Unless you believe Eminem had a snowball's chance in Harlem, or can name a bizzer other than L.A. Reid and maybe Clive Davis who knows how brilliant Pink is, Jones's five-statuette victory wasn't surprising or especially unjust. The Rising and Nellyville and Home (Dixie Chicks, you remember, great title gals) are overrated feel-good albums too, and The Eminem Show is for newbies. But though the biz needs Norah Jones structurally, it doesn't need her aesthetically, and in both respects, as hasn't been said loudly enough, Come Away With Me is the same record as last year's surprise winner, O Brother, Where Art Thou?: Sincere left-field entry on music man's corporate imprint wins aging voters and consumers alike by proving that young people can too play real/ honest/ genuine/ authentic music. This means music that cossets neither computers nor scary black guys. It also means music that pays fealty to an aesthetically respectable past authorized by public broadcasting, tony feature stories, and an educational system in which jazz is a major at North Texas State.
Christgau concludes:
My advice is that Norah Jones study the career of Tracy Chapman, who for 15 years has exploited the unexpected multiplatinum of her debut for all the privacy and autonomy it's worth — and who has thus remained honest and unpretentious whether you like her or not.
The full article is here.
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