Tori Amos
American Doll Posse
Epic Records, 2007
Rating: Eh, pretty much not that great. Also, disappointing.
There’s a fantastic debate that rages in the Resonator offices (ok, basically just between Trixie and I) anytime there’s mention of a new Tori Amos project. It basically goes something like this:
Trixie: “She jumped the shark at ‘Choirgirl’ â€
Me: “How can you say that? There was this amazing mixed-down skippy almost two-step breakbeat on “Goodbye Pisces†from the last record and…â€
Trixie: “And I would have listened if she hadn’t gotten boring after ‘Choirgirl’.â€
And that, essentially, encapsulates our Tori dialogue (although the above version features fewer things being thrown across kitchens). With both of us having our hearts still firmly in love with the Tori Amos who was a raved-up diva (and yes, I do mean RAVE: I can tick off House and Trance staples that found their origins with her enough to make your head spin, kids), straddling a line between new and old by thrashing the fuck out of her Bosendorfer grand piano and snaking synth lines from her Casio to craft a sound that was, and words fail here, fucking intense, the Tori Amos of recent years has been, well, a bit of a let-down.
Choirgirl Hotel, Tori’s late-90s venture into electronic song sculptures as a way to achieve catharsis from a failed relationship, a miscarriage and a flowering love that would result in marriage, was the pinnacle of her musical creativity. She’d pulled her songwriting back from the self-indulgent wine-drunk edge that made her previous album, Boys For Pele, the sort of record only a fan could love (and thus I adore it, more so than any of her other work), and had begun experimenting with making loops and samples the forefront, the body and meat, of her songs. It’s from this stuff that the shoulda-been-a-Prog-House-hit “Liquid Diamonds†and the anthem-that-wasn’t “Raspberry Swirl†both were birthed. While she’d continue to layer deep, pulsing tones underneath a lot of To Venus and Back, and removed a lot of the layers from her chosen covers on Strange Little Girls and redid the songs with a hazy buzz, there was never the sense of all-out experimenting with electronic and synthetic ideas that seemed to be her direction for a moment.
We can blame motherhood (but why demonize something so awesome and deserved), we can blame age (but why fault something so eventual), or we can blame the current political climate in America (that’s it! Let’s fault Bush! FUCK BUSH!), but Tori has utterly mellowed on-record in recent years. While Scarlet’s Walk and The Beekeper both have near-moments of almost-oldschool Tori fury (of which I try to sell Trixie on just to get her to listen), compared to her older stuff both records feel neutered and, even worse for an artist who has always been the musically creative equivalent of a crackwhore, boring. She’s still utterly batshit crazy live, calling out during 80 minute versions of classics like “Professional Widow†for boys, daddy and rain (yes, said) and interspersing her on-stage exorcisms with between-song banter about ravioli, party dresses, chickpea cheesecake and Professor Koala.
So, the announcement of this new Tori album, Strange Little Dol, erm, American Doll Posse, and its accompanying concept (TORI! In WIGS! Saying WEIRD SHIT!), was met with eye-rolling from both Trixie and myself. While others across the netverse have jumped on every little Tori interview quirk, there are those of us who look, shrug, and just say “yeah, she was crazier in, like, ’97, and I was thereâ€.
I’m not really necessarily sure why she found the need to re-hash an idea done better in the Strange Little Girls booklet, what the multi-personality Toris have to do with American Doll Posse conceptually, or how they help string the record together (though it’s fucking hilarious that the disheveled one with the Beyonce-esque crazy eyes and clutching a chicken, like a rejected extra from the Pele photo shoot, is “Toriâ€), but I’ve always been insistent that a concept album should be listenable even if one’s removed entirely from the concept. I remember recording my CD copy of Choirgirl to a cassette to hear the “alternate track listâ€, i.e. to re-order the songs to follow the way the lyrics were printed. Apparently re-arranging the songs allowed for some “hidden meaningâ€. Honestly, yeah, it did flow better, but Choirgirl was still listenable as-was, from front to back.
