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 Norah Jones won many Grammy |
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作者：Anonymous 在 罕见奇谈 发贴, 来自 http://www.hjclub.org
es, Norah!
The Newcomer's 'Come Away' Walks Away With 8 Trophies
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By David Segal
Washington Post Staff Writer
Monday, February 24, 2003; Page C01
NEW YORK, Feb. 23
This was Norah's night.
Norah Jones pulled off one of the most startling sweeps and upsets in Grammy history, scooping up five awards for "Come Away With Me," a debut collection of torchy, jazz-influenced love songs that has almost nothing in common with the pop that has dominated for years.
Jones, 23, won every award for which she was nominated, and the album won three more for production, engineering and song of the year ("Don't Know Why," written by Jesse Harris).
She beat the odds-on favorite, Bruce Springsteen and the E Street Band, whose 9/11-related album "The Rising" had been seen as virtually a mortal lock for album of the year and song of the year, two categories that "Come Away With Me" won. The Boss was previously nominated for album of the year in 1985, for "Born in the U.S.A." -- and lost to Lionel Richie. He hardly went home empty-handed tonight, though. He won best male rock vocal, best rock song for the album's title track, and best rock album.
But Jones proved unstoppable. "Come Away" is now a certifiable phenom, an album that caught on with grown-ups, starting with NPR instead of MTV and then moving to younger audiences as the months went by.
"I never ever thought that the music I made would be considered popular music," Jones said, during one of her many trips to the podium.
As a Grammy force, "The Rising" looked unbeatable from the moment it was released. It sold well, won wide critical acclaim and grappled seriously with the emotional aftermath of an era-defining tragedy. The album returned Springsteen to the highest rungs of the Billboard charts, a place he hadn't seen much in the past decade.
Other big winners tonight included the Dixie Chicks, with three Grammys: best country album ("Home"), best country instrumental for "Li'l Jack Slade," and best country performance by a duo or group for "Long Time Gone."
"We think we'll get with Dr. Dre," said Natalie Maines when asked about plans for their next album.
Eminem, who certainly has benefited from Dre's production, won best rap album for "The Eminem Show." In accepting the award, instead of listing the people who helped make his album, Eminem listed the MCs who had influenced him, including Run-DMC, LL Cool J, Rakim, Dr. Dre, N.W.A., KRS-One, Nas, Tupac Shakur and Biggie Smalls. Eminem and Philadelphia hip-hop band the Roots came up with the most effective live performance of the night, collaborating on "Lose Yourself," a track from the "8 Mile" soundtrack.
Jones, the daughter of sitar legend Ravi Shankar, is a pianist who takes inspiration from singers like Nina Simone and Billie Holiday. She has a hushed voice, a sensual touch at the keyboard and amazing historical breadth for a singer of her age. Her album includes a cover of Hank Williams's "Cold, Cold Heart" and a rendition of the Hoagy Carmichael classic "The Nearness of You," and even the album's original songs somehow sound like old standards. "Come Away With Me" has been on the Billboard charts for 51 weeks and now stands at No. 3 -- a feat of astounding longevity.
Everyone associated with the multi-platinum album expressed awe about its success. "We thought it might sell 100,000 copies," said Harris, who wrote "Don't Know Why." Harris's victory for song of the year was the first sign that Springsteen was in real trouble.
Producer of the year went to the veteran Arif Mardin, for his delicate work on Jones's album. Asked to explain the album's success, the producer, who will turn 71 next month, surmised that "it touched a forgotten segment of the market, people who don't watch MTV. . . . A friend said, 'Fifty-something people are buying your record. They don't know how to download. They're buying.' "
Jones also won best new artist, whupping a field of singers aimed directly at the kids' market: Ashanti, Michelle Branch, John Mayer and punk-pop star Avril Lavigne. This could reflect Jones's artistry, though it could also be a function of something else: The typical Grammy voter is double the age of the typical Ashanti fan, and was far more likely to actually enjoy Jones's work.
The show, which was held in New York for first time in five years, had one of the lowest award-to-performance ratios ever. The whole thing lasted about 3 1/2 hours -- during which just 11 Grammys were handed out. Another 93 were announced in a pre-show ceremony that started at 4:30.
Compared with previous years, there wasn't a lot of bad behavior on this show. Eminem restrained himself to a single four-letter word (part of the song he performed), which was duly bleeped by CBS. And Jones herself got bleeped when she inadvertently cursed as she groped for the names of musicians in her band.
Eight artists entered the evening with five nominations apiece. Only one of them was shut out: Avril Lavigne, the 18-year-old Canadian-born singer-guitarist and so-called anti-Britney. She was one of the best-selling artists of 2002, but that didn't seem to matter tonight.
The show had a somewhat fumbling start. Simon & Garfunkel, who hadn't appeared together since 1993, opened the show with a creaky version of "The Sounds of Silence." Introducing them was Dustin Hoffman, who starred in "The Graduate," the 1967 film in which "Sounds of Silence" was heard. He delivered a dazed and overly casual monologue, referring at one point to "Bruce Springstreet," and impersonating No Doubt lead singer Gwen Stefani with a few lyrics from "Hey Baby." He hasn't sounded so zombiefied since "Rain Man."
There was nearly some drama surrounding the topic of the looming war against Iraq. Rumor had it last week that the show's organizers had insisted that performers skip any mention of the topic. Grammy handlers backstage took pains to say that the artists were free to rant to their hearts' content, although apparently nobody gave that update to Wayne Coyne of the Flaming Lips, who said in a backstage interview that he was wearing a Band-Aid on his cheek as a nonverbal protest against the Bush administration policy in the Mideast.
