CHUD Album of the Month: Patty Griffin and the Dismemberment Plan

I went through about 20 potential titles for this, but ultimately decided on two that aren't necessarily obscure, but are probably new to at least some of you.


Patty Griffin - Impossible Dream

It was tough to pick an album of Griffin's that would both represent her work adequately and go over with a crowd with diverse tastes. This difficulty probably has as much to do with the albums' individual weaknesses as their strengths, but Griffin so frequently captures lightning in a bottle that she deserves more exposure outside of the NPR and commercial country audiences that have embraced her songs (either performed by her or by artists with more commercial clout, like the Dixie Chicks and Miranda Lambert). In fact, she occupies a strange place in that she's probably best known for her songwriting, yet has a powerful, soulful voice that's at least as strong as the voices of those who have given her songs greater exposure.

I don't think Griffin has yet recorded her definitive album; as an artist who's constantly tweaking her style, there's a sort of unfinished air to most of her recent work, yet the scope of her sound as it stands now can make her early albums (which are probably more tonally consistent) come off like the work of an artist-in-progress. Still, if there's not a single classic one among them, there's not a bad one among them, either.

Anyway, I chose Impossible Dream (2004) for a few reasons:

• Griffin's a terrific storyteller and, like late 70s/early 80s Springsteen (whom she's covered), she manages to get her characters across using spare, minimal language. "Mother of God," "Top of the World," and "Florida" are prime examples.
• If you're more into music than lyrics, this may be her most impressive album from a technical standpoint - especially vocally. The gospel-inflected tunes on here are, to be honest, not the best songs she's ever written, but she makes them work through sheer soulfulness. This also continues her move away from acoustic guitar-oriented pop (although this style still makes some notable appearances, such as on "Useless Desires") toward more piano and atmospherics.
• I have the fewest reservations about recommending this one to neophytes. Her debut, Living With Ghosts, is an all-acoustic affair that might not appeal to the more technically-inclined, Flaming Red is chock full of great songs (including some lively, convincing rockers - she seems to have largely phased this style out, which is a shame) but dated by overproduction, 1000 Kisses includes a couple of her greatest story-songs but ultimately seems too slight, and Children Running Through is a bit like Impossible Dream, but doesn't quite have the same highs. The likeliest choice might have been her "lost" album, Silver Bell, which includes some of the best songs that ultimately ended up on 1000 Kisses and Impossible Dream and a couple of her best forays into outright rock... but it was never officially released. Because her label was dumb.

The Dismemberment Plan - Emergency & I
I know some of you have heard this one before (there's even an old thread on it), but I suspect some of you haven't, and everyone should. I also imagine this album will be more of a slam-dunk than Impossible Dream for most, but you never know...

Indie rock has its great musical experimenters and its great storytellers, but technical achievement and innovation are seldom fused with a keen sense of empathy and wit as effectively as on Emergency & I (1999). The Dismemberment Plan screws around with angular white-boy funk, dance-defying time signature experiments and tempos, and Brainiac-inspired skronk-punk, but maintains an approachable pop sensibility throughout. On top of this stew, Travis Morrison hits on nostalgia, memory, friendship, depression, and separation using a staggering array of metaphors and narrative frameworks (a nuclear emergency, a memory machine, and a Twilight Zone-esque story about an invitation all play their parts).

IMO, the peak comes a little over halfway through with the three-song attack of "You Are Invited," "Gyroscope," and "The City," but the whole thing is just amazingly strong and, thanks to some understated production by J. Robbins (Jawbox, Burning Airlines) and Chad Clark that reliably captures the band's live sound, it sounds as new today as it did 10 years ago.

Too predictable coming from me, but I highly urge everyone to listen to that one. Consider it the extra credit assignment.

Never caught those. Which Wire and America songs?

Harris and Griffin are huge mutual fans, actually. Harris has covered her songs and guests on Children Running Through. She's been hyping Griffin in interviews for years, and they apparently toured together a few years ago.

Some friends of mine are big fans, but I haven't listened to her. I'll have to give her a try.

You might like Dismemberment Plan's follow-up and final album, Change, which is a lot heavier on the aspects of the band that you seem more taken with. The songs are more earnest and less jagged, and Morrison out-and-out sings a little more, which leads to a greater emphasis on melody. A few songs even betray a slight old-school R&B sensibility (check out the bassline on "Superpowers").

Weirder still that I've been listening to this album for a decade and never noticed that before. Good catch.

I've heard a song or two, I think, but that's all. Any particular albums I should hear?

I'm mostly familiar with Harris as an interpreter (and duet partner with Gram Parsons, of course) rather than as a songwriter. The only 70s album I have by her is Elite Hotel, which is great, but all covers. And the same goes for the more recent stuff I know. The album of hers I've probably listened to the most is The Western Wall (with Linda Ronstadt), which is almost all covers - including a Patty Griffin song, in fact. It's fantastic, though - I considered it as a pick.

One thing to keep in mind about Griffin is that she comes by her country-ness from a distance (unlike Parton and Harris, but like Ronstadt). She's a New Englander by birth, not a southerner, and I suspect she's got more Springsteen and Dylan in her musical DNA than Hank Williams or even Gram Parsons.

If you go through her albums, you'll probably find that she could just as easily have ended up writing pop hits for Kelly Clarkson (who apparently covered Griffin on American Idol) as the Dixie Chicks and Harris. She's settled into a country/gospel kind of sound, but I think she's got as much in common with pop singer-songwriters of geographically indeterminate origins (for instance, I remember her touring with Freedy Johnston and Shawn Colvin in the 90s, and that lineup - especially Johnston and Griffin - made a lot of sense at the time). You can really hear this side of her on Flaming Red.

That said, her debut's a lot more raw - but in a Nebraska way, not a Sweetheart of the Rodeo way.

Haven't heard yet, but probably will by next week. My understanding is that it emphasizes her gospel side, which isn't really my favorite aspect of her work, but I'm sure it'll be good, at least.