* (out of five)
The first song, "David," starts out with a catchy little piano and drum tap while several layers of high-pitched whisperers sing out "hcabnesie, hcabnesie!" The pop-jazzy intro transforms only seconds later to an appealing reggae backbeat while the lead croons falsetto about her fame and her laid back attitude. "Look at you, you're young, havin' so much fun. Gonna be a star, blah, blah, blah," she'll sing coyly as if she's making fun of every other popular teenage performer. As the song continues, the listener realizes that this isn't a joke. This girl is totally being serious.
Before the first track is over, the listener is pacing the room, trying to think of a convincing story to tell the person at the return desk to try and get their money back.
One of the most critically acclaimed newcomers to the music scene is 19-year-old "prodigy" Nellie McKay. After several performances on television programs and sold-out shows, she has earned quite a reputation for which she owes a great deal of thanks to her publicist. Her aptitude is important, too, though. She writes and co-produces all of her songs on which she plays several instruments. Her music is an inventive mix of modern-day jazz and "parental advisory"-stickered hip-hop. Miss McKay built up a significant amount of publicity even before her first studio recording was released, but once that task was complete, she managed to make a variety of music too mature to young pop fans, and too offensive for older bebop and foxtrot followers.
"Get Away From Me," like the artist, is incredibly and impressively eclectic. (It is a double disc, even though put together it only totals 60 minutes.) On one song, she'll make a heart-warming plea for pet adoption, and on the next, she'll scream into the mic "die, mother f***er!" Her Doris Day label clicks perfectly on "I Wanna Get Married" and "Won't U Please B Nice," two syrupy songs with saccharine consequence. "Inner Peace" is a Fiona-Apple-meets-the-Bamburg-String-Quartet pop masterwork. And "Respectable" adds salsa flavor to Frankie and Annette beach musical. If this were an instrumental album, its repeat value would be immeasurable.
It's only when McKay opens her mouth that things start to take a nosedive. On the majority of the tracks, she spits an attitude that would sound casual for a political activist, but coming from Nellie, they sound like the ignored outcries of an over-opinionated high school newspaper columnist. In "Sari," she drops more political references than an episode of "Murphy Brown." "The Dog Song" is a melodious PETA ad that desperately needs to be put to sleep. The remaining lyrical matter is just childish. For example, "Ding dong, there's the doorbell. Hello, man in red. He's gonna make you all well, getcha into bed." Or, "The scuds drop down like butterflies. They're loved and round and very wise." Unfortunately, the songwriter's flamboyant immaturity (insightful or not) completely overshadows all of the other striking qualities, including some of the best contemporary music written in a long time.
So, on behalf of 72 Hours, I would like to apologize to Nellie McKay for this one-star review. You are indeed a very talented young woman. It's just that your album sucks, and it is completely your fault.
- Gregory Twiford
SOUNDS LIKE: A more talented, more annoying Fiona Apple
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