Going swimmingly

From medieval minstrels to Vanity Fair poets, the appeal of a single voice conveying basic truths has endured for millenia. In America, folk music has often served as an antidote to overcooked pop music. Woody Guthrie and Pete Seeger offered a politically astute alternative after swing went stale. Joan Baez and Bob Dylan brought adult sentiments to popular music while rock wallowed in the prepackaged pubescence of Frankie and Annette.

Given the sorry state of pop in the 21st century, it would seem the time is ripe for a new folk explosion. The prevalence of young, hip singer-songwriters -- which include acoustic studs like Jack Johnson and sultry sirens like Norah Jones -- indicates listeners may be ready for music that hits a little deeper than the latest J-Lo/Ja Rule "duet."

If folkies do make a comeback, Palo Altans need look no further than their back yard to find the real deal. Allette Brooks, a Stanford graduate who avoided the temptations of dot-com greed, offers a fiery brand of folk that compares favorably to such mavericks as Ani DiFranco and Michelle Shocked.

The Palo Altan's third release, "Swim With Me" (2001), is an engaging collection of personal and political observations that avoid the serious sentimentality that often mars modern folk. When the writing and playing click, as on the relentlessly catchy "Okavango," the album leaves a remarkably strong impression for a small-scale indie effort. On the rare occasions where the writing falters (the topical "Rolling Blackout" and serio-comic "Same Room" probably work better in concert, where personality can overcome undercooked concepts), Brooks' good humor and spirited vocals still manage to carry the day.

Lyrically, Brooks fares best chronicling interpersonal relationships. Songs like "Firefly" and "Never Was" are eloquent in their straightforward simplicity, painting indelible images of lost loves and fond friendships. "Loverly," an adaptation of "Wouldn't it be Loverly" from Lerner and Lowe's "My Fair Lady," is an enjoyable left-turn that further separates Brooks from the coffeehouse club.

Centered around Brooks' acoustic guitar, the songs shift playfully from folk to pop to country. Just when it seems a song might grow overly precious, a well-timed harmonica blat or tasteful violin lick keeps matters on track.