Published on Jan 10, 2000
Fiona Apple’s “rant” on the MTV Video Music Awards a couple of
years ago was one of the most laughable, sorry and just plain
ridiculous cases of overreaction to an artist who speaks their
mind. I mean, come on, what really did she say when she was at the
podium? Value individuality, don’t pay too much attention to beauty
standards that you couldn’t possibly live up to, don’t let artists
dictate your value system.
Yup, I could see where people thought she was
waaaay out of line. All of those things she said were very
controversial. Come on folks, it’s not like she tore the picture of
the pope up on the podium. But somehow, at that instant, she was
cast as an outsider. Just get that second album out of the way, get
that buried and Apple will go the way of the Crash Test
Dummies.
Actually, that senario would work if she released a weak album.
But just to piss off her naysayers, Apple released an album that
almost eclipses her very good
Tidal album.
When The Pawn… finds Apple going back to the artists she
can most identify with.
Be it contemporaries like Ani Difranco or gritty, lonely jazz
singers of the ’20s and ’30s,
When The Pawn… ignores any set pattern. Like any good,
self-revealing album, you get the indication that Apple used
certain instrumentation because they had to be played, not because
they would sound good on top 40 radio.
“On The Bound” and “To Your Love” kick off the album with a
warm, textured feel of a well-crafted jazz release. The low-end
notes on the piano and Apple’s deep voice pack such a luster kick
that the album feels most at home in your pad with a couple of
candles flickering.
Don’t expect to see Apple perched on a baby grand ala Michelle
Pfeiffer in
The Fabulous Baker Boys, however. In “To Your Love,” Apple
veers dangerously close to sounding like she’s listened to a bit
too much PJ Harvey. But “Limp” kicks Apple right back her rock
groove.
Midway through the album, Apple does not let up. “Paper Bag” and
the trippy “Mistake” show that her vision is still very much in the
’90s. And “Fast As You Can” has a great driving beat to it, thanks
partially to some frantic guitar picking.
“Get Gone” and “I Know” close the album, both songs dealing with
romantic longing and lonliness. For someone who hasn’t even turned
25 yet, Apple sounds like she’s gone through enough bad
relationships and faded friendships to last up until someone’s
first mid-life crisis.
But
When The Pawn… is definitely not a “feel sorry for me”
album. Throughout the album, Apple points the finger at herself
just as much as she does for anyone that has smitten her. And
credit must go to producer Jon Brion. For all of Apple’s bemoaning,
the music keeps us riveted.
When The Pawn… is Apple’s version of
Sheryl Crow. Both artists were in a position where people
were ready to dump both of them in the recycled bins and hop onto
the next artist who were a bit friendlier to the ears. But both
released an album that was both very personal and very good
musicially. Sorry folks, Apple is here for a while. And looking at
the Top 10 for the past few months, I couldn’t be more happy that
she’s here.