FIFTEEN hundred years...('Thoughts')
Working it since I'ze FOURTEEN ('Teenage Hustling')
Tears at THIRTEEN ('Secret Spell')
TWELVE hundred spires...('Josephine')
Celebrate your top TEN in the charts of pain ('Cruel')
With their NINE inch nails ('Precious Things')
EIGHT shadows long ('Star Whisperer') give me EIGHT ('Big Wheel')
SEVEN devils ('Body And Soul'), SEVEN maids ('Wedding Day')
SIX feet under ('Not Dying Today'), a SIX-pack of coke ('Code Red')
Give me FIVE ('Big Wheel) FIVE am ('Me & A Gun), FIVE hundred Miles (500 Miles)
FOUR horse engine ('Bliss) You love your new FOUR wheel ('God')
We THREE Kings ('Star Of Wonder'), Like one, two, THREE ('Horses'), Henry said that it was THREE (Talula), Over THREE thousand years ('Snowblind')
TWO can play ('Merman')
ONE DAY she'll be her own ('Girl')
So this just happened;
I have no words.
4. Raspberry Swirl
6. Father Lucifer
7. Mr. Zebra
8. Fat Slut
9. The Waitress
10. Professional Widow
11. Big Wheel
12. You Can Bring Your Dog
13. Body and Soul
14. Teenage Hustling
15. Caught a Light Sneeze
19. Abnormally Attracted to Sin
20. In the Springtime of his Voodoo
21. Curtain Call
23. Lady in Blue
25. Doughnut Song
TRACK WARS: THE ALL TIME FAVOURITE HOLE OR COURTNEY LOVE TRACK AS VOTED BY YOU IS VIOLET!
Some statistics for you:
To get to the top spot, Violet went up against and beat Miss World, Plump, Garbadge Man, Asking For It, Gold Dust Woman, Drown Soda and Celebrity Skin.
The next ten top tracks (in no particular order) were: Dying, Plump, 20 Years In The Dakota, Malibu, Asking For It, Northern Star, Garbadge Man, Doll Parts, Miss World and Reasons To Be Beautiful.
The top tracks from Celebrity Skin were Malibu and Reasons To Be Beautiful.
The top track from Pretty On The Inside was Garbadge Man.
The top b-side was 20 Years In The Dakota.
The top tracks from Nobody's Daughter were Pacific Coast Highway, Loser Dust and Skinny Little Bitch.
The top cover song was Gold Dust Woman.
The top track from America's Sweetheart was All The Drugs, the only song off the album not to get knocked out in the first round.
Anything else you want to know, just ask! I stupidly didn't record how many votes each track got in each round, but should have any other info you want. Any surprises there for you?
-Easily better than Abnormally Attracted to Sin. No question.
-The most obvious influence on it to my ears is the The Light Princess; it's campy but self-aware, complex but straightforward, and ambitious
-"Giant's Rolling Pin" is more "Programmable Soda" than "Not Dying Today"
-"Oysters" is simply incredible
-The title track is a beast. It weaves in and out of so many different styles.
America: Sprightly, and reminded me of "Virginia." The personification of America is interesting; "She takes herself to night school" made me double take. There's a "Starling"-esque breakdown but I didn't cringe. The ending was pure Scarlet's Walk, and this is the first example of a song from this record that will sound perfect solo.
Wild Way: Loved the piano on it. The lyrics are some of her most straightforward to date. Not too fussed otherwise, doubt it'll have many fans.
Wedding Day: I adore this song. One of the ones I listened to twice. It has an absolutely gorgeous melody and the folky/Americana sound works so well. It has a darker feel and was one of the first instances where I started noticing how the album has a musical quality to it. Solo this will be amazing.
Weatherman: The first of a group of songs that puts this album ahead of her material from the last few years. There's haunting piano and a gorgeous echo effect on her voice. Definitely "Garlands"-esque, and there's hints of Scarlet and the better moments from The Beekeeper. I wrote down "High notes!"
16 Shades of Blue: A truly bizarre song. It maintains the dark mood set by "Weatherman," but takes it in a bitter, cynical direction. The lyrics are straightforward (some may find them pretty clunky). The production is all over the place, and I think its to the songs detriment. There are some great effects used on her voice, like a fuzzy megaphone effect, and some elements that slip in and out of the mix. There is just too much going on, like someone kept pressing buttons and didn't know when to stop.
Maids of Elfen-mere: This would have sounded at home on Night of Hunters. Also hints of "Devils and Gods." It's celtic, renaissance-feeling but it's definitely one that goes in one ear and out the other.
Promise: Given that Tash seems to be public enemy number 1 around here, I doubt many will change their opinion of the song in its full form. Personally, I really like the melody here, and Tash sounds truly lovely. The organ is the highlight of this song, though. There are some brilliant moments at the end where she plays higher notes on the organ and Tash emulates them? It's hard to explain.
