by Mark Deming
Patty Griffin's third album, her first material to be released since 1998 (the absorption of her former label, A&M, in the Polygram-Universal merger left an album Griffin cut in 2000 in the vault, where it's sadly likely to stay), strikes a stylistic middle ground between the stark voice-and-guitar approach of her debut, Living With Ghosts, and the eclectic textures of Flaming Red. 1,000 Kisses was mostly recorded live in the studio with a small acoustic band, including Doug Lancio on guitar and mandolin, Brian Standefer on cello, Giles Reeves on vibraphone and percussion, and Michael Ramos on accordion; the feel of the performances is close and intimate, with the occasional cough or footfall audible in the background, and these sessions capture more than a bit of the cinéma vérité mood of Living With Ghosts. But if the album's production style is subtle, it's also a superb match for the material, and without forcing their hand, Griffin and the musicians can sway from the life-on-the-street swagger of &Chief& to the Latin romanticism of &Mil Besos& to the torchy late-night blues of &Tomorrow Night& without missing a step, finding a broad emotional spectrum in these low-key sessions. And while 1,000 Kisses finds Griffin blending covers in with her own compositions for the first time, she proves to be a first-rate interpretive singer (her version of Bruce Springsteen's &Stolen Car& actually improves on &the Boss&' original), and her own songs are splendid, especially the moving widow's lament &Making Pies& and the moody lead-off track &Rain.& And regardless of who wrote the material, Griffin's voice -- a tower of strength capable of expressing remarkable emotional vulnerability -- remains a wonder to behold. 1,000 Kisses finds Patty Griffin at the top of her game, and one can only hope we don't have to wait four years for the follow-up.