Various Artists - To: Elliott From: Portland

Reviewed by david

Three years have passed since Elliott Smith (apparently) took his own life and exited this world, leaving a gap in the independent music scene that has yet to be filled. His knack for penning gorgeously honest odes to life and all that comes with it was uncanny, and rarely, if ever, did he come across as pretentious in his craft. As one of the most deservingly celebrated songwriters of the past decade, Smith was bound to have a tribute album bearing his name eventually, and now it's here, delivered by 15 of the brightest groups Portland has to offer. Some of the artists you're undoubtedly familiar with--The Decemberists, The Helio Sequence, The Thermals, Swords...but you've probably never heard of Knock-Knock, Sexton Blake, We Are Telephone or Crosstide unless you just happen to be exceptionally well-versed in the music scene of the Pacific Northwest. Obviously, tribute albums aren't the easiest to master; you either have to tinker around and re-interpret the song within your own style or you attempt a precise cover. The difficulty comes in re-creating the original song so that it not only sounds fresh, but maintains the spirit of the original, so as to not disrespect the creator, nor to alienate said creator's long-time fans. It's not an easy task, as 2005's This Bird Has Flown (Beatles tribute) proved, and To:Elliott From: Portland demonstrates that for every impressive take, there are a handful that don't make the cut. The selection covers most of Elliott's career (save for Roman Candle), with the most obvious tracks, "Needle in the Hay" and "Between the Bars," making appearances courtesy of Eric Matthews and Amelia, respectively. Colin Meloy and pals take a shot at "Clementine," ultimately making it believable as one of their own. The majority of the disc, though, just doesn't hit the spot. Kathy Foster's vocals simply just don't work when The Thermals attempt "Ballad of Big Nothing," and while Swords do a decent job of "I Didn't Understand," it's attributed to the fact of sticking more to the original than straying into experimental waters--or, playing it safe. Crosstide gives "Angeles" a laptop-pop makeover, which isn't necessarily bad...but the urgent yearning of Elliott's version is entirely lost. Portland duo The Lifesavas boldy turn "Happiness" into a charming hip hop number, adding in their own rapped verses. We Are Telephone pick up the highly underrated "Division Day," but unfortunately follow the track's regular formula. Those who come closest to nailing it--Jeff Trott's beautiful reproduction of "Wouldn't Mama Be Proud" and Sexton Blake's "Rose Parade," are instantly recognizable, and though neither fiddles with expansion, the two are the closest to Elliott in spirit. The bottom line--Elliott Smith's emotion was most easily conveyed in the nervous wavering of his vocals, as he often seemed on the verge of a breakdown; few of these renditions capture the essence of the originals. Smith was an artist you didn't simply listen to; you became enveloped in the songs, attaching them to yourself. It's difficult to hear anyone but Smith himself doing these songs, as he transcended comparisons to most everyone. Still, some of them are fairly interesting, and the tribute itself is, of course, an honorable deed done in the highest respects towards Smith. And it's worth mentioning that 10% of the proceeds go towards the Elliott Smith Foundation charity, Free Arts for Abused Children. Overall, it's not bad for a couple spins, but that's it. [www.sweetadeline.net]

Jan 31 2006