#292 - Come Away With Me by Norah Jones (2003) - Album Archives | The Vault of Music History

Episode Transcript
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(00:00):
Let's set the stage.

(00:05):
It's the early 2000s, and the music world is a fragmented mess.
Pop is dominated by boy bands and Britney Spears, while new metal and rap rock are blaring
from every car stereo.
Jazz?
That's for elevators, or your grandpa's record collection.
Enter Nora Jones, a 22-year-old singer-songwriter with a sultry voice and a debut album that

(00:28):
no one saw coming.
By 2002, Nora Jones was an unknown, the daughter of Cittar legend Ravi Shankar, without carving
her own path.
She wasn't chasing trends or flash, instead, she leaned into intimate, timeless songwriting.
Recorded in a modest New York studio with a tight-knit group of musicians, come away

(00:48):
with me was a quiet revolution, a blend of jazz, folk, and pop that felt like a warm hug
in a chaotic world.
Another result?
An album that sold over 27 million copies, won five Grammys, and redefined what a breakout
record could be.

(01:19):
Welcome to Album Archives, where we dive into the top 300 albums of all time, as voted
on by fans of the music rewind podcast.
I'm your host Steve Epley, and today we're slipping into the smoky, soulful world of 2002,
with number 292, come away with me by Nora Jones.
This is an album that feels like a late-night conversation with an old friend, soft, sincere,

(01:42):
and unforgettable.
So light a candle, pour glass of wine, and let's dive in.
[music]

(02:03):
The album opens with a cover of Don't Know Why, a song that's practically synonymous with
Nora Jones, however, was written by Jesse Harris of Jesse Harris and the Fernandos.
It's a masterclass in restraint.
Her velvety voice floats over a simple guitar riff and a brushed drum beat.
The lyrics about longing and mischances hit you right in the chest.

(02:24):
It's no wonder this track became a radio staple and a coffee shop anthem.
It's intimate but universal, like Nora's singing straight to you.
What makes come from away special is its vibe.
Posey, unhurried, and authentic.
Anchor's songs like title track come away with me.

(02:45):
It's a love song that's equal parts dreamy and grounded, with lyrics that beckon you
to escape with her.
The interplay between her voice and the soft bass line by Lee Alexander is pure magic.
You can almost feel the candlelight flickering.
Come away with me in the night.

(03:12):
Then there's Cold Cold Heart.
Another cover, this one from Hank Williams.
Nora makes it entirely her own.
She strips it down to a jazzy, melancholic groove proving she can reinterpret a classic without
losing its soul.
It's a bold move for a debut artist, but Nora pulls it off with confidence showing her
range beyond her original songs.

(03:51):
Not every track is a home run for me, but they all flow seamlessly from one to the next.
Feel in the same way in seven years are lovely and blend into the album's mellow haze.
Some critics at the time called it too safe, too middle of the road, like it was made for
a Starbucks playlist.
And well they weren't entirely wrong, but that's also with strength.

(04:12):
Come away with me, it doesn't demand your attention.
It invites you in, and once you're there, you don't want to leave.
Take Turn Me On.
Another standout.
It's a slowly and slow burning, with Nora's voice dripping like honey over Adam Levy's
delicate guitar.
It's the kind of song that makes you want to dim the lights and sway.
Well, let's not forget the nearness of you, a standard that closes the album.

(04:35):
Nora's piano and voice carry it alone, raw and unadorned.
It's a bold way to end, like she's saying, this is me, no frills.
And I feel you so close to me.

(05:00):
The album's secret sauce is its production.
A reef Martin, a legend who has worked with everyone from Aritha Franklin to the Bee Gees,
knew exactly how to frame Nora's voice.
The instrumentation, guitar, bass, drums, and the occasional organ or accordion is sparse
yet deliberate, never overpowering her.
The sessions at a layer studios and sorcerers sound feel like a live performance, with the band's

(05:23):
chemistry shining through.
It's no coincidence that this album feels deeply authentic.
So why does come away with me in door?

(05:52):
It's not just the music, it's the context.
In 2002, the world was still reeling from September 11th, and pop music was loud and escapist.
Nora offered something different.
Comfort, introspection, a reminder to slow down, she wasn't trying to be the next big thing,
she was just being herself, and that authenticity connected with millions.

(06:14):
The album's Grammy sweep in 2003, Alameda the Year, Best New Artist, and more, felt like
a validation of its quiet power.
If you're looking for high energy bangers, you won't find them here.
Yet that's what makes it timeless.
Artists like Adele, Sam Smith, and Alicia Keys have cited Nora as an influence, and you
can hear echoes of this album in Modern Jazz Pop.

(06:35):
It's a record that feels as fresh today as it did two decades ago.
That's it for this edition of Album Archives.

(07:02):
If you enjoyed it, please share it with a friend and leave a review wherever you listen.
Next up is #291, Eliminator by ZZ Top.
Check out the top albums list on musicrelinepodcast.com to see where we are and where we are headed.
For now, I'm Steve Epley, and as I always say, listen to the full album.
Until next time.

(07:22):
A podcast from the Sidereal Media Group.
Back to you, Anchors.

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#292 - Come Away With Me by Norah Jones (2003)

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