When there's a whole wave of fresh, new (similar) talent that arrives in a truncated period of time, labels always try to find a way to differentiate their talent from the talent at one of their rivals. Sometimes it can be a bit more specific, with personal details leading the way, constantly being stressed in every interview or piece about that artist. Others, if the group is very similar, can exploit minor factoids and make them seem much larger and important than they actually are; sometimes it even only comes to appearance or what kind of instrument they play.

Vanessa Carlton fell into that trap when she came out in 2002, about six months after fellow raven-haired singer-songwriter Michelle Branch started generating some buzz of her own. They look very similar (stirring up old Britney v. Christina-isms) but the label emphasized the fact that this platinum-plus selling beauty is a former ballerina and is more apt to appeal to an older demo than most of her counterparts. Second record, Harmonium is to be released on the 19th, so go pick that baby up, people.

Tracklisting:
Ordinary Day (*****)
Unsung (**** 1/2)
A Thousand Miles (*****)
Pretty Baby (****)
Rinse (*****)
Sway (*** 1/2)
Paradise (****)
Prince (*** 1/2)
Paint It Black (**** 1/2)
Wanted (**** 1/2)
Twilight (*****)

The sunny, slowly strolling Ordinary Day kicks the record off nicely, a recognizable single that didn't get played to within an inch of its life. With subdued cadence-y percussion, pristine sparkly piano and softly weaved bassline, this is a very strong song that doesn't overdose you on the more mature orchestral elements while keeping that air up nice and high. Its one of the more comforting, almost atmospheric tracks on the record, taking its time and no one element taking over. Carlton's gorgeous pop-friendly slightly raspy little girl voice is at top form, shifting from pop siren to contemplative torn starving artist on the drop of a dime; this is a peaceful, calm introduction to the record that gets you settled in for the ride. The rockin' barroom banger Unsung picks up the energy considerably, complete with its fiery stompin' bassline, afflicted troubled vocal performance and almost heartbreaking outsider-looking-in lyricism that ties the song together nicely. This blues-heavy performance-friendly uptempo features Carlton at her most free, losing her clear cut form and just vibing with the pounding percussion, confident bass riff and atmospheric production. It's a perfect choice for those who didn't like her more frilly, feminine singles.

A Thousand Miles...ahh, memories. How can anyone really forget this track, considering the fact that its probably playing somewhere in the world at this very moment. This almost bubbly optimistic steadily driving mid-to-uptempo sent her career into the stratosphere, a dreamy silkily produced testament to Carlton's past training and her obvious potential. She shines on the nearly a cappella bridge, showing that her vocals are presence are both things to be reckoned with. The twinkling, cascading piano is a highlight (her intricate playing is breathtaking) while the unified strings are a perfect sound compliment, accentuating the song's melody. Pretty Baby is the track that still divides fans of this record. An airy nuance-y teen-pop-with-an-edge love ballad, this sensual albeit innocent devotional song deviates from the formula of the rest of the record. Instead of having to sift through a barrage of finely layered instrumentation, you get this more together, blended fourth track thats has a vibe similar to one of those Relaxing Sounds For Work compilations. With summery acoustics, misty strings and a gorgeous production job, this is a really good natured piece of music, topped off by Carlton's starry eyed, almost intense performance, full of sincerity, floaty lower notes and killer falsetto/upper work.

One major thing that separates her from her peers is how melancholy she can be at times. Best exhibiting that is the exotic autobiographical Rinse, a pained fusion of angry minor chords, wounded vocals and liberating third person hookline. Carlton really kills it on this track, capturing both her personal empathy for the "character" and her reflective distance in one strong vocal that would send even her most formidable counterpart running. She works with everything well, from the rock-tinged piano to the crunchy guitars to the somber melody. Its almost painful to listen to at times but damn, its such a gorgeous song. You know that at the end of the line, you'll be a better music listener for enduring tracks like this. There's only two songs that were on the border between passing and failing. One was Sway, a pretty lifeless bassline heavy track that just sits there for most of its duration. The arrangement is respectable, trying to get the song going a bit but there's nothing that could've been done; the melody is pleasant and wasted on this song; its the only reason I have this the rating that I did. Its more rounded, more friendly than the last track, a rainy day jam sesson gone slightly awry. Carlton does a nice vocal job, especially on her outro ad libs, buzzing with a contemplative edge the song needs.

Paradise is a step up in almost all facets, an orchestrally influenced wistful ballad that's on the verge of morbid in some areas. Alongside pristine medieval piano, silky acoustics and a startling melody, Carlton growls her way through this track, especially on the perturbed bridgeline. Her raspy ad libs sound breathtakingly beautiful alongside the lonely, bluesy harmonica on the music break while that hookline is nothing short of painfully heartwrenching. The other track I was unsure about was the snappy Prince, a more musically focused effort that isn't so lyrically conscious, let's say. While being the easiest to sing along with (Carlton doesn't do much on her vocal performance until the bridge), it repeats too much for my taste. The thoughtful harmonica is back on the exquisite bridge while the rest of the track isn't as mindblowing; chunky, rhythmic percussion, bass riff that sounds like it just took some speed and a straight forward no-nonsense melody.

Paint It Black, Wanted and Twilight all end the record fabulously, eatign most of Branch's and all of Lavigne's material alive. The first, a cover of a 1966 Rolling Stones track, is Carlton at her most rebellious, a thumping hell raising upbeat that's a raw blast of energy. Full of rumbling tribal percussion, Middle Eastern sprawling sitar-like guitars and simple production, it's a listen that lightens the mood from some of the previous tracks. Carlton's in pure hellcat form here, mixing unfiltered passion with some stunning vocal jumps. The second, one of the least memorable tracks on the set, has one of the most schizophrenic, frantic piano riffs that gives the song a nocturnal edge thats very intriguing. Its a nice crossbreed of her more melancholy tracks and her more peppy tracks, right down to the pounding bassline and touching vocal. The last is easily my favorite song on the record, as it goes more orchestral, elegant and pristine. The atmosphere is very stunning, a pained yet appreciative ballad of reckoning. Over an absolutely amazing bed of smooth strings, sophisticated production and hollow acoustics, Carlton again intrigues the hell out of you, deviating from the norm. She's got such an immaculate presentation, all encompassing tones, tender notemaking and such an intelligent presence that heads into the perfect musical break like a bat out of hell. This is a track that most everyone can enjoy, poised and graceful enough for the adults and catchy enough for the children.

The Vanessa Carlton debut record is definitely one of my favorite records of all time. Not only does she have an admirable voice for the genre but her lyricism is sharp (although there's everal serious low points in there) and the production from Ron Fair is able to appeal to more than one demo. If her second record just improves on the maturity and some of the lyricism, we're in for a treat. But don't sleep; V's mad talented. Let's just hope she doesn't get nekkid like that other chick.

Great Music To Play While: going to your local old school bar and playing your piano for abour 45 minutes

Pay Attention To: Ordinary Day, Rinse, Twilight

Don't Pay Attention To: Sway and Prince

Last Three Reviews:
MPress- Suddenly
Princess Diaries II: Original Soundtrack
En Vogue- Funky Divas

Recommended: Yes