![]() ![]() My favorite Cole performance - Elvis Costello’s “Alison” - concludes matters. For me, Dark Dear Heart (1997) is an unwelcome move into pop, but “I’ve Just Seen a Face” (included here) is wittily bent into a stalker’s anthem. (A country-inflected “ The Heart of Saturday Night” and “I Don’t Wanna Grow Up,” in which paralyzing dread replaces the original’s high spirits, would be my choices.) Played live by the augmented band, “Train Song” comes off loose and obvious, and “I Want You” is minor at best. “Jersey Girl” scores with the promise Cole sees in the line “Well I’ll take you on all the rides,” but outstays its welcome. ![]() Blame It on My Youth (1991) gets three nods, and Don’t Smoke in Bed (1993) four. After that, Cole added guitar and drums to the lineup, which sucked some of the space and complexity from her approach.īest of ignores Girl Talk (her debut), but otherwise focuses on earlier stuff. An offbeat Tom Waits tribute, Temptation (1995) deserves wide currency (not least for its powerful bass, unusual on such discs). The clean piano-bass backing propelled her smoky alto in smart, refined cabaret fashion. At the start, it was the Holly Cole Trio. Metro Blue 7243 5 29064 2 0.Ĭole’s highlights package hasn’t been assembled with great care, but it does lend an old fan the excuse to spill some opinions. Cole, vocals Aaron Davis, piano David Piltch, bass others. ![]()
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