Label: Analogue Productions – AAPP 049 – 45rpm 200 Gram 2 LP Virgin Vinyl – AAA 100% Analogue –
Mastered By Kevin Gray at Cohearent Audio – Limited Edition – Pressed at QRP
Now on 45 RPM 2LP for ultimate cartridge tracking and detailed sound reproduction!
This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head
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Stereophile Magazine Records to Die For!
This just-off-the-pressesLP is killer. Cole is fabulous, period. The performances by Aaron Davis on piano and David Piltch on bass and percussion are virtuosic and just original enough in style to be arresting without going overboard. On “Get Out of Town,” Davis gets up while playing, and places one of his hands over the piano strings while continuing to play with the other. This damped-string effect is an extremely interesting counterpoint to Cole’s idiosyncratic, sexy style. You know it’s special, from the opening plucked bass on “I Can See Clearly Now” right through to the last track—not a dud in the bunch. www.stereophile.com
Holly Cole brings her own dimension to the tradition of cabaret, a strong voice that’s still capable of nuance, an ear for quirky repertoire, and a light touch that keeps some of these performances floating just at the edge of irony.
On her second album, 1993’s Don’t Smoke in Bed, Cole explores varied musical styles, adding pop, blues, country and a French ballad to her standard, low-key jazz. It’s a favorite of ours, which is why for this Analogue Productions reissue we’ve given it the reissue treatment it deserves. Bernie Grundman did the mastering, from the original analog tapes, at his Los Angeles studio, giving this release a spectacular foundation. Plating and pressing on 200-gram heavyweight vinyl was done by Gary Salstrom and crew at Quality Record Pressings, makers of the world’s finest-sounding LPs. Lastly we wrapped up the whole package in a premium gatefold tip-on jacket from Stoughton Printing. There’s nothing but aces in this smokin’ hot reissue and the quality shines through.
Holly’s delivery of more traditional fare shines on Cole Porter’s witty “Get Out of Town” and Kurt Weill’s torchy “Je Ne T’aime Pas,” while she brings clarity, power, and anthemic passion to the surprising treatment of Johnny Nash’s “I Can See Clearly Now.” She’s generally well supported in this intimate set by pianist Aaron Davis and bassist Davd Piltch, while there’s sparing and effective use of strings. There are fine guest spots by tenor saxophonist Joe Henderson, on “Everyday Will Be Like a Holiday,” and David Lindley, whose steel guitar contributes to the strange country music of “Don’t Let the Teardrops Rust Your Shining Heart.”
Along with Cassandra Wilson and Patricia Barber, the Canadian songstress has helped redefine the world of the female jazz vocalist. In Cole’s case, this can be directly linked to her ability to defy genre categorization and her ambitious musical choices. “I look at the essence of a song,” muses Cole. “If it’s a great lyric I often love to slow it down, explore it, dissect it and deconstruct it. I love to take it apart and then put it back together and look at it in an entirely different way. In the process, it often becomes more evocative. That’s a huge part of my art form, that’s a huge part of what I do.”
On her critically acclaimed 1993 album Don’t Smoke In Bed, Holly augments her understated jazz repertoire with nuanced interpretations of pop classics and blues and country standards not to mention a French ballad. What’s even more impressive is she pulls it all off flawlessly with a style and grace that has become her signature. In addition to sublime takes on Cole Porter’s “Get Out of Town” and Kurt Well’s “Je Ne T’Aime Pas,” the tasteful 12-song set also includes her crossover hit of Johnny Nash’s “I Can See Clearly Now.”
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