With the onslaught of TMZ and other useless paparazzi-esque media publications, it is very difficult for famous musicians to keep their personal lives under wraps in this day and age.
Whereas others have failed in this regard, some more so than others, Norah Jones has succeeded, keeping relatively silent for the past few years.
Since releasing her last album “Not Too Late,” Jones has kept busy, however, breaking up with her boyfriend of several years and turning 30 years old. And now she has released another record. “The Fall,” her fourth album, finds Jones working with a new producer, Jacquire King, who over the course of his career has worked with Modest Mouse and Kings of Leon.
On the album, Jones experiments with a variety of new edgier sounds, a great departure from her usual coffee-house-like melodies.
“The Fall” opens with “Chasing Pirates,” a sultry rock ballad which is the first single of the album. The song is unhurried, although bright and intimate.
Other similar uptempo tracks on the album include “Even Though,” “Young Blood,” “Tell Yer Mamma,” and one of the standout tracks of the album, “It’s Gonna Be.” Jones’ showcases her immaculate singing pipes on this soulful and rhapsodic tune in a fashion remiscent of the late Billie Holiday.
Aside from these quicker departures, every other song on the album is slow and melodic. “Light as a Feather,” a song co-written with Ryan Adams, and the acoustic break-up song “December,” are classic Norah with a little bit of a seductive twist.
The only song that sounds like vintage Norah is “Man of the Hour,” a piano-laced ballad with a jazzy instrumental.
On “The Fall,” Norah Jones proves that she is one of music’s elite artists, a musician that can truly change with the times.
Critics who have dubbed her “Snorah” Jones in the past are surely in for a treat with this record.