Discussion in 'Pop & Justice' started by Victor Fairbanks, Jul 7, 2007.
It was a (promo) single and deservedly so!
My hot (?) take is that Tori didn’t really “lose it” until AATS. Her content, style of singing and other elements changed, and that might have put people off, but AATS was her first “what the fuck” record. She’s bounced back since here and there but until she trusts other outside influences to support and challenge her work, I don’t think we’ll ever be truly surprised by her work again.
All of you guys lovely talk about Scarlet’s Walk has made me listen to it this morning. The album feels like a big, long, comforting and warm hug. It’s such a lovely journey. I’m on a Tori binge again, and both Boys for Pele and Scarlet’s Walk has grown on me so much lately. Both albums seemed a bit inaccessible for different reasons for me. But once you actually dive into their worlds, there is so much depth.
I really wanna spend the month leading up to the new album to complete listening through her discography. I still haven’t listened to them all.
Edit: I Can’t See New York is one of her best songs isn’t it? It’s breathtaking.
I've been looking for a copy at an affordable price for the last 20 years... it was rare then and it's still rare now.
It's one of my favourite Tori songs. Kevyn Aucoin, whom the song was about, was a huge makeup artist in the late 80s and 90s. I used to see his name mentioned in fashion magazines all the time.
That’s pretty spot on apart from “Seaside” is missing.
Tori once said that “Seaside” occupied the same place in the story as “Pancake”, so one had to go
I totally thought Seaside was missing too, but it’s there. He just didn’t make it bold.
I’m absolutely going to listen to this sequencing today.
“Apollo’s Frock” is in my top 5 Tori songs ever. It’s just perfection. I requested in on the Night of Hunters tour and sure enough, Apollo came out to play at Manchester. It was wonderful.
Oh yes, found it!!!
my apologies :)
I totally forgot about Scarlet's Hidden Treasures! Now I know why I bought the Welcome To Sunny Florida release.
The photography of that era was so effortlessly beautiful and natural. I don't feel she allowed that again until Unrepentant Geraldines.
I mean, what is this world that she's showing us? I don't know how to explain it. Living in Illinois (well, Chicago), I've seen all of the mundane things she's photographed with, but in the artwork for SW all of it takes on a haunting anticipatory quality, or like we're being shown an America from a dimension just a few inches to the left.
Brilliantly put and exactly why it’s my favourite shoot of hers. She looks incredible but haunting and illusory is the word. It’s not quite Lynchian but it’s not far off - something half-remembered and unclear, but incredibly evocative.
Whoops! Made it bold and added my reasoning.
All this Scarlet’s Walk love really warms my cold bitter heart. That was the era I came closest to a full-on deadhead moment and saw her on tour eight times. Wampum Prayer and the smell of that incense burned at the start of every show is baked into my brain!
Incredible album. "Amber Waves" is one of my favourite Tori songs.
Ugh gave the whole album a spin last night thanks to this thread and “Another Girls Paradise” and “strange” fucked me the fuck up!!! An impeccable album
I'd go one album back - American Doll Posse is, in retrospect, where the wheels started to come off for me. There are some pretty decent tracks on that record (as there have been on all albums since), but, while Beekeeper is patchy, it still feels (mostly) alive and vibrant in ways that subsequent material (including ADP) just doesn't, even when it's notionally good. Beekeeper was the last time it felt like Tori just sat at a piano and wrote because she *needed* to, where the music served the emotion struggling to be expressed, and not the other way around. Everything since has been very 'what kind of song should we write today?'.
I adore many songs on Scarlet’s Walk, my only ‘criticism’ is the fact almost every song ends in the exact same way
The Beekeeper and ADP are very bloated, while everything on Scarlet’s Walk and Boys for Pele feels essential to the record body of work.
It’s what most of the albums post Scarlet suffer from, she hasn’t learned to edit I mean it is her vision at the end of the day but I really wish she’d go easy on the concept themed albums… let’s see how this one turns out.
This is us, but instead of catnip it's Scarlet's Walk:
I have a sentimental feeling for ADP because it was the first album she released after I got on board and I was all in for it no matter what. But even then, I was aware of one glaring problem with that album that I couldn't personally do anything about:
I think The Beekeeper is too long, but you can cut it down to a really good twelve-song album. And The Beekeeper sounds good. American Doll Posse sounds really muddy. I downloaded a leak before I bought the album on release day, and I thought, "well, it's a leak so the proper CD will sound a lot better than this." And then it just... didn't. Imagine how Bouncing Off Clouds, for instance, could sound if it had the same crystalline quality that marks so many of her other recordings. As it is, a lot of the album has this issue where it feels like every element in each song is fighting to be the most prominent, and the resulting murkiness makes it hard for me to assemble an edit of the album that feels satisfying. That I can't do that isn't Tori's problem. Night Of Hunters low-key has this problem as well
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