American Doll Posse, while offering up a lot of blog fodder with the single “Big Wheel†(“OMFG YOU GUYS SHE CALLS HERSELF A MILF!â€), really offers nothing new, or nothing that would really lure back those of us who continue, time after time and album after album, to slip away, go to the shows, see the force of Tori live, sigh out the door and say ‘god, I wish she’d make another GREAT albumâ€. There are a few splendid moments, such as Tori funneling her long-lost b-side “The Pool†through Kevin Shields’ sound system on “Fat Slutâ€, that come as highly unexpected. The highlight of these is when, on what should totally be the album’s second single “Bouncing Off Cloudsâ€, Matt Chamberlain’s precise drumming falls away to reveal drum programming and Tori house-diva vamping “easy/make it easy/it’s not as heavy as it seemsâ€. It’s a euphoric, tear-stained half-light of a moment, the type of moment that’s liable only to translate to those who’ve ever been dancing as the sun came up. The fact that this comes so early on American Doll Posse, though, shows what Tori could and can still do, and makes the fact that she chooses instead to litter the album with what that past half-decade of Tori has consisted of, namely M.O.T. (mainstream-oriented Tori) stuff like “You Can Bring Your Dog†and “Secret Spellâ€. The problem is that there’s nothing really wrong with any of these songs, but there’s nothing that exciting, either. Tori Amos albums used to be head-fuck amalgams of the cutting-edge and the childlike, the obscene and the divine. Now, those moments of utter transcendence, the type of songs that always proved that while the world may not have been listening to her she was listening to every sound from everywhere, are far too few and come too infrequently.
Maybe the American Doll live show will cause a re-evaluation of this record for me, in a fashion that the end of The Beekeeper solo show I caught, with Tori performing the title song in a droning haze before turning up the feedback and storming off stage, leaving a painful, powerful reverb thumping in my chest that literally made it impossible to breathe. I hope for something like that this time around-because every time Tori works her magic in a live setting, it leaves a little more hope that maybe NEXT album she’ll be the amazing, bewitching, psycho-genius Tori that the world either loves or hates. As for now, though, it’s too easy to simply just “like†her, because there isn’t that much on American Doll Posse to love.
Tori Amos: Bouncing Off Clouds
Listen, for three minutes in…oh, sheer gorgeousness.
And, lost/unreleased outtakes from Tori’s “A Piano” collection, and further proof of what she’s capable of:
There’s T-Rex glam stomp to some of her American Doll stuff, but nothing struts up to Allison Goldfrapp and slaps her ‘cross the cheek with a lace glove like this.
Tori discussed the making and shelving of this song for years before it was actually heard-and, once it was released, it was worth the wait. Loud, painful, intense, wrapped in that glorious, heavy synth sound that marks a specific period in Tori’s recordings. This is…this is what I would love to hear again, rather than the uncreative blandness that is the majority of her current output.
You’re stupid if you think The Pool sounds like Fat Slut and that there is nothing creative or new on the album. You’re deaf if you think Teenage Hustling sounds like everything else she’s ever done. You’re ignorant if you think this is the same thing as SLG just cuz she dresses up. Smokey Joe and Dragon are brilliant…open your ears. Thanks for wasting my time.
Everyone’s entitled to their opinion. At least this guy knows Tori’s work in and out. I love ADP, it’s not like her previous work but that is what makes Tori the amazing artist that she is, always creating, never repeating. I am really looking forward to the shows as she has never disappointed us there, well, she’s never disappointed me ever.
I feel the exact same way.
Made me feel better reading this, thanks.
P.S. I’m loving the concept and the dolls and reading their blogs though, enjoying them more than I’m enjoying the album.
I don’t see any Pool in Fat Slut either.
Well… I like it, so that means I disagree with you. Let´s have a flame war, a deadly Tori Flame War.