When reporters asked comedian Robin Williams in a backstage talk if he'd been told not to discuss Iraq, he cackled and then did a minute-long riff on Vice President Cheney. He turned the veep into a three-card monte huckster, tossing cards around and babbling about missiles to distract from the faltering economy.
Art Garfunkel said he would like to speak out against war but that he and Paul Simon had agreed that Grammy night wasn't the right moment to voice protest.
Some onstage antiwar talk did come from Fred Durst, lead singer of Limp Bizkit. "I hope we're all in agreeance that this war should go away as soon as possible," he said. A few million war opponents must have cringed and wondered: Is this the best we've got? There are no peace-lovers out there who can pronounce "agreement"?
The Bee Gees were given a career achievement award, which was introduced through a video tribute narrated by CBS newsman Ed Bradley. There was a moving moment when the son of the late Maurice Gibb was handed the golden gramophone by surviving Bee Gees brothers Robin and Barry. But someone with either a disco grudge or very bad taste decided that 'N Sync was the right act to sing a medley of Bee Gees tunes, including "How Can You Mend a Broken Heart?," "How Deep Is Your Love?" and a beat-box take on "Stayin' Alive." The Bee Gees deserved an act with a little more gravitas.
The late Joe Strummer and his much revered old band, the Clash, got a better sendoff, when Springsteen, Elvis Costello, Dave Grohl of Foo Fighters and Little Steven Van Zandt worked up a four-guitar lather in a version of "London Calling."
Apart from the Jones sweep, there wasn't much drama to the show. The proceedings frequently seemed to follow a fairly rigorous format: The artist or group who just finished performing would win. So immediately after John Mayer sang "Your Body Is a Wonderland," the backing music for a few million junior high make-out sessions, he won best male pop vocal performance.
"This moment is kicking my ass," Mayer said, accepting the prize.
Avril Lavigne sang "Sk8er Boi" to a few rows of Lavignettes whom the Grammy organizers had herded to the front of the stage for her performance. Nelly did a strutting "Hot in Herre" with a semicircle of scantily-clads and a whole lot of billowing virtual flames, until he was joined by Kelly Rowland, who sashayed down a stairwell and turned the St. Louis rapper into a sensitive lover-boy. Kid Rock and Sheryl Crow teamed for her song "You're an Original."
The Grammys went hostless this year, apparently an effort to cram more music into the show. It's not a bad idea in theory, but the presenter banter seemed particularly inane. Kim Cattrall of "Sex and the City" called "best male performance" a topic near and dear to her. Justin Timberlake asked if he could grab Kylie Minogue's rear end again.
The comedy was better left to the pros. John Leguizamo did a pretty good impersonation of a livid Jewish grandfather when he botched the pronunciation of Leonard Bernstein's last name. When Robin Williams won the award for best spoken comedy album, he cocked an ear to the gramophone of his trophy and said: "Oh my God, listen. You can actually hear careers ending."
Faith Hill's "Cry" won for best female country vocal performance, while Johnny Cash picked up best male country vocal performance for "Give My Love to Rose" and Alan Jackson best country song for "Where Were You (When the World Stopped Turning)."
Dirty Vegas won best dance recording for "Days Go By," a song that owes its chart life, and now a Grammy, to a car commercial, for the Mitsubishi Eclipse. Nelly won best male rap solo for "Hot in Herre," while Missy Elliott won the corresponding prize for "Scream a.k.a. Itchin'." Nelly also won best rap collaboration for "Dilemma" with Kelly Rowland, while OutKast featuring Killer Mike won best rap performance by a duo or group for "The Whole World."
Best musical show went to "Hairspray," the work of Scott Wittman and Marc Shaiman. Before the telecast, Shaiman exulted from the podium with these words: "For anyone who thinks that Broadway is only filled with Jews and gays, I have only this to say -- 'Oy gevalt, me and my lover just won a Grammy!' "
Blues pioneer Charley Patton, who died in 1934, had his finest evening in decades. A seven-CD box set of his songs, "Screamin' and Hollerin' the Blues: The Worlds of Charley Patton," earned three Grammys, for best boxed package, best liner notes and best historical album.
Eminem's "Without Me" won best short-form video. The video features him "beating up" an actor playing Eminem's real-life arch-nemesis, Moby. Director Joseph Kahn, who had worked with Moby on two previous videos, said he called the electronica artist to get permission for the "pummeling." No problem, said Moby. "Saw him last night," Kahn said backstage of Moby. "We're friends."
Third Day won best rock gospel album for "Come Together"; Jars of Clay and its "The Eleventh Hour" won best contemporary gospel album; the Blind Boys of Alabama won best traditional gospel album for "Higher Ground." This was the second Grammy in two years for Blind Boys. Asked how winning last year had changed things for the group, singer Clarence Fountain smiled behind his dark glasses and said, "It changed the price."
India.Arie won best R&B album for "Voyage to India," and best urban alternative performance for "Little Things," ending a losing streak that started last year when she went home empty-handed after receiving seven nominations. "I feel great, yeah," she said backstage, "not because of this but because of how I've grown, and having a clear view."
Ashanti won best contemporary R&B album for her self-titled debut. B.B. King won best traditional blues album for "A Christmas Celebration of Hope," and best pop instrumental for "Auld Lang Syne," the 12th and 13th Grammy of his career. "I don't think you ever get used to it," King, 77, said of his baker's dozen of trophies. "I'll come back next year, if you'll have me."
Soul pioneer Solomon Burke won best contemporary blues album for "Don't Give Up on Me." "Took me 40 years to get up those steps," Burke said from the podium.
Join David Segal today at noon for an online chat about the Grammys, at www.washingtonpost.com
?2003 The Washington Post Company
作者：Anonymous 在 罕见奇谈 发贴, 来自 http://www.hjclub.org |
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