Twelve is Patti Smith’s most recent studio album and of her ten proper solo albums, it is one of her most pleasing offerings. Smith has often been lauded for her interpretive abilities when covering other artists’ work, either in the studio or onstage, so it was no real surprise to me when this record turned up a few years ago. What was a surprise to me, however, was how easily Smith made these songs fit her style of delivery and how quickly I forgot who the original artist that recorded some of these songs was.
It goes (almost) without saying that Twelve consists of twelve songs by some of Smith’s favorite writers and a couple of what at first seem random selections (a faithful rendition of “Everybody Wants To Rule The World” is the most surprising inclusion here) but have much in common both in theme and feeling of the rest of the material here. Smith was determined to choose these songs predominately by their lyrical content, and it’s here that a common thread appears, linking these gems together seamlessly.
Supported brilliantly by her road band, Smith tackles these songs with vigor and soul. Her take on The Stones’ classic “Gimme Shelter” is a prime example of that, featuring one of her more stirring performances on the record. Equally effective but more relaxed is her reading of The Doors’ “Soul Kitchen,” in which Patti finds room to breathe new life into. Smith changes pace again for a beautifully melancholic delivery of Neil Young’s “Helpless” that is easily the record’s most tender moment, and a much needed one at that. 
Smith’s versatility as a singer is so prominent through this album that it still rewards this listener after countless plays of her simmering take on Hendrix’ “Are You Experienced?” and her down-and-out drawl on The Allman Brothers’ “Midnight Rider.” Smith then offers an enchanting but poignant delivery of Stevie Wonder’s “Pastime Paradise” that is more stripped back and focused than Wonder’s grand original. Another odd selection is Jefferson Airplane’s “White Rabbit”, but Patti’s spaced-out performance is on a par with Grace Slick’s and although I will always prefer the original (as with most songs here), it still offers a new twist to an old gem.
Not afraid to tackle the big guns, Smith gives The Beatles’ “Within You Without You” a superb reading as the band finds a comfortable fit without ever imitating their idols; it’s a fine line to walk, but they pull it off very well indeed. Possibly Smith’s biggest idol is of course Bob Dylan, whose work Patti became enchanted with in the ‘60s.
So while it certainly was not a surprise to see Smith had covered a Dylan song here, it was a curious choice in my mind. “Changing Of The Guards” (from Dylan’s polarizing Street Legal) is not the easiest fit for Smith, or any singer for that matter. Dylan’s original is a long, rambling noisy affair that he sneers and howls his way over. Again, though, Twelve was lyrically driven and it is a perfect fit in that sense, but it is the one song on the record that I wish wasn’t here because it just isn’t in the same class as its companions.
Faring much better is a straightforward romp through Paul Simon’s “The Boy In The Bubble,” which for some reason is one of two covers here that I actually prefer to the originals. The other one of these may sound a little strange, but then again I was never fan of Nirvana or grunge in general. Yep, by far the best and most radically reworked song on Twelve is the glorious “Smells Like Teen Spirit.” The arrangement is dark and slightly haunting, as is Patti’s remarkable delivery. Not only does Smith tap into the song’s psyche with an unnerving ease, but she somehow makes it a more macabre experience than it already was.
It really is stunning. Along with 2004’s Trampin’, Twelve represents the best of Smith’s work from the last twenty-odd years.