No, I don´t do that anymore! Lol, But I agree about her being capable of OH SO MUCH MORE… plus, Pele is my favorite too. But I really think it´s PERFECT, not just to the fans, not that I know any ultra hardcore ones.
It´s PERFECT. Pele is PERFECT. DID YOU HEAR THAT?! PERFECT!!
Cheers ; )
Wow. Pretty Scathing. A line from Regina Spektor comes to mind while thinking of Tori’s last two albums: “you can write, but you can’t edit”.
The beauty of Tori albums lies in the fact that she doesn’t repeat herself. You can either take the journey, or stay home. I remember when Pele came out, it was very hard to digest. It was called indulgent and messy. Now, it’s a classic.
I really really like this album. There’s a few tracks that make my mind wander, but overall, it’s a damn good effort, especially from a woman with such a prolific catalogue. She can’t please everybody. I won’t demean you for your review, although I disagree with most of it.
I do however agree with your opinion of the live shows. Had the beekeeper (the album) been produced as fierce and raw as the live renditions, it would have been mind blowing. I can’t wait to hear these songs live.
wow. you guys are actually fucking mentally challenged. This is obviously the best album she has done since Boys for Pele. ADP is nothing like what she was trying to achieve in SLG. How are you comparing an album that was songs written by men and coming out as women to an album with characters based loosely on the Greek goddesses to tell a narrative of the condition of America?
And The Pool sounds like Fat Slut? You Can Bring Your Dog isn’t exciting? pssssh you obviously don’t even like Tori Amos or any of her music. And even if you are not a fan of Big Wheel, or Fat Slut, You Can Bring Your Dog, or Secret Spell……ummmm have you heard the rest of the album? Digital Ghost, Girl Disappearing, Father’s Sun, Code Red, Dark Side of The Sun, Smokey Joe, and Dragon are pure gold!!! Ummmmm and you love Zero Point but not Code Red? I hope to Jesus that you come around and see the light.
Fucking retarded. I could go on and on but it is pointless. If you didn’t like the Beekeeper (which is also great but understandibly too much of a departure for some), fine, but this album is so beyond amazing……seriously what the fuck is wrong with you? You claim Boys for Pele is an album only a fan could love, but the same can be said about this one. It is hardly mainstream and is at the same level of creative genius the BFP was. Stop saying you are true fans and come clean, because anyone who actually is a true fan will simply melt for this album.
Wow. Pretty Scathing. A line from Regina Spektor comes to mind while thinking of Tori’s last two albums: “you can write, but you can’t edit”.
The beauty of Tori albums lies in the fact that she doesn’t repeat herself. You can either take the journey, or stay home. I remember when Pele came out, it was very hard to digest. It was called indulgent and messy. Now, it’s a classic.
I really really like this album. There’s a few tracks that make my mind wander, but overall, it’s a damn good effort, especially from a woman with such a prolific catalogue. She can’t please everybody. I won’t demean you for your review, although I disagree with most of it.
I do however agree with your opinion of the live shows. Had the beekeeper (the album) been produced as fierce and raw as the live renditions, it would have been mind blowing. I can’t wait to hear these songs live.
On a side note: Calling someone “mentally challenged” and being a total cunt does not help your arguement. You know there is such a thing as intelligent debate.
Totally agree.
This is just one of those reviews that probably belong to a site/series of articles were everything has to sound cynical to be “cool”.
As a musician (professionally speaking) - Little Earthquakes & Boys For Pele are her best works. I believe ADP will soon join that tier. The real “issue” with ADP is every song is a hit, but the choice for more guitars and way too many tracks is where I think it sort of falls short.
“Secret Spell” & “Teenage Hustling” and “You Can Bring Your Dog” are good songs…but not album-worthy when you stand them up against all the other songs. They should have been B-Sides.
Fat Slut & Devils & Gods - Are just fillers (Like “Way Down” from BFP) - I can take ‘em or leave ‘em. “Dragon” has a week opening that gets trumped by an amazing B-section (chorus).
