93 94 95 PLAYLIST Playlist Playlist Books Joan Shelley’s Gambetta and ‘Boutique Acoustics’ commanding McManus—flash explored and indie folk and substance explained MIXED MEDIA ALEXANDRA VALENTI Common Thread For the first time in 20 years, Shawn Colvin returns to the all-covers format BY PAT MORAN

hawn Colvin’s Uncovered is her second percolating acoustic urges the melody along wail of pedal-steel, lending Rafferty’s hard-luck S album of reverent, yet surprising, rendi- while her amber-hued alto caresses colorful heir- fantasy unexpected grit and gravitas. With tions of other writers’ material. What distin- loom phrases like, “I miss your little broken- massed strummed acoustics, Colvin’s lush, pro- guishes this collection from 1994’s Cover Girl is china voice.” The galloping “Private Universe,” pulsive take on Graham Nash’s “I Used to Be a Colvin’s stripped-down, acoustic-centered originally recorded by Crowded House, spirals off King” runs counter to the pared-back approach approach to these diverse tunes. As well as Colvin’s insistent taps on her guitar top, which on the rest of the album, recalling the layered being a tribute to a number of fine songsmiths, suggest the metronome of the human heart. production of 1970s Laurel Canyon pop. Uncovered serves as a reminder that Colvin The ragged-but-right clutter of ’s Prized for her distinctive, confessional song- started out as an acoustic guitarist. “Acadian Driftwood” is traded for minimal snare writing as well as her dusky, soaring vocals, Most of the cuts build on the solid backbone and winding mandola, turning an ambling nar- Colvin has never been shy to honor her influ- of Colvin’s strummed, plucked, and percussive rative into a folkloric quest. Similarly, the ences. On Uncovered, her folk-tinged grab bag Martins—a D-18 and her signature M3SC. Even bombast of Gerry Rafferty’s “Baker Street” is of favorites crosses genres but shares a common the most artfully arranged productions boast the tempered by Colvin’s hymnal harmonies with thread. It’s a pop collection that balances acces- unvarnished vitality of first takes and tossed-off David Crosby. Wisely, the original’s over-driven sibility with integrity, tunefulness with emo- demos. On Tom Waits’ “Hold On,” Colvin’s saxophone is traded for the far-off locomotive tional ballast.

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