Essentials: Top 10 Shawn Colvin Songs

Shawn Colvin’s 2012 memoir ‘Diamond In The Rough’ (published by William Morrow) is a searingly honest account of the singer/songwriter’s struggle with personal relationships, mental health issues, depression, anxiety and alcoholism. It explains long gaps between recordings and gives some insight into the struggles to get yourself heard in the music industry. It is also a fascinating look behind the scenes at a recording history full of highs and lows. It is highly recommended reading.

Whilst this selection endeavours to dip into each of Colvin’s studio albums, hers is such a rich history of covers and collaborations that there are, inevitably, omissions. There is nothing here from 1994’s “Cover Girl” which means omitting a gorgeous version of Tom Waits’‘Ol’ 55’. Similarly, there is no room for the 2016 album made alongside Steve Earle. Apologies made, the selection below will hopefully showcase Colvin’s talent and consistency over a 35-year period.

Number 10: ‘I Don’t Know You’ from “All Fall Down” (2012)

“All Fall Down” is Colvin’s last studio album of original material. Co-written with Viktor Krauss, who features throughout the album on bass, the track also features sister Alison on harmony vocals and producer Buddy Miller on guitar.

Number 9: ‘Hold On’ from “Uncovered” (2015)

For many years, as a performer in clubs and bars, all Colvin did was play songs written by other artists. A few years after securing her first recording contract Colvin paid tribute to that starting point with 1994’s “Cover Girl” album. 21 years later, although by now primarily known as a composer of her own material, Colvin reunited with producer Steuart Smith to release a second compilation of covers. Amongst many highlights is this Kathleen Brennan/Tom Waits composition.

Number 8: ‘These Four Walls’ from “These Four Walls’”(2006)

Shawn Colvin first met John Leventhal in 1981 and started a partnership that Colvin was to reflect on in the sleeve notes to the album “I have known him half my life, he is part of me, and he is a bloody genius”. The whole album is dominated by Colvin/Leventhal co-writes and the title track sees Colvin adopting the point of view of somebody nearing the end of her life looking back with appreciation and wistful sentiment. It is a relatively pared-back, acoustic number compared to much of the album but showcases perfectly the emotion Colvin can wring out of a vocal.

Number 7: ‘Whole New You’ from “Whole New You” (2001)

“Whole New You” was released in March 2001. In Colvin’s own words “It tanked. What a difference four years made (after the success of ‘A Few Small Repairs’). Nobody bought it; hardly anybody heard it. The climate of hit radio had changed completely, and the abundant promo opportunities offered before by Columbia were close to non-existent. It had been too long – five years – since the previous hit record, and the people at Columbia felt the material was not going to be radio-worthy”. It was a very bitter pill for Colvin who, over the course of the next year, fired her manager, left Columbia, bought a new house and got divorced. Absolutely nothing wrong with this title track though.

Number 6: ‘I Don’t Know Why’ from “Fat City” (1992)

This gorgeous Grammy-nominated track was all Colvin’s own work. Simply, a beautiful song sung with all the emotion that Colvin can wring from a lyric. “But if there were no music, then I would not get through, I don’t know why I know these things, but I do”.

Number 5: ‘Suicide Alley’ from “A Few Small Repairs” (1996)

In 1994 Colvin and Leventhal hadn’t worked together for five years. Colvin recalled that the tension that existed between them on the back of a romantic break-up was now replaced by a natural friendship that led to a much more relaxed and fun working relationship. That the Grammy-nominated “A Few Small Repairs” was the result of this collaboration seems to prove that particular point. ‘Suicide Alley’ wasn’t one of the album’s high-profile tracks but has a killer drum groove and the memorable lyric that, perhaps, alludes to her mental health struggles “You know I wasn’t born I was spat out at a wall, And nobody even knew my name. The sun hatched me out, cradle and all, On the corner of first and insane”.

 Number 4: ‘Round Of Blues from “Fat City” (1992)

‘Fat City’ was Colvin’s second album and has a serious claim to be her finest. If “A Few Small Repairs” is the one for which she is best known then it shouldn’t be overlooked that “Fat City” also received a Grammy nomination. Tellingly, this was her second album nomination in the Folk category while by the time that more famous follow-up hit the shops she had been shifted to Pop. Ironically, it could be argued that “Fat City” is chock full of more radio-friendly tracks than “Repairs”. ‘Round Of Blues’ is just one of many.

Number 3: ‘American Jerusalem’ from “All Fall Down” (2012)

Colvin doesn’t restrict her covers to dedicated albums. Of all those marvellous interpretations she has performed surely nothing can better this sublime cover of Rod MacDonald’s 1983 release. Featuring Emmylou Harris on harmonies. Colvin recalls this as a favourite from her pre-recording contract days in clubs and bars. It took her a mighty long time to get it recorded but it was worth the wait.

Number 2: ‘Shotgun Down The Avalanche’ from “Steady On” (1989)

Amongst all the early album nominations it was only Colvin’s debut ‘Steady On’ that actually won that accolade of a Grammy. Another co-write with Leventhal this track was one of the first they wrote together and helped kick-start that majestic musical marriage. This live version has the added treat of featuring the aforementioned Alison Krauss. A re-recorded, 30^th anniversary, stripped down version of the album was released in 2019.

 Number 1: ‘Sunny Came Home’ from “A Few Small Repairs” (1996)

“’Sunny Came Home didn’t start as the story of a tortured housewife’s revenge. Originally I called it ’40 Red Men’, a clever way, I thought, to talk about my daily loathsome habit of smoking two packs of Marlboro cigarettes. Needless to say, ‘forty red men’ didn’t sing very well and, as my A&R man said “I don’t think anyone is going to care about forty red men. Besides, it sounds like you’re referring to Native Americans, and then you’ll be in a world of shit”. So Colvin had to back up, rewrite the song and, inspired by the album art she had already selected, a painting by her friend, Julie Speed, the song took on a very different theme. Despite the quality of what had come before it is the song that first introduced many to the work of Shawn Colvin and, though they may not have known it at the time, the Colvin/Leventhal partnership operating at its peak.