Remembering Rhythm & Blues: Enjoying the Rise & 'The Fall' with Norah Jones

Enjoying the Rise & 'The Fall' with Norah Jones

One word. Turmoil. That's the best way to describe my personal life since the last time I came thru to write. My children are getting grown, my man is still driving me nuts with his passion for motorcycles, and yes, I'm still working on that novel. For the last four months, I've had my to-do list in hand, hoping that I didn't allow anything to fall by the waste-side.

Now if you've been following Remembering R&B though, you'd already know that I'm usually juggling multiple situations. But if you've been following since 2006, then you'd understand 100% as to why music serves as my consistent drug of choice and as usual, I'm always game for a new fix.

Enter Norah Jones. You guys remember her, right? She's the demure sista with the sultry vocals that rocked the world in 2002 with her smash hit, Don't Know Why. Since then Jones’ has sold a collective 36 million albums worldwide, making her the only female jazz artist to sell the most albums during the 2000s. And let's not forget this BRILLIANT collaboration.

Today marks the release of her fourth studio album, The Fall, and the good folks at Blue Note/EMI sent over a copy for my review. My goodness, I can't contain the excitement. So fellow music lovers, put on your headphones, turn up the volume, and let's check this one out:

Chasing Pirates - This is the first single of the album and it puts in the mind of some fab 80s bubble gum dance moves. You know the ones. But maybe it's just me. At any rate, this track describes Norah's love for reading before bedtime and the dreams that are conquered up. Interestingly, there are so many layers on this song that I find myself dreaming right along with her. As her voice flows from the floor to the ceiling and fills in the cracks left behind by the beat, I'm stuck trying to let go of this odd feeling that there are other voices talking in the background. Scary. Oh you, don't believe me? Listen at the 2:40 mark of the song and TELL ME you don't hear Willy Wonka talk about gobstoppers?

Even Though - Introspective. Silly. Strong. Bashful. This track takes a turn towards relationship drama. To quote the lyrics,

"Something bout the way he touched me,
Was so slow,
The way he'd put his arms around me,
Even though...."

This song describes that perfectly imperfect moment after an argument has run its' course. You know that moment when you're ready to just give in and have sloppy-sweet, but angry make-up sex. Yet, there's that little child inside of you, still holding onto the pain like Linus with his blanket. With the melancholy ending, you immediately come to the conclusion... There won't be any 'spooning' tonight, buddy.

Light As A Feather - At first listen, you'd think this was a 'lost in the forest' type of song, but that's just Norah painting pain. Inside this gem of a song, I can musically see the rhythmic oars pushing heavily thru the murky waters of this bluesy trance. Thrusting me to the other side of our collective pain. Can't front, I cried listening to this song. I got pain ya'll and just like you, I think my pain is much heavier and much greater, but Jones slammed that notion right in the trash with these lines: "All for the better, worse for the wear. We're light as a feather. God, you, and I together." Yes indeed! This is my new anthem. Though my travels may be heavy, I'm NEVER walking alone. (Sidebar: At my fifth listening, this could also make a good pregnancy song. Just read the lyrics.)

Young Blood - Not a fan of this track. Somewhere I know Norah's talking about the beauty of new love, but I like my bluesy tracks without the bloody imagery of guns and werewolves. All this track made me do is yearn for my Sunday nights full of True Blood and tweeting. I will say this though. The background vocals from Mike Martin are nice. He fits Norah's pitch like a silver bullet to a gun chamber. Lovely.

I Wouldn't Need You - This song took me to a dusty, old club and left me there at the edge of the bar. With the biggest bottle of the darkest liquor in hand, I'm transformed into that withering woman hungry for a touch from that sexy man and too damn desperate to hide it. Major props to the man that inspires a woman to grab a drink of this musical whiskey. Love it.

Waiting - Excellent follow-up to the last track. The drums give a great sense of anxiety, while Norah calls you to calm your fears with her beautiful hum. Now that you're nice and drunk from the last song, Norah has you clawing up your bedroom walls, waiting for that special lover to come on home. Uh huh. Hush now, and just listen to the lullaby.

It's Gonna Be - Ain't nothing, but a party going on with this track and all the ills of the world have turned in their RSVP. Simply put, Norah has invited you to witness the mayhem of our society, but you'll be to busy rocking out to the beat to pay attention to the lyrics. But don't be a dummy, there's an important message here. However if you're not a fan of preachy, subliminal messages, then feel free to skip.

You've Ruined Me - "Your chocolate eyes like buttons of lies?" Hmm, looks like we have the makings of a fine 'this-dirty-bastard-did-me-wrong-but-I'm-obsessed' kind of song. And not to add insult to Norah's pain, but she's wearing 'crazy heartbreak' quite well. Niiice.

Back To Manhattan - I see you in your 'empire state of mind’. You're hiding the pain of your broken heart inside that Yankee fitted cap. However, the simplistic sounds of this song will pull your broken soul into the heart of the city. Norah's voice rumbles low like the trains under Rockefeller Center beckoning you to be free of it all in Manhattan. I love it, love it, love it and you will too. Unless you're a Phillies fan.

Stuck - At 5 minutes and 15 seconds, this track is the longest song on the album. How appropriate. I'm still stuck trying to figure out the point, but I suppose that is the whole idea from a song describing a woman being drunk and stuck to her seat.

December - Slightly odd to have this crybaby Christmas-type song follow the drunken stupor of the last. I suppose when you're dropping an album right before the holiday season, you gotta do what you gotta do. I'll pass.

Tell Yer Mama - This song is an ode to Mr. Tom Foolery and the parents that raised his dumb ass. I'm adding this to the list of songs that I so wish I had while I was single. Love it!

Man of the Hour - Well, you know you weren't getting away before Norah expressed her love for her four-legged friends. From the front of this album to the accompanying artwork, it's quite clear that Norah loves her companions. Nice track but considering I still haven't found the perfect pooch... um, I'll pass. And yes, I'm hatin'.

Overall: In 2009, it’s still a rarity to purchase an album that has more than 2-3 songs that you can say you really, really like. When I consider the fact that Jones’ is a true artist and musician, I’m not surprised that I enjoyed so many of the tracks on this album. She proves that it’s never too late to go back into the lab, grab a few new friends, and produce quality music. Speaking of friends, I’d be remiss if I didn’t mention the new collaborators who worked on The Fall.

Producer Jacquire King—who has worked with Kings of Leon, Modest Mouse, and Tom Waits, among others— helped Jones put together a group of musicians, including drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green), and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer). Jones also joined forces with several notable songwriters on The Fall, including Ryan Adams and Okkervil River’s Will Sheff, as well as her frequent collaborator Jesse Harris.