Not Too Late
NORAH JONES
Blue Note
I love everything about Norah Jones except her music. She's a princess with big, brown, mysterious eyes and a majestic mane of hair. The 27-year-old's figure looks natural, not chiseled via countless hours at the gym, diet pills or cosmetic surgery. Jones is humble, sweet and witty.
Her musical taste is impressive. She counts Billie Holiday among her heroes, has dueted with Ray Charles and Willie Nelson, likes to cover Bob Dylan, and has even collaborated with Mike Patton.
But as much as I hate to put these next words in print for God, country, readers and, heaven forbid, even my dream girl Norah to see, I must admit her records bore me. So do her shows, for that matter — even the one I witnessed a few feet away from her inside a tiny loft in Austin, Texas, in 2002.
Jones' breathy vocals are soothing, but they lack the expressiveness to bring a song to life, make it sizzle and leave a lasting impression on the listener. Her smile is sly and sexy, but her voice sounds like it's trapped in a convent.
I had hoped that Jones' new CD, Not Too Late, wouldn't leave me cold like most of the material on her first two albums did. But it mostly does. The fact that she had a hand in writing all of the cuts is probably a factor. My favorite Jones performances are all covers, with her version of Tom Waits' "Long Way Home" (from 2004's Feels Like Home) topping my list. The one bright moment on Not Too Late is a ballad called "Broken." It works because Jones sings it from the perspective of an onlooker, observing a street musician who may be a war vet. A cool reading of the melancholy lyric is appropriate.
Problem is, Jones gives everything a cool reading. Like most of the songs on the new album, she cowrote "Broken" with her longtime boyfriend/bassist Lee Alexander.
Jones gets knocked for making background music for the masses. I seriously doubt that was her goal when she signed to the venerable jazz label Blue Note. But that's what has happened, thanks to safe singing and a tight band that never cooks.
Take, for instance, Not Too Late's second track, "Sinkin' Soon." Over a loping beat augmented by the banging of pots and pans, Jones paints a picture of impending doom with a series of metaphors that speak to a relationship on the rocks. There's even a skronky trombone solo. But not once does Jones unleash a note from deep in her gut.
It's as if she needs a producer who'll berate her until she is angry enough to put real emotion on wax. Otherwise, she remains in the Linda Ronstadt, easy-listening class. Overall, it's not a bad place to be, I guess. But Norah Jones is a pop culture noblewoman with plenty of musical talent. She needs to climb out on a limb and let it all hang out — politeness be damned. I want to hear her voice strain, hear a lump in her throat, feel like she is demanding the listener to take notice. 2.5 stars —Wade Tatangelo
We All Belong
DR. DOG
Park the Van
Despite the lame name, Dr. Dog might just be my new favorite indie band. Their latest album is a compelling collection of clever arrangements, witty-yet-sincere lyrics and warm vocal harmonies. This is music made by a group of young men with a Pet Sounds box set and plenty of records by The Band on their shelves. The Beatles surely hold a special place in their hearts as well. We All Belong is a beautiful time-trip back to the late 1960s. But Dr. Dog co-bandleaders Scott McMicken and Toby Leaman have something to say, and, ultimately, that's what makes this disc special — certainly when it sounds as gorgeous as the lushly produced "Don't Pretend."
"I intend to keep a friend in love/ Please remember I don't pretend in love," goes the chorus, and then comes the leftfield guitar and the sweet-as-sunshine ooo-las. Dr. Dog had never played outside of their native Philadelphia until My Morning Jacket frontman Jim James put them on tour as his band's opening act in 2004. Since then, Dr. Dog has shared the stage with The Strokes, The Black Keys and The Raconteurs. Dr. Dog has a couple of other releases under its belt, but We All Belong, which drops Feb. 27, is the place to start with these promising up-and-comers. (www.parkthevan.com) Dr. Dog performs in Orlando Mon., Feb. 26, at Park Ave. Records (afternoon), and The Social (night). 3.5 stars —WT
This article appears in Feb 21-27, 2007.