What is there to say of that unpredictable and unstable creature, the cover version? On one hand we have unparalleled stinkers from the likes of Atomic Kitten and their heinous ilk, songs that add nothing and detract so much from some once great tracks. Conversely, some of the most beautiful and anthemic songs in existence are covers and offer something that is unique and sometimes even superior to the original (Johnny Cash’s ‘Hurt’ being a fine example). What then can we expect from Twelve, the legendary Patti Smith’s latest studio album and one comprised entirely of covers?
Smith quickly lays to rest any fears there might be that she is past her prime. Her vocals are as good as they have ever been, strong and clear and evincing none of her 60 years. No problem there. The real interest lies in the tracks she has chosen and how she has executed them. In that respect, Twelve is a bit of a mixed bag. Two of her choices are favourites of mine: Jimi Hendrix’s ‘Are You Experienced?’ and Paul Simon’s ‘The Boy In The Bubble’. The first is a pleasant enough rendition, but her attempt to put a different spin on the dulcimer-based latter involves a rather strange cadence that is quite frustrating. Ultimately, both tracks leave you wishing you were listening to the originals instead.
Elsewhere, Smith comes out on top with a truly creepy version of Jefferson Airplane’s ‘White Rabbit’ (featuring Red Hot Chili Peppers bassist Flea) and a creditable rendition of Bob Dylan’s ‘Changing Of The Guards’. Her porch-style version of Nirvana’s ‘Smells Like Teen Spirit’ was always going to divide opinions. I personally rather like it; it’s very different, of course, but manages to capture some of the original’s frantic energy.
Twelve is ultimately let down by some uninspiring renditions of rather predictable covers. Tracks such as Tears For Fears’s ‘Everybody Wants To Rule The World’ and Stevie Wonder’s ‘Pastime Paradise’ aren’t unpleasant to listen to; they just have a habit of washing right over you without making much of an impression. There are no real horrors (á la Joss Stone’s ‘Fell In Love With A Boy’), but nor are there any ‘Hallelujah’s waiting quietly in the wings. The majority of the album simply fails to attract your attention and it’s over before you even realise. We’re a long way from the wild thrill of the seminal Horses. Twelve is not a particularly bad album, just a lacklustre and slightly disappointing one.
[SonyBMG; April 16, 2007]