The track is presented without frills and stripped of almost all production, save Cole’s vocals, piano and a few strings, which makes for a lovely rendition. Smile is a song that I’m attached to for sentimental reasons (no pun intended), and Cole definitely does the song justice. The track is stripped down to vocals and stings, and gives off a beautifully romantic vibe. Mona Lisa begins quietly, with the Spanish guitar and violin, before fading into Cole’s soft vocals. However, the album has it’s fair share of ballads. Almost Like Being In Love returns the album to the swing sound, with more big band orchestration and lighthearted lyrics (“There’s a smile on my face/For the whole human race/Why, it’s almost like being in love”), while Thou Swell keeps the tempo up with more gorgeous sax ( David “Fathead” Newman”), and plenty of lovely vocals from Cole. Cole works her way up to a lovely note at the end of the song, which provides a stunning finale.ĭon’t Get Around Much Anymore is a mid-tempo track, which features Cole performing a slick scat towards the end. Avalon starts with a set of bouncy horns and leads into a fun and fast-paced track. Cole handles the classic piece expertly she delivers the lines with the finesse of a seasoned jazz veteran, and the musical interlude is exquisite. Straighten Up And Fly Right was probably the only song on the album that I liked when I was a child, and it was more than likely because of the upbeat, jazzy sound and cartoonish lyrics (“The buzzard told the monkey you are chokin me/Release your hold and I will set you free/The monkey looked the buzzard right dead in the eye/And said ‘Your story’s so touching but it sounds like a lie’/Straighten up and fly right, straighten up and stay right…”). Cole sings L-O-V-E with a child-like charm her voice is small and cutesy as she sings her way through the cheerful melody and well-known lyrics (“L is for the way you look at me/O is for the only one I see/V is very, very extraordinary/E is even more than anyone that you adore”). However, Cole’s version is lively and fun, and both the trumpet and piano ( Chuck Findley and Joe Sample, respectively) sound great paired with her vocals. I’m not a fan of this actual song- I think the fact that I’ve heard so many renditions of it has bored me. Route 66 follows and continues with the upbeat tempo of it’s predecessor. Horns and bass ( Ray Brown) add to the fun of the song, and it’s hard to listen to the track without wanting to get up and dance.
Natalie cole love is on the way full#
The song kicks up after the first verse and morphs into a swing track with a full orchestra. Paper Moon opens with a quiet string intro before Cole begins singing a slow ballad. Cole’s voice is extremely pleasant to listen to her hushed tone and strong vocals sound wonderful in every song. The album begins with The Very Thought Of You, which is presented as a sultry ballad. Cole recreates each song, bringing her own distinctive voice and beautiful rendition to all of the classic tracks. The album, which is comprised of selections of all of the late Cole’s major hits in the 50’s and some of his lesser known gems, is done perfectly. The disc proved to be Cole’s most successful (winning her five Grammy awards), despite the fact that she had been singing professionally since 1975. The album, which acts as a tribute to Cole’s legendary father, was often played in my home when I was younger, though I never truly appreciated the beauty of it. One album that I rediscovered from my childhood is Natalie Cole’s disc of standards, Unforgettable, With Love (released in 1991). Obviously, my taste in music has diversified since I was five, and I’ve learned that I actually have quite a penchant for jazz standards. My mother would often play Sinatra or Nat King Cole records, and the soft melodies and lyrics I couldn’t comprehend went right over my head.
When I was a child, listening to standards was probably the last thing I wanted to do.
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