Y Kant Tori Read 11
Mina Spartin
The number on the spine of the original CD reads 81845-2. The majority of bootlegs list this number incorrectly because the stolen artwork is taken from the easier to find LP version of the release, which had a different release number.
Y Kant Tori Read was an American synth-pop band fronted by singer-songwriter Tori Amos and active between 1984 and 1989. The band originally consisted of vocalist and keyboardist Amos, guitarist Steve Caton, drummer Matt Sorum (later of Guns N' Roses), and bassist Brad Cobb. The band's name comes from an incident in Amos's childhood where she was asked to leave the Peabody Conservatory because she refused to read sheet music.[1]
After many years of effectively disowning this record, Tori Amos is ready to bring it back into the fold. Released in January of 1988, Y Kant Tori Read was her first official recorded output for Atlantic. It wasn't a chart success and it isn't the Tori that we know today; but for many Tori Amos fans, it is the holy grail of coveted out-of-print records. Tracks are newly remastered with the track list returned to it's original release order.
Where Bush tells stories, Amos more often writes personal essays and confessional poetry with universal appeal in musical form. Bush is more Joyce and Woolf, Amos more Plath and Sexton. Bush is more Peter Gabriel and Bjork (the latter who has said many times she was influenced by Bush), Amos more Charles-Valentin Alkan and Joni Mitchell.
Thinking about it in this way, that is a stark difference between Kate Bush and Tori Amos: Bush, famously, was scouted by Pink Floyd guitarist David Gilmour, and subsequently signed to EMI records at age 16. Rather than being thrown into the music-making mill as is done to Idol winners and finalists, Bush was financed for three years to pursue artistic growth and development. Her record company paid her not to make music, but to take voice and music lessons, dance lessons, even mime classes. The product of this support was that Kate Bush was cultivated into a one-of-a-kind artistic talent who took the world (or at least the United Kingdom) by storm. Tori Amos was identified as a musical talent and turned into a product ready for the mass market. The result was Y Kant Tori Read.
Our News, Politics and Culture teams invest time and care working on hard-hitting investigations and researched analyses, along with quick but robust daily takes. Our Life, Health and Shopping desks provide you with well-researched, expert-vetted information you need to live your best life, while HuffPost Personal, Voices and Opinion center real stories from real people.
The five original members of Genesis were still teenagers at the Charterhouse boarding school in England when Jonathan King, an alumni who recently scored a big UK hit with "Everyone's Gone to the Moon," gave them a record deal. He named them Genesis and mandated that they cut a concept album based around the Bible. "Absolutely pathetic," said keyboardist Tony Banks. "But it did give us something to hang everything around." They cut the light, Bee-Gees influenced album in three days, and later King added lush strings to nearly every track. "I completely freaked out," said guitarist Anthony Phillips. "But there was no 'undo' button." The cover merely read "from genesis to revelation," causing many retailers to file it away in the religious bins. The group parted ways with King, and by the time they got around to their next album they had reinvented themselves as a progressive rock outfit. Andy Greene
The spoken-word monologue that begins Thin Lizzy's 1971 debut hardly bodes well for what might lay ahead: "The friendly ranger paused/And scooping a bowl of beans/Spreading them like stars." On this confounding release, Thin Lizzy tried out a variety of styles, from rock to folk to blues, and stumbled awkwardly through all of them. From the ham-fisted Hendrix-isms of "Ray-Gun," to the formless and flaccid "Clifton Grange Hotel," to the jumbled "Return of the Farmer's Son," which sounds like a jam that they forgot to turn into an actual song, Thin Lizzy offers little in the way of the laser-focused twin-guitar hard rock that the group (with a somewhat different lineup) would ride to glory in the mid-to-late-Seventies. A possible reason why? "A lot of it was ad-libbed," guitarist Eric Bell told Noisey earlier this year. "The three of us just went for it in the studio because we were all smashed." Richard Bienstock
Anticipation for Lou Reed's debut solo LP was quite high in early 1972. As the leader of the Velvet Underground, he'd written some of the most brilliantly twisted songs of the previous decade. And now, after a long hibernation, he was beginning the next phase of his career. Unfortunately, he didn't arrive at the London recording sessions with many new songs, and wound up simply regurgitating old VU tunes like "I Can't Stand It," "Ride into the Sun" and "Lisa Says." Producer Richard Robinson teamed him up with Yes members Rick Wakeman and Steve Howe, and their radically different musical styles simply didn't mesh. The resulting album was limp and wildly disappointing, and it stalled out a pathetic Number 189 on the Billboard 200. "There's just too many things wrong with [the album]," Reed says shortly after it came out. "I'm aware of all the things that are missing and all the things that shouldn't have been there." His solo career seemed dead on arrival, but at this exact same time, David Bowie, a Velvet Underground superfan, was finally getting mainstream recognition, and he was determined to use his talents and newfound fame to shine a light on his idol. A few months later, they began work on Transformer. As soon as "Walk on the Wild Side" hit radio that November, Reed's solo debut was already a footnote in rock history. Andy Greene
Thanks again for reading my blog and I hope that you enjoyed this weeks #LittleLoves. If you fancy sharing some of your own #LittleLoves then why not join in either through your own blog post or by leaving a comment below, I would love to hear what your #LittleLoves might be.
aa06259810