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Careless Love

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Album Review

Why it took vocalist Madeleine Peyroux eight years to follow up her acclaimed Dreamland album is anybody's guess. The explanation from her website bio claims, "I could have kept running with it, but I took a breather." Really it hardly matters, since there have been plenty of capable singers to fill that void. Produced by Larry Klein, Careless Love is essentially Dreamland part deux. She lost Yves Beauvais and Atlantic Records, as well as a stellar cast of edgy jazz and rock session players, but she did gain Larry Klein. There are some fine players on this album, including Larry Goldings, Scott Amendola, David Piltch, and Dean Parks, and it's a much more focused set than Dreamland. That she's on Rounder is just an "oh well." Since Klein is not reined in by having to be a "jazz" producer, his sense of restrained and subtle adventure is a perfect foil for Peyroux's voice and phrasing, which is still too close to the Billie Holiday model for comfort. The material is a curious collection of modern pop songs, country tunes, and old nuggets. There's an original as well in "Don't Wait Too Long," co-written with Jesse Harris and Klein. Peyroux's reading of Leonard Cohen's "Dance Me to the End of Love" that opens the disc is radical, sung like a German cabaret song, and lacks the drama of the original, which is on purpose but it's questionable as to whether it works.

Her cover of Bob Dylan's "You're Gonna Make Me Lonesome When You Go" works much better. It keeps the breeziness of the original but focuses on the object of the song still being very present to the protagonist — delighting in the presence of the Beloved. Parks' guitars play sparely and pronouncedly in the mix, as Amendola's brushwork complements the spare cymbal and tom-tom work of Jay Bellerose as well as Goldings' in-the-groove organ and piano. The hinge track on this record is the empathic and moving version of Elliott Smith's "Between the Bars." With tense sound effects whispering in the backdrop and Goldings' celeste setting the atmosphere, once again Amendola's brushes whisper and shimmer, giving the singer an anchor in the depth of the song's melancholy. It's simply awesome. The sparse haunted treatment of Hank Williams' "Weary Blues" is devoid of its country trappings and rooted firmly in the uptown blues tradition of Holiday's 1940s. Likewise, the title track, a classic standard by W.C. Handy, is turned inside out and made a gospel-flavored R&B tune, driven by Goldings on the organ and a Rhodes piano — an instrument that makes a frequent appearance here. Parks' subtle yet dirty guitar gives the singer a platform and she swims inside the lyric, letting it fall from her mouth. The tune's swing quotient is formidable. In all, this is a stronger record than Dreamland, in part because Klein is obviously sympathetic to singers and because Peyroux is a more confident and commanding singer. It's a welcome addition to the shelf, but if she waits another eight years, that space reserved for her may disappear.

Customer Reviews

Still the Best of Madeleine Peyroux

If Billie Holliday time-traveled through the 20th century, mingled with Bob Dylan, borrowed from Leonard Cohen, cavorted with Frank Sinatra, and spoke French, the musical effect would be something like Madeleine Peyroux.

If you like jazz and any of those names I mentioned, listen to her, and start by getting this album. Her voice is interesting, her back-up band has its own flavor of jaunty and sad, and her taste in lyricists is impeccable.

If there is a criticism to be had of “Careless Love” it’s that Madeleine and the band maintain the same mood over too many tracks, leaving many songs drifting somewhere between ennui and rainy-day happiness. But the power and re-playability of her takes on “Dance Me to the End of Love” and “Weary Blues” more than compensates for the sapping melancholy that sometimes creeps into other tracks.

Just get it!

One of the Best Voices Out There

I stumbled upon "Don't Wait Too Long" and haven't stopped playing it and then I came back to buy more songs. Love her!!!!

Fantastic album!

Madeline Peyroux has a beautifully unique and charming style that permeates every track. This album is great for a cozy fireside day and equally suited as ambient background music.

Biography

Born: 1973 in Athens, GA

Genre: Jazz

Years Active: '90s, '00s, '10s

Vocalist Madeleine Peyroux can best be thought of as a Billie Holiday for the 1990s. Like Holiday, Peyroux was marketed as a jazz singer, when what she seems to do best is sing blues music. Though Peyroux may remind some listeners of Holiday, there are differences; she has her own sense of phrasing and interpretation. Her 1996 Atlantic Records debut, Dreamland, is a brilliant recording, as Peyroux's distinctive voice is not hindered by overly intricate arrangements. Most of the accompaniment on the...
Full Bio