As evidenced by her catalog, singer/songwriter
Mia Doi Todd
isn't one to deny her obsessions. From her early indie folk and chanson-tinged recordings in the late 20th century to her embrace of electronica and global traditions in this one, she's freely indulged influences, from
Joni Mitchell
and
Edith Piaf
to
Maria Bethania
,
Vashti Bunyan
, and
Flying Lotus
.
Songbook, Vol. 1
is her second consecutive covers album. It stands in stark contrast to 2014's gorgeous
Floresta
, a set of Brazilian tunes cut on location. This offering finds her on more familiar linguistic terrain and pays homage to early and contemporary inspirations. The album was recorded and mixed by
Todd
and husband/multi-instrumentalist
Jesse Peterson
, with engineering and keyboard assistance from
Money Mark
. Other cast members include drummer/percussionists
John Herndon
(
Tortoise
) and
Alberto Lopez
Jungle Fire
Quetzal
), longtime bassist
Gabe Noel
, guitarist
Aaron Zee
Jimmy Tamborello
Dntel
Postal Service
) on electronics, and
Inga
's
Sam Gendel
on saxophone.
The set opener is a fine cover of
Neil Young
's "Only Love Can Break Your Heart." Synth strings add a nice textural touch as the meld of strummed acoustic and wah-wah electric guitars seamlessly blends neo-psych and Caribbean sounds. There's a lilting read of
the Cure
's "Close to Me" with a muted alto saxophone solo hovering above fingerpicked electric guitars, xylophone, and
's shimmering keys. The dubby, rocksteady take on
Sandy Denny
's "Who Knows Where the Time Goes" is excellent.
allows her tender, emotionally resonant vocal to be carried by the music. Her version of
Elliott Smith
's "Between the Bars" reveals its roots in early-'60s rock and doo wop balladry. The slippery lounge jazz read of
Ned Doheny
's "A Love of Your Own" adds sultry, slinky electric piano and saxophone work to frame
's vocal, making it a set highlight. There are tracks that don't work, too. A trippy dubwise cover of
Prince
's "When Doves Cry" lacks focus and emotional punch. While there are many fine readings of
Townes Van Zandt
's "Pancho and Lefty," this isn't one of them. The
Ry Cooder-esque
blend of slide guitars and tropical rhythm comes off haphazardly, and
's singing sounds far removed from the haunting narrative. She couldn't leave
Mitchell
out of the mix, and this sweet, spacy, island reggae version of "The Circle Game" adds textural and dynamic dimension to the original, while showcasing her gifts as an interpretive singer. Unlike
offers mixed results. That said, its laid-back atmosphere and production suggest it wasn't supposed to be a creative breakthrough, but a celebration of great songs, and as such it succeeds. ~ Thom Jurek