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Not Too Late (Limited Edition Digipak) Import
Frequently Bought Together
Customers Who Bought This Item Also Bought
|1. Wish I Could|
|2. Sinkin' Soon|
|3. The Sun Doesn't Like You|
|4. Until The End|
|5. Not My Friend|
|6. Thinking About You|
|8. My Dear Country|
|9. Wake Me Up|
|10. Be My Somebody|
|11. Little Room|
|12. Rosie's Lullaby|
|13. Not Too Late|
Norah Jones's third album features distinct traces of Dusty In Memphis-style Southern soul, as well as the kind of sleepy, sultry vocals that have been ubiquitous in coffee houses all over the world since the release of her 2002 debut album, Come Away With Me.
Although the music of Norah Jones continues to blend pop, soul, folk, and country with a seasoning of jazz, her third album for Blue Note is the first where she's written (or collaborated on) all the material. Beneath the smooth surface lie darker strains on the album-opening "Wish I Could" (about a boyfriend lost to war), intimations of mortality in "The Sun Doesn't Like You," and the post-election horrors of "My Dear Country." The last seems to channel the inspiration of Brecht/Weill, while the equally bleak "Sinkin' Soon" is set to a jaunty Dixieland rag. Throughout, Jones's vocal intimacy and melodic warmth remain as disarmingly understated as ever. The soulful "Thinking of You," the countryish "Wake Me Up," and the syncopated "Be My Somebody" reflect the captivating style of her previous work. Although too much in the same midtempo mode becomes a dreamy lull, cut by cut, Jones's voice is irresistible. --Don McLeese
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"Not Too Late", her third album, continues in the same vein as its predecessors; but if anything, it makes the formula better. The album is more cohesive, more focused and definitely more personal, no doubt given Norah's increased input in songwriting (she has penned or co-penned all of the album's 13 tracks). The tone is decidedly darker, whether she's addressing conflicting emotions ("Thinking about you", "Wish I could") or the state of the world ("My dear country", "Sinkin' soon"). And although the album ends on the hopeful and sweet title track, the album leaves a lasting impression of sadness and beauty.
Some will argue that her self-penned material doesn't always live up to the standards of some of Norah's past covers; while it's true that there's certainly nothing as instantly arresting as her debut single "Don't know why", it's clear that Norah has decided to follow a different path, closer to country, grass and blues. What this album lacks in catchiness, it certainly makes up for with an emotional depth that her other albums sometimes lacked. It will be interesting to see whether her public follows her in such musical explorations, but judging from the number one debut of this album on the Billboard charts, she just might - once again - get away with it.
But why do anything other than what she clearly does better than anyone else, namely sophisticated jazzy pop oozing class through every groove.
Her trusted team remain in place, although while Jesse Harris plays on the record, there are no writing credits for the man responsible for around half the tunes on her debut.
She excels at easy-listening. Her first two albums sold millions and were the backdrop to many a middle-aged housewife and broken-hearted youth.
But with such a solid formula, have Norah's calming tones just become dull ?
With "Not Too Late", she manages to experiment a little.
The soft blues continues, but she brings in mini additions - rumba beats and slide-guitars - to spruce things up.
Of course, this is not a huge departure, nor a ground-breaking album, but it's wistful and charming and your mum will love it.
Having said all that, you could listen to Miss Jones singing the TV listings and still feel all gooey inside.
Whether that level can be sustained with "Not Too Late" remains to be seen, but the subtle changes to her style here seem like a shrewd attempt to expand artistically without disturbing her core audience, most of whom will still be in the long, deep sleep triggered by her previous albums, anyway.
That lullaby effect continues here - there's even a song called "Rosie's Lullaby" - but it's what's happening at the fringes of the record that's most interesting: things like the unusually intimate string arrangement created by The Kronos Quartet for "Broken", and the New Orleans rumba-rock undercarriage to "Be My Somebody", and its snaking slide-guitar break with the faintest of scorched edges.
There are still plenty of languid cabaret shuffles, piano ballads and neutered blues, but few are as effective as "Sinkin' Soon", where Norah's joined by the simpatico M Ward on a stalking cakewalk of banjo, piano and sleazy muted trumpet.
The highlights of this album, in my opinion , are: "Sinkin' Soon", "Be My Somebody", "Broken".
Most recent customer reviews
*a beautiful performance by nora jones
* good technical production
* a very reasonable price for a cd
* a must have for nora jone's fans! Read more