For the last several years, the most sacred troubadours of folk have been open territory for imitation. When Sebadoh did an electrified, angry version of Nick Drake's "Pink Moon" in 1992, it was only slightly more surprising than the punk rock versions of Simon and Garfunkel songs.

The successful blending of 1960s and '70s folk/psychedelic with dance music is more recent; Aquamarine's remixes of former Soft Machine member Kevin Ayers's "Hymn" released last year, for instance. In the case of Beth Orton's debut record, melding these two genres is the linchpin of her development. Hers is the most natural combination of folk and electronica so far.

Adrenyl stimulating, hyped up dance music this is not. Still, an affinity for the bpm-culture is pretty pronounced on the first track of this Londoner's first record Trailer Park. Justifiably too, since Orton started her career with producer William Orbit and The Chemical Brothers with whom she did a song called "Alive Alone" on their first record and "Where Do I Begin?" on their latest. All moved in the same circles, mostly at a Heavenly Records club called Heavenly Social held on Sunday nights in a tiny pub in London where the Chemical Brothers used to spin.

Braced by electronica, the mix of Orton's acoustic guitar and vocals is at times a bit like Marianne Faithful sans the desolation and drug ravaged vocal chords. At other points such as "Live As You Dream" and "How Far," Carole King comes to mind.

"I suppose my background is really in dance music," says Orton who released a few records with William Orbit, notably a cover of folksinger John Martyn's song "Water From a Vine Leaf." Orton taught herself to play guitar. "I'm not brilliant," she says. "Good enought to write songs though." And good enough to create a distinct synthesis-dance music's bastard child.

Orton has a producer's sensibility- unique for a singer-songwriter type. Hearing her describe the album is like listening to an actor speak of their first film in the director's terms. Early work with producers and collaborative recording projects on which she had plenty of input is the reason for Orton's orientation toward this aspect of the recording process.

But there is another reason for this deliberateness in the recording. The body of songs is a full-on tribute to an obscure musician whose work grabbed Orton's fancy and held it firm from the moment she heard it. His name is Terry Callier -- an American jazz blues folk singer who is now a 60-year-old computer programmer.

"He's the most incredibly focused man. He doesn't believe in doing anything unless you're focused." The album The New Folk Sound of Terry Callier is the blueprint for the production of her record.

Orton wanted the songs on Trailer Park to sound as "clear and "sparse" as she thought Callier's recording was. "His voice just anchors you. You can leave the room and his voice will follow you. He's got a huge presence and huge intimate feeling to it."

To realize the ideal of "huge intimacy," Orton picked engineer Victor Van Vugt whom she knew from his work on Nick Cave records such as The Good Son. "He used to get a really good live sound. That's what I wanted, a really honest sound of what was in the room at the time. Very close but not claustrophobic."

Orton knows Van Vugt's engineering from their mutual work with the Tinder Sticks who recorded with a 17 piece ensemble. Through supporting the band, Orton met the string section whose playing is so integral to Trailer Park, especially to the keening effect on the first single "She Cries Your Name." (Look for this video created by Orton's friend Ellen Nolan.) The instrumentation on other songs like "Don't Need a Reason" grabs the heart strings and gently tugs.

Combine with the sophisticated production the heavy influence of Terry Callier, which is more than just imitative. Although you won't hear him on the record, the two started collaborating after Orton sent him a tape and an invitation to record with her. Reportedly, "he sat through the whole thing with his eyes closed and at the end he said 'yup whatever she wants to do.'" Carte blanche acceptance from an accomplished old timer is some of the highest praise anyone can get.

Orton christened the friendship by recording an EP with Callier (due out in August). Normally hermetic, he went all the way to England for three weeks where they recorded three songs together; One of his, one of hers and a cover of "Dolphins" by Fred Niel, "I just want everyone to hear his music. I can't believe so few people have. He's beautiful," she says. And so is she.

JENNIE RUGGLES