Y Kant Tori Read
Country of origin:
U.S.
Type of music generally:
Mainstream pop ('80s hairspray rock)
Status:
Only album Y Kant Tori Read, 1989. Tori Amos now solo artist.
See also:
Ectophiles' Guide entry for Tori Amos
Comparisons:
Pat Benatar, Lita Ford, Quarterflash
Covers/own material:
Own
General comments:
This is Tori Amos' first band. They recorded one album that didn't do well and disappeared from sight--at least until Tori's solo career took off. Since then the album has become a collector's item, especially on cd. (Neile)
Recommended first album:
Y Kant Tori Read is the only album.
Recording:
Y Kant Tori Read
Y Kant Tori Read
Release info:
1988--Atlantic (U.S.)--7 81845-2
Availability:
Collector's item
Ecto priority:
Only recommended for huge Tori Amos fans or fans of '80s rock
Group members & guest artists:
Tori Amos--lead singer & acoustic piano
Kim Bullard--acoustic piano, programming, keyboards
Matt Sorum--drums
Vinny Coliauta--drums
Tim Landers--bass
Fernando Saunders--bass
Steve Farris--guitar, acoustic guitar
Steve Caton--guitar
Gene Black--guitar
Peter White-- acoustic guitars
Eric Williams--mandolin
Richard Bernard--bouzouki
Paulinho Da Costa--percussion
CeCe Bullard, Zobbin Rander, James House, Merry Clayton, Nancy Shanks, The Valentine Bros., and Rick Nelson--background vocals
Devon Dickson--bagpipes
Produced by:
Joe Chiccarelli
Comments:
This album isn't really as bad as one might infer from its lore and legend. On the other hand, it lacks any particular distinction. Insofar as it's of any interest, it's as a window into Tori's early career, rather than for any intrinsic artistic merit.
In a radio interview Tori (whose last name, by the way, is never mentioned in the liner notes) recalled that the producers had the upper hand on this album. This apparent shortage of creative control by the artist shows up in the nature of the material. While it's not the most execrable stuff recorded in recent memory, it's definitely generic rock, aimed at a mass market that presumably doesn't know any better. The tunes generally are unmemorable, the lyrics generally banal. The few attempts at social commentary in the lyrics are quite superficial; those of the other songs frequently deal with infidelity in relationships. On the other hand, there are a few tracks that are above the album norm, foreshadowing the creative singer-songwriter that Tori is today. If songwriting is learned by doing, one can easily trace Tori's learning curve by comparing this album with Little Earthquakes. Be that as it may, Y Kant Tori Read's redeeming social importance remains more historiographic than artistic. (mapravat@prairienet.org)Okay, maybe Little Earthquakes cuts a little deeper, and Under the Pink shows more of a flair for the dramatic, but what people had said about this one previously had me worried about buying it. And guess what? I like it, I really *like* it! There are bootleg copies available out there that include a few rarities. (I_SW@zis.ziff.com)
I never understood Tori's hatred for this album. As long as you can accept that Pat Benatar and Quarterflash were enjoyable, then this album is valid. (FAMarcus@aol.com)
Surprisingly, I really like "Etienne Trilogy" and "Floating City" off Y Kant Tori Read. (rholmes@CS.Stanford.EDU)
Personally I love Y Kant Tori Read. Yeah, it's somewhat cheesy in parts (ok, a lot of parts..."Pirates, yeah!"?? What was she thinking?) But I love "Cool On Your Island", "Etienne" (which is really beautiful), "Fire On The Side" and some others. (Faerymouse@aol.com)
I like it for the most part. (jjh969@juno.com)
Y Kant Tori Read was rather heavily influenced by "stylists" who seemed to decide that she could be the next Joan Jett. On the album, Tori is your typical big-haired soft-rock chick. I actually think the album has got some good points, but it's very far removed from the Tori that most of us know. As a collector's piece it's interesting but I wouldn't go out of my way to pick it up for its musical value! (martin@mandab.co.uk)
Thanks to Mitch Pravatiner for his work on this entry.
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