Holly Cole - Temptation

Holly Cole Temptation
1995 MetroBlue/Capitol

So much ink is given to singers like Diana Krall and Jane Monheit (and we won't even get into the current Norah Jones fetish of suburbanites everywhere), but there is a class of vocal chanteuse that moves far beyond the contrivances of the above. America has the infinite charms of Cassandra Wilson, and Canada has Holly Cole.

Cole does not have the dark fullness of Wilson's voice, but she does share the same knack for interpetive originality devoid of artifice, and a natural warmth that never sounds contrived. This all comes together with her sultry reshaping of other material, often in ways that would appear sardonic on paper, but come off only with a tinge of irony and a lot of love for songcraft. She has worked original material in between reworking of songs by Joni Mitchell, Billie Holiday, Lennon & McCartney, and Gershwin among many. But this album, one of her best, is nothing but Tom Waits.

This album should appeal to Wait's fans, as it keeps a very dark character to it. Smokey, stalking themes for desperate nights alone. Part of this is due to Cole, and part is her regular backline of pianist Aaron Davis and bassist David Piltch. She has always relied on a largely trio based structure, and the sparse arrangements complement Wait's songs to a tee. They are deceptive in their simplicity, but they are subtle and take just as many quirky turns as one could reasonably fit into these songs. You can hear this whole dynamic work in the stalking menace of the title track, and in the hopeful spark of opening track Take Me Home.

That aside, it will also appeal to people who would otherwise be turned off by Waits'...uh...unique vocals. Let's face it, he is an acquired taste, and someone like Cole taking his songs and making them accessible without stripping them of their emotional value is impressive.

While there are no bum cuts really, and the album would seem best played as a single session unto itself. It carries a mood you probably do not want to mess with. That said, the brass-augmented sophistication of The Briar and the Rose, and the conversational narrative Tango Til They're Sore really come to the fore. There is also the surprisingly beguiling string arrangement on I Want You that also breaks it out.

I should note that I beleive part of the brilliance of this album lies in the production dexterity of Craig Street, whose work with other vocalists like Wilson, Chocolate Genius, Chris Whitley, Me'Shell Ndegeocello, and oddly enough, Norah Jones. He gets a great overall sound from every performer he works with, allowing no filler into the sound, and this is no exception.