Glad Rag Doll
I’ve never felt any connection – of any kind – to a Diana Krall album. They appear every year (or every other year) and even if they’re okay that doesn’t mean they will stick around long. But she’s always posing on the cover and she has a lot of fans. I used to work in a music store and men in suits in their 40s and 50s love to buy Diana Krall albums. Well, they’ll be in their 50s and 60s now and they’ll love the cover of this latest album. They may even love (some of) the covers on the album. It’s songs from the 20s and 30s (based on her father’s collection of 78s). so that’s the reason for the cover image – apparently.
Anyway, it’s easily the best album Krall has released – she sounds far more interesting and interested than she has on previous records and the song-selection is smart. Some big names are in there to grubby it up nicely, the great drummer Jay Bellerose, Marc Ribot with his carnival in a thrift-store guitar and producer T-Bone Burnett. Even hubby gets involved – under one of his silly pseudonyms.
Krall doesn’t hit it out of the park in any way, this is not what I’d call a must-listen but it’s good – better than a Diana Krall album in 2012 might have been. I like that she can breathe something new into Lonely Avenue (such an oft-covered tune). And it’s a solid version of There Ain’t No Sweet Man That’s Worth The Salt Of My Tears too. Lots of solid versions here – and Krall sounds like she’s having fun, finally; there’s some warmth and charm in her voice. I’ve never heard her sound this enthused.
There’s absolutely no way I’ll be playing this in a year’s time – it might not even last a month. But I wasn’t indifferent. I rather like it. And I’ve always been indifferent when it comes to Krall’s albums. Oh, and this one I’d already judged by its cover. I still think that’s a cheap thrill for the growing-older target audience. And I reckon the record company made her do that.