Paula Cole Albums (4)
What The Critics Say
Once ubiquitous, as her "Where Have All the Cowboys Gone" was a staple on adult alternative radio and "I Don't Wanna Wait" served as the soundtrack to turn of the millennium teen soap Dawson's Creek, Paula Cole suddenly disappeared after her third album, Amen, failed to live up to the commercial expectations set by her 1996 breakthrough, This Fire. Throughout the 2000s she stayed quiet, raising her newborn daughter as she worked toward reviving her muse, eventually resurfacing in 2007 -- a decade after the peak of her popularity -- with Courage, her first album for Decca and her first album in eight years. Immediately, it's apparent that this is worlds away from the stylized worldbeat and vague electronica leanings of Amen, never sounding as self-consciously restless as that album. Not that Cole has abandoned her refined eclecticism -- she dabbles in gentle bossa nova beats on "Hard to Be Soft," duetting with Brazilian singer Ivan Lins -- but never once does Cole sound as strained in incorporating hip-hop beats and electronic textures as she did on Amen. Instead, she sounds relaxed as she eases into a subdued collection of songs jazzy enough to justify Herbie Hancock's cameo on "Lonely Town." Such casual sophistication reigns here, but Courage doesn't sound like a clean break from her past, or a contrived attempt to refashion herself for Norah Jones' audience; the opening "Comin' Down" and the Patrick Leonard collaboration "14" sound like This Fire, only a little more settled yet managing to sidestep slickness while emphasizing her gentle, insinuating melodies. While Courage may stray into sleepiness on the ballads, it nevertheless always flows naturally even at its slowest moments and that comfortable feel is the most appealing thing about the record, since it's evident in the unhurried songs and the unstrained performances. It may be low-key, but Courage certainly qualifies as a successful comeback from a singer/songwriter who had seemed lost to the Lilith Fair era. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Thanks to Paula Cole's appearance on the first Lilith Fair and "Where Have All the Cowboys Gone?," This Fire didn't really take off until nearly a year after its 1996 release; plus, its closer "I Don't Want to Wait" became nearly omnipresent in 1998. So, the gap between This Fire and its sequel, Amen, didn't feel all that long, but a cursory listen to Amen reveals that Cole matured considerably during those three years. Amen is the work of a professional record-maker, someone who not only knows how to craft a song, but knows how to craft sound. It's certainly in the same vein as This Fire, yet tighter and subtler, and fits right into adult alternative pop radio circa 1999. She may tread uncomfortably close to the smooth, sweetly cloying pop of Sarah McLachlan, but Cole somehow became convinced that she was a soul singer. So, the pretty music is underpinned with light hip-hop rhythms or R&B chord progressions, while she pours out passion through her voice and lyrics. She may get carried away with self-righteous naïveté and clichéd liberal dogma, but such impassioned beliefs give Amen greater weight, grit, and character than the average adult alternative pop album. Also, she saves most of her lyrical excess through strong, assured singing that's soulful but not overdone (the exception is when she dips into rap on "Rhythm of Life," which is positively embarrassing, especially when she's supported by scratching). Despite the occasional sophomoric lyric, Cole never sounds as strident as she occasionally did on This Fire, and the entire album is clearly the work of an artist who is more assured than ever before. Musically, that results in a stronger album than its predecessor, even if it lacks singles as grabbing or memorable as "Cowboys" or "Wait." ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Paula Cole's songwriting and musical skills sharpened considerably on her second album, This Fire. Occasionally, she flirts a little too closely with Sarah McLachlan territory, but Cole has developed her own, subtly mature style, equally informed by textured electronics, light worldbeat influences, and soul-baring lyrics. "Where Have All the Cowboys Gone" may epitomize the sound of the album, but it only scratches the surface of what This Fire has to offer. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Paula Cole wanted to produce her debut 14 track opus herself, but was "led by the hand" of her record company toward quietly unsung genius Kevin Killen. Harbinger opens with the remorseful yet poppy "Happy Home" and the acoustic breeze of "I Am So Ordinary." Cole is strong melodically and vocally, soaring high and low. She also plays it correctly by producing her most commercially minded work first before diversifying. Signs of what's to come are evident on Kate Bush-like "Watch the Woman's Hands," "Dear Gertrude," and "She Can't Feel Anything Anymore." More upbeat is the driving "Saturn Girl," and her backing band is sharp on "Chairoscuro." "Bethlehem" laments Cole's hatred of her small town upbringing while "Garden of Eden" and "The Ladder" echo her spiritual interest. ~ Kelvin Hayes, All Music Guide
