Romantically Helpless

Whether she's singing Gershwin or Tom Waits, Cole's interpretations have always been stunningly original; it's almost unfair to call them covers. "Romantically Helpless" is no exception in this instance, and we're treated to more songs that are so reworked they're barely recognizable. The Frank Sinatra standard "Come Fly With Me" is given a gently grooving pop arrangement ready for modern radio, and the Mamas and the Papas smash "Dedicated to the One I Love" is given a strikingly dark arrangement and vocal; the song morphs from its original dewey-eyed reputation to a nearly sinister tale of obsessive desire. The real magic is the fact that the lyrics aren't changed a stitch; the nuances are uncovered by Cole's performance alone...the mark of a truly gifted singer.

Paul Simon's "One Trick Pony" is given a bluesy, Cassandra Wilson-ish arrangement; the song is slightly and thankfully reminiscent of Holly's monumental achievement "Temptation" (a collection of Tom Waits songs). And even when Holly sticks to a more traditional realm ("That Old Black Magic" and "Don't Fence Me In" are given classic swing arrangments), her vocal flourishes and trademark accents -a low moan here, a slide from one octave to another there- take the material to a new and distinctive level.

Of course, the challenge with an artist like Holly is writing material especially for her. How, in a new song, do you nail the personality of someone who hears things in the work of others that no one would ever dream of? "If I Start to Cry" gives it a respectable try, and its pensive tale of having it all and still missing something does seem to fit her persona; however, the music sounds much more optimistic than its lyrics, and while that contradiction may fit the lyrical theme, it keeps the song from being a catchy, singalong hit. "I'll Be Here" is a pleasant enough marriage of country and pop, and its lyrics are clever (the story of a lighthouse dweller is either a quirky character study or an analogy for being someone's friend and touchstone) but melodically it's less than special. Much better is "Make it Go Away," a spectacular track from her "Dark Dear Heart" album, here brushed up with slicker production and a new vocal to be the album's first single. Then of course the tropical-flavored title track is sheer joy; the offbeat lyrics, written by her bassist David Piltch and taken directly from personal ads, suit Holly perfectly...as she sings "I'm just lookin for someone to have a good time with" over Carribean-tinged horns, the song's tongue-in-cheek come-ons are pulled off like no other singer could manage. Furthermore, the song's party feel makes you want to mix a giant Margarita, take your innertube into the pool, and bask in a midday sun, which would almost be as bright and beckoning as this track.

In the face of such varied and spirited work, the album's only glaring misstep is forgiven: Randy Newman's "Ghosts" sounds lovely, a stark duet for Holly and guitar, but the lyrics don't make a lick of sense. When Holly sings near the end, "I just want to know what it was all about," we can agree wholeheartedly. But little matter...Holly Cole proves once again that the music world is her oyster, giving the thinking man sounds to revel in and forward-thinking singers plenty to learn from. It's pretty hard to think of such a strong character as being "romantically helpless," as Holly Cole yet again emerges artistically fearless.