Notes & Personnel Info |  | Personnel: Carla Bruni (vocals, classical guitar). | | Audio Mixer: Louis Bertignac. | | Born in Italy and raised in Paris, Carla Bruni became one of the world's top models before she was 20 years old. Her musical debut, QUELQU'UN M'A DIT, showed she also had a penchant for sultry singer-songwriter fare in the classic French pop style. NO PROMISES, Bruni's sophomore effort, mines similar territory, but takes its lyrics from the works of famous poets such as W.H. Auden, Emily Dickinson, and William Butler Yeats. The music is soft, rhythmic, and intimate, driven by acoustic guitar, and the whisper-sung words add to the French caf?-style ambience. | | After the runaway success of her charming, folksy first album, Quelqu'un M'a Dit, Carla Bruni's sophomore effort takes a more difficult route and sees her setting canonical works by such poets as Yeats and Emily Dickinson to music. The lines "Wrapping that foul body up/In as foul a rag" in Yeats' "Those Dancing Days Are Gone" are delivered almost winsomely, where in fact the word "foul" should be allowed to drag, and to weigh down the rest of the line. Metered verse cannot fit this sort of verse-verse-chorus model. Of course, an album must be judged on its musical merits, and the overall mixture of rhythm and pedal steel guitars, with a touch of harmonica here and there, is a serviceable foil to Bruni's smoky voice. Although this impersonal set of disparate poems is often set to incongruous arrangements, the doo wop piano-and-guitar jam on Dickinson's "If You Were Coming in the Fall" is a highlight, lending itself oddly well to Bruni's sauce. ~ Caspar Salmon | | After the runaway success of her charming, folksy first album Quelqu'un M'a Dit, Carla Bruni's sophomore effort takes a more difficult route and sees her setting canonical works by such poets as Yeats and Emily Dickinson to music, often calamitously. W.H. Auden's "At Last the Secret Is Out" offers a case in point. Set to a brisk Jack Johnson-style swinging guitar, the poem becomes stripped of all its meaning: no one word is allowed to stand out, as each line is madly shoehorned into a sensible rhythm, and the wistful, yearning tone of the poem gets lost in the breezy melody of the song. Therein lies the problem. Bruni's blues guitar template is too rigid to allow these words to breathe. The lines "Wrapping that foul body up/In as foul a rag" in Yeats' "Those Dancing Days Are Gone" are delivered almost winsomely, where in fact the word "foul" should be allowed to drag, and to weigh down the rest of the line. Metered verse cannot fit this sort of verse-verse-chorus model. Of course, an album must be judged on its musical merits, and the overall mixture of rhythm and pedal steel guitars, with a touch of harmonica here and there, is a serviceable foil to Bruni's smoky voice. But even here, one would wish for more clarity in the line readings: the breathlessness of her singing means that sentences often fizzle out. Dorothy Parker's stark "Afternoon" is maltreated in this way, as is Emily Dickinson's wonderful poem "I Felt My Life with Both My Hands" -- and the absurd jauntiness of both songs is almost unbearable. The one highlight of the set is the doo wop piano-and-guitar jam on Dickinson's "If You Were Coming in the Fall," which lends itself oddly well to Bruni's sauce. But this is an impersonal set of disparate poems set often unimaginatively to incongruous arrangements. It is a brave failure, but a failure nonetheless. ~ Caspar Salmon |
Producer: Louis Bertignac |
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