Versatile Cole Deviates From Standards

Talk about an image adjustment. Sporting a wild head of rock-goddess curls and a sparkling, thigh-length chemise that looked like one of those little numbers Versace used to whip up for Tina Turner, Natalie Cole put on a show at the House of Blues on Tuesday that would have surprised anyone who thought she was just going to stick to ‘50s-era pop standards for the rest of her career.

She didn’t sing her father Nat King Cole’s “Unforgettable.” She did, however, light into a pretty memorable version of “Lucy in the Sky With Diamonds” that contained the kind of soulful fire and rock-opera dimensions that Lennon and McCartney probably never envisioned.

Cole’s approach Tuesday--the first of a two-night-stand capping the club’s fourth anniversary celebration--underscored the quality that makes Cole special and unique: her versatility. While she must be tempted to confine herself to the type of sophisticated, jazz-based repertoire that has earned her critical acclaim and new fans, she hasn’t abandoned what truly defines her as an artist.

Cole, after all, is a woman who grew up on rock music. To hear her rant and wail on the old Garnet Mimms hit “Cry Baby” in a way that recalled the days when rock was known as race music was to recognize that Cole is someone who defies any neat, refined and sanitized categorization.

While she’s never less than classy, this rock goddess wannabe still has some rough, untamed edges--and that, too, is a key part of her strength and appeal.