Giant's Rolling Pin: With all the hate and fear, I expected so much worse. This is a silly song that knows its silly. It's not "Not Dying Today," because it's more self aware of its whimsical quality. There's a tuba, which adds to the whimsy. I won't return to it nor do I need to hear it live, but it's really not as offensive as you think.
Unrepentant Geraldines: Much like "16 Shades of Blue," I'm not sure how to tap into this song. It was another one I listened through twice because there is just so much going on. During one verse, my face was contorted in confusion. Then it would shift into something more melodic that seriously sounded like a Little Earthquakes-era melody. Some parts reminded me of "Witness" because there's a sensual groove provided by the organ. I also heard echoes of "Father's Son" during one of the slower parts. Suddenly, she whips out the best piano part of the entire record! Feverish playing and bass notes. It's ridiculous! Then the final 2 minutes are solo piano featuring impressive high notes.
Oysters: This was my first time hearing the song, as I've resisted the shitty leak. So glad to agree with everyone that its one of the best things she's done since the 90s, and it simply ranks up there. Everything about it; the piano, the melody, her voice, the lyrics - this is Tori Amos. At the same time, it doesn't feel like a retread. I'd love to see her focus on what makes this song magical and turn it into a full album.
Rose Dover: I need to listen to this one again. Another song that felt a tad discombobulated. There's loops and keyboards, and parts have an industrial quality. There's a dreamy-sounding post chorus, too. Overall, I could hear it on American Doll Posse.
Invisible Boy: This will rank in the top tier for people. It's a truly beautiful song in the vein of Toast but this feels even more raw. You can hear her breathing, and towards the end you can even hear her voice break. It's obviously one close to her heart based on her delivery. My notes say: Lullaby, sparse, breathing, 90s b-side."
From Yessaid: "A friend in media has heard the album and wanted to share some details anonymously:
- "Promise" is "kind of an R&B duet with Tash. No kidding."
- The album is even more Americana than Scarlet.
- "Oysters" is one of the most beautiful piano-vocal songs she's ever done. People will lose their minds over how gorgeous it is."
more about the album from the same reliable source:
The Tash song is bizarre and so is "Giant Rolling Pin." Both should have been b-sides or something. They don't belong on an album.
"Wild Way," "Wedding Day," and "Weatherman" (three W's in a row!) are all fantastic. "Wild Way" is very sparse - "I hate you, I hate you" Tori repeats in a really tender voice, seemingly from the voice of a Native American woman to a pilgrim. Has a Venus-esque drum loop midway. "Wedding Day" is akin to "Carbon" in a lot of ways. Some Wurlitzer and piano and steady drums. "Weatherman" is, if I remember correctly, mostly just piano and vocal.
"Invisible Boy" is very tender a "Merman" and "Toast" hybrid. Tori chokes back tears at the end.
The piano on the piano-vocal songs is INCREDIBLE.
"Geraldines" is very weirdly structured. Lots of organ and layered vocals and then a weird super fast punk guitar and drum moment. This alternates for most of the song. Then the end has a piano solo that's really dark and lovely and then it breaks into a second part that's just Tori and vocal. She repeats "if you see the vicar's wife" over and over.
"Selkie" is also piano-vocal. All the piano is very satisfying. Nothing is dark, though.
This is an album that alternates between very very vibrant and very very melancholy.
Speculation from 'an insider at yessaid.com'. I cannot wait to compare this with the album, and see how in/accurate it is. Also - GUITARS! ELECTRIC GUITARS!
- Current Location:Outer sounds of the suburbs
- Current Mood: thoughtful
- Current Music:lady gaga artpop
A lot of critics were particularly harsh on the Spice Girls, whose music was no better or worse than a lot of their boy-band contemporaries. (Oh come on, it was much better.) Vitriol was reserved for the Girls because they were too sexy or not sexy enough, or because they were sending out a feminist message that warped young girls' minds into thinking friendships were just as important as romantic relationships, or they were undermining all the work the riot grrrls had done by making 'Girl Power' into a corporate slogan. Well, fuck all that. They were a heap of fun and *anything* that encourages females to support instead of hate each other gets a big tick from me (to think Mean Girls would be the dominant meme of girl culture a mere 7 years later.) They live in a double-decker bus that's bigger on the inside. Elvis Costello appears as a bartender. Meatloaf is their driver and makes a joke about he loves the girls and he'd do anything for them, but he won't do that. An alien squeezes Scary Spice's boob. *SPOILER* - they make it to Albert Hall in time for their concert.
It's the Spice Girls' world - we just live in it.
- Current Location:Outer sounds of the suburbs
- Current Mood: gloomy
- Current Music:Tori Amos - Abnormally Attracted To SIn
Blessed Be This Day of Beltane
Wedding Day of the Goddess and The God
Holy Day of Sacred Marriage
Holy Night Of Sacred Union
The Fertile Goddess of Summer
Walks Through The Land
With the Great Horned God of the Forest
And the Dark Time of Winter is Behind Me....
- Current Location:Green hills and dales
- Current Mood: grateful
- Current Music:Tori Amos - Abnormally Attracted To SIn