Vanessa Carlton Albums (3)
What The Critics Say
Vanessa Carlton spent much of her second album, Harmonium, running away from the pop success that her 2002 debut, Be Not Nobody, and its inescapable hit single, "A Thousand Miles," brought her, choosing to turn inward and confessional. It was an artistic decision that had a perhaps predictable side effect: it didn't sell nearly as much as the debut, failing to crack the Top 30 and generating not one hit single. Given this sophomore slump, it's not entirely surprising that for her third album, 2007's Heroes & Thieves, she's elected for a compromise between the two extremes: embracing the soft pop that brought her fame without rejecting the confessionals that distinguished her second. Some of this is merely straightforward heartache -- after the 2004 release of Harmonium, Carlton parted ways with Stephan Jenkins, the Third Eye Blind leader who produced the album -- but there are other matters on her mind, as evidenced by the mother-daughter saga "Spring Street" and the line about losing her record deal on the album's opening song and single, "Nolita Fairytale." True, she's moved from A&M to the rap-identified The Inc., but this isn't as drastic a change as it seems: the two labels are within the Universal umbrella, and Carlton has hardly gone hip-hop here. Instead, Heroes & Thieves delivers the expected, even more so than her second album: sweeping gusts of piano, sounds that feel dramatic but not weighty. Like on Be Not Nobody, there's a sense of lightness to Carlton's writing -- even if things get a little sad here, they're not gloomy -- which not only makes her accessible, it means that it's as easy to take this as mood music as it is for introspection. That Carlton doesn't quite provide incentive to dig deeper could be called a flaw -- her voice is too sweet and girlish to command, her melodies mellifluous but not grabbing -- but Heroes & Thieves flows easily, and it's a nice return to the strengths of her debut. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
On her second album, Harmonium, singer/songwriter Vanessa Carlton enlists her boyfriend, Stephan Jenkins -- best-known as the frontman of the popular post-grunge band Third Eye Blind -- as a producer and co-songwriter, and his presence doesn't so much alter Carlton's music as give it a sharper, direct focus. Carlton and Jenkins focus on the lush, dramatic teen-age angst that made "A Thousand Miles" a big hit in 2002, using that song as the template for a collection of songs that are intimate on a grand scale. Carlton's songs often read like diary entries, dealing with such familiar adolescent themes as love and longing, and they sound even smaller when delivered in her thin but appealing girlish voice, but they gain stature when married to the cinematic arrangements, driven by her insistent, circular piano and dressed by light layers of strings, guitars, and vocal overdubs. Where her Be Not Nobody debut could sound endearingly awkward, Harmonium is confident and somber, a conscious attempt to be serious and mature. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Vanessa Carlton probably couldn't have happened without Alicia Keys, but that doesn't mean they sound the same. Both artists are preternaturally talented and write on keyboards, sounding much older than their years. The difference is, Carlton pretty much revels in her advanced years, creating a record that recalls the lush ambition of Keys, but also the soul-searching of Fiona Apple and the precise intricacies of Rick Wakeman. Certainly, this wasn't something she planned to evoke, but the end result is pretty impressive all the same, because it's so well crafted, from both Carlton and her producer, Ron Fair, who doesn't stop her from taking leaps that could potentially prove embarrassing. And there are embarrassing moments on her debut, Be Not Nobody, the most notable of those is a ham-fisted, melodramatic cover of the Stones' "Paint It, Black," which for all the world feels like a single dictated by the studio. That's the nadir of the album, but the rest is charmingly ambitious and often quite accomplished. Take the lead single, "A Thousand Miles" -- as it moves from its solo piano opening to bombastic orchestral-backed choruses, the result isn't overwhelming, it's sweet, multi-layered, and appealing. And most of her debut album follows that lead, often overflowing with soaring strings, intimate pianos, crooned vocals, and pretty melodies, yet it all gels because Carlton shows the potential of a songwriter who can convey her emotions through her songcraft. Sure, some of Be Not Nobody is naïve, but much of it's well crafted and nearly all of it is endearing; it's a rare debut that is quite enjoyable in its own right yet is almost more enticing because of what it suggests that she could do next. ~ Stephen Thomas Erlewine, All Music Guide
