Vanessa Carlton

Be Not Nobody

The world needs another Britney Spears like I need to be beaten over the head with a dead cod. Luckily, Vanessa Carlton is not another Britney Spears. Even though her first single, “A Thousand Miles,” gets constant play on such pop programs as “TRL,” Carlton seems to have deliberately distanced herself from bubble-gum with her debut album, Be Not Nobody.

Produced by A&M president Ron Fair, this album might surprise many fans with its dark overtones and themes. However, there are still a few simple pop ballads thrown in so as not to distance herself too much from the pop genre.

The first track, “Ordinary Day,” is a perfect example. It is uncomplicated, uncluttered and unbelievably catchy. This also starts Carlton’s rampant use of an orchestra as a backdrop to her piano and small backing band. In this case, the orchestra works perfectly to flush out the melody played by her piano. This is also the case for “A Thousand Miles,” which if you haven’t already seen the video on television, you must live in a cave.

Carlton also goes toward the pop realm on a few of her songs. In the song “Unsung,” Carlton’s voice turns angry as she is backed by a funky piano and guitar riff, and has the drums blasting as well. The song “Pretty Baby” could easily be an easy-listening staple as well.

And while Britney sang a cover of the Rolling Stones’ “Satisfaction” that made most people cringe, Carlton chooses to cover the darker and dirtier “Paint it Black,” and didn’t do a half-bad job doing so. Carlton’s voice easily adapts to the gritty nature of the song and leaves the orchestra behind her in favor of guitars and drums. This might even make Keith Richards smile.

Midway through the album, Carlton decides to go dark with both lyrics and music. In the song “Rinse,” Carlton sings, “How she’d be soothed, how she’d be saved / she needs to be held in his arms to be free / But everything happens for reasons that she will never understand / Til she knows that the heart of a woman will never be found in the arms of a man.” Deep words from a 21-year old from Milford, Pa. This is backed by searing guitars and minor-key orchestration flowing throughout. The same could be said for the next track, “Sway.”

By the song after that, “Paradise,” it becomes downright silly. It feels like Carlton wants bubble-gum popularity, while still keeping Tori Amos-like credibility. Alanis Morrissette tried that once, and it didn’t work out.

The only saving grace with these songs is Carlton’s ability to bend her voice to fit what she’s singing. She can do rock, she can do pop, she can even do slow ballads, all the while keeping a youthful yearning throughout. It is strong, yet accessible and human, and binds this album of different material together.

For people who are tired of the bubble-gum of a Britney Spears or Christina Aguilera, but aren’t yet ready for such acts as Tori Amos or Bjork, this might be the perfect compromise. The album might seem a bit contrived and forced, but I have a feeling Carlton will find her true voice, and that’s when hell is really going to break loose for this upcoming star.