Concept albums are sort of dead and gone but Tori can pull them off. But this comparison that she was so flame-haired angry alterna-rock chick back in the 90’s and has been watered down since makes no sense. She was NEVER angry! She even said so herself in countless interviews. The first two albums had a “healing” theme (Even ‘Precious Things’) while Boys For Pele had it’s moments but ultimately was about transitional love & archetypes.
Choirgirl wasn’t as processed as you think. That was the birth of the band for a reason.
Strange Little Girls, Venus & Back (Her worst album),Tales of a Librarian - those were albums meant for official release to get out of her bad Atlantic contract without screwing the fans or herself.
Scarlet’s Walk - if any album, is the most ignorable. A great album but overall…I can never tell when one song ends and another begins usually.
The Beekeeper was very appropriate for someone who was spending time being a “mom”. It was only natural that she went a lil’ Kathy Lee Gifford on us all with her first bonafide failure - “Ribbons Undone” (worst song ever in fact.) - But she’s back now, stronger than ever, and she’s going after conservative megalomaniacs metaphorically with this one.
Your review was lame, bogus, and contradicted itself way too many times.
TOTALLY Agree Jimmy. This album will be an instant classic when it is released.
DEF. BEST since BFP. This album really sounds nothing that she’s done, and I’ve been there since Y Kant Tori Read.
If you dont see the sheer brilliance and genius of this album, I have no idea what you’re smoking, but you need to stop and get some new shit. Then write me an album at the piano that you think Tori would write. We’ll see how brave you are then with your asinine review of ADP. Yes, Shaun, we’ll see how brave you are.
BEST SONGS:
Smokey Joe (Um, no words)
Dragon (Perfect)
Teenage Hustling (Captain Obvious example of amazing)
Code Red (Chillingly Gorgeous. The song to play at the end of the world)
Digital Ghost (Awe)
Beauty of Speed (Melts me..listen to it over and over for an hour)
Roosterspur Bridge (Stunning, It’s like Northern Lad’s older sister)
Every track on this album is soo soo goood. After 5 listens of the album thru, it became my Fave. BFP is still there, just a lil bit behind Posse now.
I think every detracting review for ADP will change and be corrected in a few months, I think it will grow on everyone at different speeds, but it WILL grow on everyone, and one day you’ll put it on and say, WTF was I thinking back in April, I obviously am hearing something now I didn’t hear then.
When BFP first came out, people were comparing it to LE and it didn’t get the reviews that LE or UTP had, yet it became most of Tori’s fans Fave Album.
I believe the same will happen with ADP. This is her crowning gem.
Funny that it’s her 9th album, in numerology the number 9 is the number of completion. It is the wisest of numbers and represents full circle. I think Tori has acheived that here. I raise my glass, and toast in her honor. (warm on the throat red of course. ;-) JM.
I totally agree with most everything you said. I miss the f’ed up, wicked psycho Tori from the Pink - Choirgirl days (the best being Pele). 3 things make an artist bland: getting married, sobering up and having kids and Tori (during and shortly after Venus) experienced all 3 at once. Ever since I’ve felt he same about her music - hoping for that next great piece of art pressed in CD form. She’s creative with this, but it is a rehash of SLGs and her past 3 efforts (SLGs, SW and BK) put me to sleep! I love Tori, but I don’t want to jump on the bandwagon because I feel I need to, I want to jump on that wagon because I want to!
i think you’re right. i love tori because of bfp and ftch,
everything else is sort of derivation of this love.
but adp has more bright moments than you mentioned.
smokey joey, dragon, code red, father’s son are brilliant tracks.
and yes, i dislike the wig concept as well. but this year
is going to be my first time to see her live so i’d forgive her anything.
Honestly, the woman can do no wrong in my eyes. There is no other musical artist out there that delivers their soul each and every time, baring it for all of us to see and judge. NO ONE does it like her and no one does it better! I’ve been a fan since Little Earthquakes and I wait for each release with great anticipation b/c I know we are that much closer to it being her last and NO ONE will ever come close to replacing what she has given us all these years.
