Tori Amos - Scarlet's Walk
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CD Details
Artist: Tori AmosEdition: Music CD
CD Release Date: 2002-10-29
Music Label: Sony
Soundtracks:
- Amber Waves
- a sorta fairytale
- Wednesday
- strange
- Carbon
- Crazy
- wampum prayer
- don't make me come to Vegas
- Sweet Sangria
- your cloud
- pancake
- I can't see New York
- mrs. jesus
- Taxi Ride
- another girl's paradise
- Scarlet's Walk
- Virginia
- gold dust
Music reviews of Scarlet's Walk
Music Review: A slight improvement
Rating: 3 Stars
Amos mellowed down after giving birth to her daughter, and that's best witnessed on "Scarlet's Walk" and "The Beekeeper". "Scarlet" may not be the first time Tori played with a concept (some note how "Under the Pink" is conceptualized around femininity), but it's the first time that a concept brought things down. The album lasts 74 minutes and has eighteen tracks on it, which is too much, even for her fans. She continued in that fashion on her subsequent albums, since they both have a concept and last too long. "Scarlet" is a slight improvement for Amos in terms of instrumentation. While her last couple of records were weak and short on quality material, "Scarlet's Walk" has a handful of highlights in its run and can be considered as Amos' misconception of what "back to basics" meant for her.
The album starts with "Amber Waves", a track that is lacking originality (the clich?d vocal melody of "into every young man's bedroom/he gave it up"), but serves as an opener that is exemplary of the material found on "Scarlet's Walk". "A Sorta Fairytale" proves that she is playing it too safe, not taking any risks instrumentally or doing anything specifically interesting lyrically. Worse still, she is completely stiff vocally in "Carbon", "Crazy", "Strange" and "Your Cloud", all lacking instrumental power. "Don't Make Me Come to Vegas" does not evoke emotions in the listener which means that one isn't hearing anything worth hearing. It seems as if every good track on the first half of the record is followed by a bad one. Things improve on the second half where Tori at least seems to be doing interesting things, melody-wise.
She can do good with a sheer power of her voice, as witnessed in the excellent a capella "Wampum Prayer". "Sweet Sangria" starts out promising with bass and organ that work perfectly together. The song doesn't grow, but at least it remains pretty. "Wednesday" and "Pancake" are pure standouts, the former bringing some life into a rather limp release, and the latter being one of the most beautiful songs Amos has crafted to date. Even if there's not much going on lyrically, Amos can make things sound good, as in "Taxi Ride", "Mrs. Jesus", "Another Girl's Paradise" and "Scarlet's Walk". The album closes decently with "Virginia" and "Gold Dust".
While it's good to hear Tori going for a more full-bodied sound, she's still sinking, quality-wise. All she's doing now is creating material she was once above of. Tori seems to be enjoying making bland, radio-friendly, easy-on-the-ears songs and since most of her listeners aren't complaining, she's got no reason to change her approach. "Scarlet's Walk" isn't a bad album, but its first half contains so much filler that one has to wonder why Amos can't stick to a twelve song format instead. Much of the material here should have been left off and she can't seem to separate the bad songs from the good ones. If she simply made shorter albums, the listening experience would not be so dreadful. Even if Amos managed to improve on "Scarlet's Walk", her true talents are nowhere to be seen.
Description of Scarlet's Walk
From the confusion and chaos that marked one of the most harrowing episodes in American history comes Tori Amos's masterwork. Scarlet's Walk, the follow-up to her critically acclaimed covers LP, Strange Little Girls, was written on a cross-country road trip shortly after the terrorist attacks on New York City and Washington, D.C. Over the course of 3,000 miles and 18 tracks, the crimson-haired singer encounters rogue lovers ("A Sorta Fairytale"), reformed porn stars ("Amber Waves"), and an entire cast of characters who embody the spirit of a country suddenly searching for an identity. The album serves as both an ambitious travelogue and as a graceful rejoinder to the bitterness and frustration that inspired it, with Amos wading through swells of sadness ("I Can't See New York"), anger ("Don't Make Me Come to Vegas"), and insecurity ("Your Cloud") with velvety grace. --Aidin VaziriGeneral CDs
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