Anyone familiar with the stories surrounding Judee Sill's near-mythological life and death know what an incredibly complicated, heartbreakingly short career this 1970s folk singer truly had. The first act signed to David Geffen's Asylum label in 1971, she put out two albums on Asylum -- “Judee Sill” and “Heart Food” -- in between struggling with personal demons and a heroin habit rumored, at one time, to cost her as much as $150 a day. Although Sill helped to popularize the “Laurel Canyon” sound made more famous by singer/songwriters like Joni Mitchell and James Taylor, she was never able to capitalize on her own success. Abandoning a third album for Asylum, she faded out of the music business, dying of an overdose in November, 1979.
Sill's albums were lost for years and years, although those people who knew them – most notably XTC's Andy Partridge – were never able to forget them. Partridge, who said that Sill “leaves the rest of them in the dirt,” told Uncut Magazine that Sill had more of an influence on his band's orchestral pop than anyone else. “The mood and sound on our later albums comes from hearing Judee Sill, the layered vocals and beautiful arrangements,” he wrote. “My music would have been very different but for her. If you're a fan of the more soulful, hymnal side of Brian Wilson then she is the female equivalent.”
Enter Rhino Handmade, the loving, lavishing force of recreation of Rhino Records. Last year, they released both of Sill's albums for Asylum as limited edition CDs. Digitally remastered and lovingly repackaged, these discs introduced a whole new generation (including yours truly) to Sill's music. Her arrangements (which she wrote herself, though she never learned to read music) were remarkably ahead of their time. Her look, which resembled an uptight schoolmarm more than a rock and roller, added a strange aura of both authenticity and discomfort to her songs.
And, oh! Those songs! “Jesus Was a Crossmaker,” Sill's biggest hit, has been covered by The Hollies and Warren Zevon. “The Kiss,” a stunning track from “Heart Food,” contains what must be one of the prettiest melodies in pop music. “Lopin' Along Thru the Cosmos,” my current favorite Sill song, contain lyrics that belie Sill's inner demons. Her multitracked vocals, surprising arrangements, and unusual phrasings make every song a stand-out track.
Fortunately, Warners has released both albums in a two-disc set. Complete with rareities and live tracks, “Complete Asylum Recordings” gives us everything we want: all those songs, all those melodies, and a message that somehow transcends Sill's personal anguish. This set is absolutely essential for anyone who appreciates smart, literate, and melodic songwriting. Even if James Taylor isn't your bag, you'll love Judee Sill. I promise. May she rest in peace. |