Ppl get OVER your disappointment over SW and TB, she has explained time and time again she was keeping it mellow cause she didn’t want Tash to be exposed to crazy Tori. AND not to mention one does kind of mellow with the birth of a little one AND having gone thru the death of her brother and her mom getting sick, they were much more about meditative introspection.
She kicks fucking ass whether she is singing us a lullabye or belting out some Professional Widow!
I been hearing the new album clips with trepidation because as is evident (whatever the reason), tori has been losing fans choirgirl (or maybe even pele) onwards. I have been hearing tori since the nineties and its true that she’s never been as good as she was on the first three albums. I mean she could touch anything to gold, she had that kind of musical genius. However that’s clearly changed. This album seems better that the last two ones, she’s kind of got some energy here. But I think she really has been getting more and more self-indulgent. I think she needs to discipline herself, make shorter, tighter album (just discard all the junk that does not make the grade. she can’t make b-sides the way they used to be) - and leave the concepts and concentrate on the music, girl. Little Earthquakes needed no explaining to express itself, did it?
Shaun, we’ve had our Tori conversations before - and you know I’m a Pele/Choirgirl fan through and through…and I, like you, cling to the little moments of brilliance & madness that continue to trickle through the latest records…
I had heard the rumors of the return to the harpsicord/the return to the insanity (I remember seeing a piece of it shining on stage during a fervent rendition of “The Power of Orange Knickers” a few years back at Atlanta’s Symphony Hall)…but from the clips I’ve heard on this record, well, I’m just sad…
As a songwriter, I can attest that the greatest songs come out of turmoil and change and longing and heartbreak…and I’m not sure where a woman who is happily married, with a beautiful child, all the money she’ll ever need and a perfect home studio will find that kind of madness…she’s turned to politics (BOO) this time….not to wish any harm, but if I had a dollar for every time a Tori fan has said:
“I love her and don’t wish her any harm, but I wish something would happen that would cause her to write with that synergy and grief and aliveness and anger she used to.”
That said, I’ll give this record a fair shake, and I’ll be at every concert I can, but I think I’ll still be holding out hope for a return to form.
EE The Swear, That is a huge load of crap. The greatest songs do not always come out of heartbreak, turmoil, change, longing, and heartbreak. I’m sorry, but that is the dumbest thing I have ever heard. You are one of those people who believe in the “Suffering Artist”, you must suffer to really create something real. I, too am a songwriter and strong songs can come out of being happy and being content. And Tori is about change in this album, and i believe the album is very awesome. Way, way better than the crap we’ve been listening to on the radio. Music has gone downhill completely, and I don’t know about anyone else, But I would choose TBK, SW or any Tori album over the crap that is on the radio today.
i really couldn’t agree more with your comments. BFP was my favorite album, and i can’t understand for the life of me why people are comparing this to that. ADP, with all the stupid blogs and girls and alter-egos and rock straddling country, is a total bore. all that crap about the ‘different girls’ HAS been done before with SLG and it didn’t work then…this feels like a stupid marketing ploy. where’s the great music? where are the haunting melodies? where’s the piano? where’s the INNOVATION? some of this feels like sloppy, unfinished work. and no amount of funny enunciations or quirky weird lyrics changes the fact that there’s such a huge lack of musical substance. nothing grabbing, save beauty of speed and parts of bouncing off clouds.
