I stumbled across a
blog-entry this morning which claimed that Lucinda Williams' self-titled 1988 album is presently unavailable in any format – CD, LP, even download. I had a hard time believing this could be true, until I checked around.
I tried Amazon; you can get it used there, but as for new copies, it's tagged, "This item has been discontinued by the manufacturer." I went to eMusic, a download service specializing in independent-label music (the album was last available on the large indie Koch), but nothing doing. Fine, I figured, at least iTunes
must have it; they have pretty much everything of significance involving major and semi-major artists (which Lucinda clearly has become, over the past couple decades). They've got
Little Honey, and
Essence, and
Car Wheels, and
West, and
Sweet Old World, and
World Without Tears, and even her circa-1980 discs
Ramblin' and
Happy Woman Blues....but '88's
Lucinda Williams? Nada.
This is unfathomably stupid.
(Or, well, maybe not so stupid, as it turns out -- see Eugene's comment below for notes about an apparently upcoming reissue.)
Which is not meant as a slam against Koch, or any of the other various labels that have had the rights to this disc over the years (and there have been a few, as I recall). It's understood at this point that record labels are going to fluctuate and/or fall by the wayside as fast and as frequently as, well, as
music magazines anymore.
But somehow, some way, this album absolutely has to be kept in circulation. We're not just talking about a random early work of a later-to-be-revered songwriter. No, the self-titled Lucinda Williams album is, quite plainly, the next-generation equivalent of Carole King's 1971 masterpiece
Tapestry.
And by that I mean, in addition to being a terrific "songwriter's songwriter" record fully in its own right, it also proved its worth, and its influence, over the years via the cover versions that were recorded of not just a handful of its songs, but
almost every single one of them. (The only tune on the record which, to the best of my knowledge, has not been covered is "Like A Rose".)
Indeed, a few years ago I compiled my own separate "tribute" version of this album using tracks that already exist. And it's a far-from-shabby assortment of artists, to be sure. Here's how it plays (with the links, you can get a sonic sense of it, or perhaps build your own):
1.
I Just Wanted To See You So Bad – Joy Lynn White
2.
The Night’s Too Long – Patty Loveless
3.
Abandoned – Linda Thompson
4.
Big Red Sun Blues – Johnny Rodriguez
5.
Like A Rose – Lucinda Williams (one from the original album, for context)
6.
Changed The Locks – Tom Petty
7.
Passionate Kisses – Mary Chapin Carpenter
8.
Am I Too Blue – Tres Chicas
9.
Crescent City – Emmylou Harris
10.
Side Of The Road – Ben Folds
11.
Price To Pay – Tim & Mollie O’Brien
12.
I Asked For Water – Howlin’ Wolf (the album's lone cover; makes sense to go back to the source)
There are other options, too. The first band to cover "Side Of The Road" was actually the Schramms, on an
early '90s album; Lucinda has sometimes plugged their version from the stage in her own shows. Lucinda acolyte Kasey Chambers, in her days with her family's Dead Ringer Band, sang the album's
leadoff track; later on, she performed
"Changed The Locks" on Austin City Limits. The latter song landed on a Tom Petty record in a roundabout way stemming from the
Silos' 1994 cover (after a brief pass through Johnny Cash's camp which never resulted in a version being recorded). Mollie O'Brien, in addition to doing "Price To Pay" with her brother Tim, also recorded a rather nice version of
"Big Red Sun Blues". And you could swap out her "Price To Pay" for the rendition by Canadian roots band
Prairie Oyster. (There are, no doubt, others out there too; certainly live takes, as I've heard many artists cover some of these songs onstage over the years, but also probably other studio versions as well. As a matter of fact, just right this very minute I came across a rather trippy Mazzy Star-ish YouTube take on
"Like A Rose".)
So. I don't care how it happens. Nevermind the imminent demise of the entire industry of music (and media, and publishing, and photography, and everything else that can be digitized and summarily devalued). Just, somehow or other, let's not forget about this record in midst of it all. It deserves better than that.
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