grand and tall in print; but few other
such passed over passed-on artists leave a legacy of so much
ready-made mythical material for friends and biographers to
sculpt. Based on the testaments of her friends, lovers and
peers, Sill was the most colorful sort of Aquarian casualty, a
black-powder flash of un-tempered, aggressive energy,
frightening multi-tentacled talent and sexuality of the sort
you had to either oppose or allow to enwrap you completely. Out
of a background of alleged sexual abuse, poverty, teenage
institutionalization, felony (a 16 year-old arrest for armed
robbery), and homelessness, Sill remade herself for a brief
time into a Laurel Canyon local legend as a prodigious, Bach-
influenced songwriter and multi-instrumentalist with the most
seductive of Goddess complexes. This record's lovingly packaged
accompanying 72-page oral history memorializes Sill in a doomed
embroidery populated with the ghosts of Rosicrucian fellowships
and other mystical mongrelisms, the musical revelations of
Sister Rosetta Tharp, Bach and Mahler, Pythagorean intervallic
worship, oil-money trust funds, seaside peyote picnics, a
muscular hallucinogenic appetite, exotic reptile importing
siblings, indiscrete bisexual trysting, near-fatal auto
accidents with Danny Kaye, Madame Blavatsky, violent
relationships, an electronic bypass apparatus designed to
bridge Judee's ill-healed broken spine, Geffen's pink shoes,
long-term heroin addiction, Bill Plummer's Cosmic Brotherhood,
and a parakeet named Celine.
If the dark, absurdly storied (and somewhat debated) mythology
painted in "Journal" (the essays and interviews that come with
Dreams Come True) serves to compel listeners to attend to
Sill's music, let it all stand un-challenged.
Sill's three released full-length records are remarkable for
their assured evenness, their ability to truly and successfully
assimilate Bach studies into the languid, swinging faux-country
pastoralisms of her scene. Disc One's complete recordings and
studio demos for the Dreams Come True session are uniformly,
subtly strong. There is no weak track. Within an era and
stylistic context given to weighty confessional song cycles
dour with nothing more than lost love, Dreams Come True
maintains an inexplicable (but not vapid) brightness during a
period of near-constant physical pain and exhaustion related to
her spinal injuries and the psychic skid mark narcotic-wear
from her many years of drug abuse. Every song feels natural and
unforced, every song remains structurally unpredictable.
Whether or not the unfinished tracks may have benefited from
the arrangements present on her other two records, the warm,
round openness of the four-piece recordings as they stand now
serves the collection well and the complete corpus of her work
even better. Bill Plummer's original 16-track session tapes
were restored lovingly by mastering engineer Gary Hobish and
mixed by "self-professed Judee Sill fanatic" Jim O'Rourke
(dusting for prints should reveal Sill's marks all over
O'Rourke's "Insignificance" and his "Loose Fur" collaboration
with Wilco's Jeff Tweedy). On no other recording is the baroque
influence on this light jazz-infused acoustic pop more relevant
and less heavy-handed. Sill's under-inflected subtle vocal
twang and southern church choir backups are left to shine as
she brightly admits "Now I'm over, I turned me in."
_______________________________________________________________________
Disc 1
01-That's The Spirit [04:18]
02-I'm Over [03:39]
03-Apocalypse Express [02:49]
04-The Living End [03:02]
05-Things Are Lookin' Up [03:17]
06-The Good Ship Omega [03:28]
07-Last Resort [02:34]
08-Til Dreams Come True [03:30]
09-Living End (Studio Demo) [04:08]
10-I'm Over (Studio Demo) [04:21]
11-Til Dreams Come True (Instrumental) (Studio Demo) [03:25]
Disc 2
01-Dead Time Bummer Blues [02:31]
02-Sunny Side Up Luck [05:06]
03-Emerald River Dance (Home Recording) [03:11]
04-Waterfall [03:09]
05-North County [03:13]
06-Farmer's Daughter (The Chickens In The Garden) [01:10]
07-The Wreck Of The FFV (Fast Flying Vestibule) [03:13]
08-500 Miles [02:02]
09-Oh Boy The Magician (Instrumental) (Home Demo) [05:11]
-------
67:17 min