One other comment:
Tori, GET A PRODUCER! You’re so self-indulgent that your music is going waayyyyy down hill. Stop putting poo on records. It’s pissing people off, except your “i’m-devoted-no-matter-what-fans” who are too tied up in your image & persona to be able to comment rationally on this terrible album you’re putting out.
well. i’ve only heard ‘bouncing’ ‘big wheel’ yo george’ and ‘teenage hustling’. i’ve found all 4 to be incredibly boring tripe. not a good sign. and i’m tired of tori’s fashion shoot crap. all in all, shes done as a relevant artist. now, for a great album: year zero, nin. go buy that
oh yeah, check out my website! you’ll love it. magicmonkeyfla.livejournal.com/profile
Lonnie, Thank you for your reply, at least there are still some decent people out there. The rest of you sick, “Tori only makes good music when her heart has been ripped to shreds and she’s bleeding through miscarriage after miscarriage” FUCK OFF! You obviously never appreciated Tori for the phenominal artist that she is, why the hell should she shell out one “my life is fucked up” album after another. SLG, SW, TBK, and ADP are all amazing attributes to her work and her credit as an artist, she wouldn’t be an artist if she put the same shit out every album. Tori could make an album of her playing the exact same note over and over for 67 minutes and it would still be art compared to the clones of songs of pubescent wannabes that put shit on the radio and tv everday. If there’s one thing that any real Tori fan knows, it is that she doesn’t do what anyone wants her to do, she goes her own fucking way, if you don’t like it, FUCK OFF!
Examples of great songs written out of happiness?
Ribbons Undone
Sleeps with Butterflies
The Dolphin Song
For Mark
Song for Eric
Never Seen Blue
Daisy Dead Petals
Humpty Dumpty
Toodles Mr. Jim
Graveyard
Cornflake Girl
Father Lucifer
Take to the Sky
Bouncing off Clouds
Talula
Wednesday
Programmable Soda
You can bring your dog
Ireland
Bachelorette
Etienne
Frog on my toe
Glory of the 80’s
Datura
The Happy Worker
Hungarian Wedding Song
the jackass and the toad
Pirates
A sorta fairytale
Space Dog
Your Cloud
The fact that Tori knows so much about pain and heartbreak makes her identify even more with happiness. How could she have written LE, BFP, FTCH without knowing what real love and true happiness was? In Tori’s own words “everyone needs a good bottle of wine and some depressing songs EVERY ONCE IN A WHILE” 11/11/96 Boulder, CO.
Guys, this article never stipulates that Fat Slut sounds like The Pool. But it DOES channel it, as stated above. The haunting, half-singing, half-talking over cleverly crafted instrumental lines.
argh! could you stop wanting tori to write angst ridden stuff?? who was that mofo that said someone should kidnap and mutilate her daughter so we can get good music out of her? god what a prat! It’s ignorant to think she can’t evolve as a songwriter. she can’t keep doing the same “victim” schtich forever. jesus, it’s not like someone went and erased LE and pele from the face of the earth and you’ll NEVER hear them again. yes she went the poltical route too she has a responsiblity to address these issues. she can’t be introspective all the bloody time. naval gazing crap isn’t fashionable anymore you want that go listen to My Chemical Romance and fall out boy and slit your wrists and complain about how screwed up your middle class life is. ADP is still a good album. there is still amazing stuff on there. you can’t just get shitty every time your favourite band/songwriter doesn’t do music you like. code red and smokey joe are as “dark” as any of her older tracks from pele. let the woman go where she needs to. she’s lucky she’s not stifled by her record company. as for the outfits, least she’s not wearing designer crap and pretending to be a whore while still trying to pass herself off as virginal.have we forgotton ziggy stardust? mansons mechanical animals? personas people. go read joseph campbel and get a clue.
Why dont you all spend your time listening to the album for a while before writing your reviews? I often find it can take weeks and weeks to really get to know and love a song. I would rather it be that way than having it stuck in my head after the first listen and then pissing me off the next week. I’m going to listen to it for a month and then make my mind up!
Guys, I agree that the last three albums have been extremely long, however i seriously doubt that in 20 years time when we are likely to get no new work from Tori, you are going to be still complaining about knocking the track listings down to 10! I am happy to take my time with these albums, perhaps make my own smaller albums with the strongest material for fun. I am still getting to know the last two records so frankly im glad that she has added more rather than less. Think to the future people!
