Take Ani DiFranco, add a dash of Eminem, three spoonfuls of Doris Day sweetener, a little Randy Newman and – heck, why not? – an orchestra or five, and I’ve still barely opened the door onto the ineffably strange world that is Nellie McKay’s debut.
Though the title is reportedly a riposte to Norah’s Come Away With Me, this record, produced by Beatles-engineer Geoff Emerick, comes on less like a reaction to anything than a sheer explosion of self – id, ego and superego all vying with each other to kick out the jams. London-born, Harlem-raised McKay might be just 19, but she has superstar confidence and a frankly staggering – and wide-ranging – musical virtuosity. ‘Manhattan Avenue’ has the feel of a jazz standard, all tinkling ivories and sloe-eyed, cocktail-hour charm, ‘Sari’ fuses the lyrical sharpness of the aforementioned DiFranco with the pace of the Beastie Boys, and ‘Respectable’ sashays onstage boasting cute pop hooks and show-tune stylings.
Unfortunately, for all its brilliant eccentricities and lunatic charm, not everything about this record works. McKay spent time as a stand-up comedian and, although her expertly-crafted lyrics dazzle, there are too many moments when the tone strays into the realm of pastiche. Moreover, for every song where the Glockenspiel/harp/rapping/cello /chimes combination succeeds, there is a broccoli-and-ice-cream tune that is notable as much for its unpalatability as its originality. When McKay is good, she’s very, very good. But when she’s bad, she’s scary.
Still, whatever about the blunders, you have to admire the initiative. US publications have been calling her a prodigy. For my money, she’s more of a firestarter. And undoubtedly one