After years of turning standards inside out and singing the hell out of pop tunes with a jazzy angle, Holly Cole releases an all-out pop release with dark, dear results.
The overall feel is "moody"...how fitting that Holly recently said in an interview that her favorite color is "dark." Songs like the country-tinged "Dark Dear Heart" and the Sade-esque "Hold On" are intense, consuming listens that boast stellar musicianship and Holly's specialty, an understated vocal. You can still be dark and have rhythm, though, as she proves on the Sheryl Crow-penned "You Want More" and the slinky, David Piltch co-write gem "World Seems to Come and Go." These standouts, while still midtempo, have rhythms that inspire toe-tapping without compromising any of the emotion and depth Holly brings to all of her performances.
"Make it Go Away" is a gorgeous ballad perfectly suited to her voice, and "Onion Girl" is one of the finest pop/rock ballads of recent years; the latter's success as a single should have been no surprise to anyone. But where are those covers Holly is so well known for...the kind that are so personalized, you often don't even recognize them at first? The Beatles' "I've Just Seen a Face" and Joni Mitchell's "River" are ordained into Cole's realm of classics given freah new leases on life, not only two of Holly's strongest renditions but two of the finest remakes ever. That she is able to take classic songs by such high-profile acts as the Fab Four and Mitchell prove what a gifted interpreter she is.
Some fans were up in arms at this album's release, longing for the days when Holly sung 98% jazz standards and wore strapless gowns with evening gloves. But they clearly missed the point; with a talent as deep and emotional as Holly Cole's, staying in one place would be a waste. You don't buy a luxury car fully equipped to drive around the block, and Holly Cole possesses the sort of unique talent that travels well.