Sigh….agreed. So disappointed I almost cried. And when will this wonderful, wonderful woman learn to EDIT!!!???????? Still love her though…perhaps it will grow on me although Pele never did….
I agree that both Pele and Choirgirl were insanely good and creatively crazy. But think about it: how much do you really enjoy Pink as an album? ADP is every bit as good as Pink. The album versions of Waitress and Bells for Her both are mediocre to me, for example. To Venus and Back is actually my favorite record. I wore it out. Concertina is fucking amazing. Glory of the 80’s made me giddy. I did cry 1000 oceans. I think people have this narrow minded view of the choirgirl era, that it somehow sums up exactly how Tori should sound. Don’t make your opinion the law. Lot’s of people love Tori’s music in different time periods for many reasons.
Just what I would say. Only you said it better.
I’m only up to my second listen and I’m not sure. I thought I liked it. then I thought I didn’t.
I haven’t had such a mixed response since Venus. I’m never cold on first listen though. I’ve hated most of her albums on impact since Venus, and have ended up loving them all, just hating a few songs in isolation.
And I thought the wig thing should have been left at Strange Little girls. She did it. It was novel. It didn’t need to be done again. is it just a ploy to make sure we all buy the album for the artwork and don’t just download it?
And I think Bouncing of Clouds is a direct nod to Cloudbusting. Same sort of euphoria. I love it.
3 good songs - Big Wheel, Bouncing and Father’s - the rest is shit, just as Pele was, is and always will be utter shit. This review was more than nice to Tori and all u sad fucks who worship any shit that falls out of her ass need to get a life. The separate blog thing is the saddest/dumbest idea since Milli Vanilli…
Get a fucking life and stop pretending that anyone will ever sit down and listen to all these shitty songs in one sitting after hearing them once.
http://www.nowtoronto.com/issues/2007-04-26/music_discs.php
I’m not in love with every track on the new album, but I enjoy most of them. It’s good to hear her rock again. I adored Scarlet’s Walk, and I liked The Beekeeper, but this change in direction was necessary.
I read it in fan reviews over and over again: “Well, it’s not Boys For Pele.” If she put out the same album over and over again, how would she continue to be a relevant artist? Personally, I would get bored.
Which is why I don’t buy Nine Inch Nails albums anymore.
I think Miss Trixie gave up too soon. Scarlet’s Walk was Tori’s peak. I would even consider it a perfect album if it weren’t for wampum prayer. I think you should tie Trixie down and play it again and again until she gives in.
I agree that Tori was more experimental in the beginning but if you listen to Scarlet’s walk you can catch a crack at Americana(Virginia). It was new and impressive to me anyways. Wouldn’t you love to hear Emmylou Harris interpret that song?
SW also had some of her best vocals. The low growly tori of Choirgirl was back (don’t make me come to vegas,Sweet Sangria,Another Girls Paradise) and the sweeping saprano from Under the Pink (Mrs. Jesus, Carbon) and the storytelling of Earthqaukes(Wednesday), made a an appearance!
Please beg Trixie to reconsider her stance and say that the Beekeeper is where the shark jumping started. The only song that even made my Ipod from that album was General Joy. I only hear 2 on this one that will make it. I’m with Tori for the entire ride….i’m hoping this is just a rough patch.
WTF?! Sweet the Sting and Sleeps with Butterflies are not even worth inclusion on your Ipod?
Somewhat rethinking my obnoxious note above… Kinda like Digital Ghost, Miracle and Yo George now…
Really folks, you think she gives a crap about pleasing YOU? It’s not about you, and it would be impossible for her to please all of her fans. It’s about being an artist. Every single album from her has been different and, logically, has its own set of fans. ADP will, also. For those of you who think that Tori doesn’t have “it” anymore, then I suggest you start with CODE RED and actually read the lyrics. If you don’t think it’s brilliant stuff, then you’re just not paying attention.
spoken like a true fan (yes, said)
hot pick of a jumpsuit that doesn’t look like a clown, too!