Tuesday, September 18, 2001

Tori Amos released covers album Strange Little Girls

Strange Little Girls

Tori Amos

Released: September 18, 2001

Peak: 4 US, 16 UK, 8 CN, 7 AU

Sales (in millions): -- US, -- UK, -- world (includes US and UK)

Genre: adult alternative singer/songwriter

Tracks: (Click for codes to singles charts.)

  1. New Age
  2. ’97 Bonnie & Clyde
  3. Strange Little Girl (11/13/01, --)
  4. Enjoy the Silence
  5. I’m Not in Love
  6. Rattlesnakes
  7. Time
  8. Heart of Gold
  9. I Don’t Like Mondays
  10. Happiness Is a Warm Gun
  11. Raining Blood
  12. Real Men


3.500 out of 5.00 (average of 3 ratings)

Awards: (Click on award to learn more).

About the Album:

“Something that goes unspoken in the cult of Tori Amos is that she knows the value of press and that she knows how to exploit it. So, six albums into her career, and several years since she captured headlines, she released Strange Little Girls, a collection of covers intended to strike a dagger into the heart of how males view females in pop songs. To be honest, you wouldn’t know that from listening to the record, but you might have an idea by looking at the four separate collector-oriented covers, and reading the reviews, previews, and interviews Tori did prior to and at the time of release.” STE

“The only track that really feels that way is Eminem’s 97 Bonnie and Clyde, where Amos heightens the tension by close-mic’ing her vocals and reading with a hammy theatricalness that results in a cut about as chilling as the original, but without the context.” STE

“After that, there really aren’t many songs that sound like they’re a female switch in perspective, apart from maybe the Stranglers’ title track (which she does a nice job with), and it’s very hard to tell what she’s trying to say with these songs. Is she the fat blonde actress in the Velvet Underground’s New Age? Mother Superior in the Beatles’ Happiness is a Warm Gun (recorded with an anti-gun recitation from her father)? Is she the chair in Depeche Mode’s Enjoy the Silence? How does Tom Waits’ Time fit into the equation?” STE

“Tori never tells us, either lyrically or through her musical arrangements – witness the bizarre deconstruction of Neil Young’s Heart of Gold, another song that doesn’t seem to fit her theme, so she dresses it up in flanged guitar and neo-trip-hop beats.” STE

“Tori’s sexual politics are so poorly constructed, appearing almost nonexistent, that the music by default rises to the forefront and it almost meets the demands. For the most part, this is a solid record – overly produced and not as inventive as her takes on ‘Angie’ and ‘Smells Like Teen Spirit,’ but rarely as wretched as ‘Heart of Gold.’ Though there’s a bit too much surface sheen, it’s a solid record, yet it’s not particularly distinctive, so the pre-release hype about the gender deconstructions of Strange Little Girls makes sense, because the only way this distinguishes itself is through its stated intention – and if the album doesn’t make the intentions specific, it’s best to get the word out any way possible. And while all that press may have given the impression that this is something new, something different – precisely what it was meant to do – it really is nothing more than another, pretty good Tori Amos record, only not quite as interesting because she didn’t write the tunes.” STE

Personally, the DMDB saw an intriguing story line that played out, based on the track order. First, the album introduces an eccentric girl through tracks like Strange Little Girl. Then, we see her struggling with an unrequited relationship (I’m Not in Love, ‘Heart of Gold’). Finally, she is pushed over the edge and goes on a murderous rampage (I Don’t Like Mondays, ‘Happiness Is a Warm Gun,’ Raining Blood).

In the end, the listener is left with Tori’s take on Joe Jackson’s already phenomenal commentary on our stereotypes of men (Real Men), only now it takes on a very different meaning. The listener wonders if the album’s character is struggling with male/female identities, potentially even gender identity crisis, that has led to her behavior. It may not have been Tori’s intent, but it is how the DMDB interpreted it.

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First posted 3/24/2008; updated 8/9/2021.

Monday, September 10, 2001

Yes Magnification released



Released: September 11, 2001

Peak: 186 US, -- UK, -- CN, -- AU

Sales (in millions): --

Genre: progressive rock


Song Title (Writers) [time]

  1. Magnification [7:15]
  2. Spirit of Survival [6:01]
  3. Don’t Go [4:26]
  4. Give Love Each Day [7:43]
  5. Can You Imagine [2:58]
  6. We Agree [6:30]
  7. Soft As a Dove [2:17]
  8. Dreamtime [10:45]
  9. In the Presence Of [10:24]
    i. Deeper
    ii. Death of Ego
    iii. True Beginner
    iv. Turn Around and Remember
  10. Time Is Time [2:08]

All songs written by Anderson, Howe, Squire, and White.

Total Running Time: 60:27

The Players:

  • Jon Anderson (vocals, guitar)
  • Steve Howe (guitar, backing vocals)
  • Chris Squire (bass, keyboards, backing vocals)
  • Alan White (drumers, percussion, keyboards, backing vocals)


2.534 out of 5.00 (average of 6 ratings)

About the Album:

Magnification, the 19th studio album from Yes, featured the Anderson-Howe-Squire-White lineup for the third consecutive album. That foursome had also worked together for Tales from Topographic Oceans (1973), Relayer (1974), Going for the One (1977), and Drama (1978).

For the first time since their 1970 sophomore album Time and a Word, the band recorded with orchestral arrangements, which were done by Larry Groupé conducting the San Diego Symphony Orchestra. The move was prompted after the band dismissed keyboardist Igor Khoroshev after sexual harassment charges during their previous tour. Now without a keyboardist, they decided to play some dates with an orchestra on stage. This led to the idea of recording a new studio album with an orchestra.

Lisa Knodel of the Dayton Daily News said GroupĂ©’s arrangements “create drama, painting a musical landscape for the mind and moving from moments of inner peace and chaos.” WK New York Post critic Dan Aquilante said the group’s recording with an orchestra resulted in “uplifting, optimistic music that’s lush without the mush.” WK Howard Cohen of The Knight Ridder Tribune said that the album lacked a “killer tune,” but was one of the band’s more listenable releases. WK

Can You Imagine was initially recorded in 1981 as a demo for the proposed supergroup XYZ, which was to feature Squire, White, and Led Zeppelin guitarist Jimmy Page. In the Presence Of was a piece White had written several years earlier. Knodel considered We Agree, Give Love Each Day, and the title cut to be the standout tracks on the album. WK

Notes: Different editions of the album have featured bonus live material, including “Close to the Edge,” “Ritual (Nous Sommes Du Soleil),” “Long Distance Runaround,” “The Gates of Delirium,” “Deeper (In the Presence Of),” and “Magnification.”

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First posted 7/25/2021.

Saturday, September 8, 2001

Kylie Minogue released “Can’t Get You Out of My Head”

Last updated 10/24/2020.

Can’t Get You Out of My Head

Kylie Minogue

Writer(s): Cathy Dennis/Rob Davis (see lyrics here)

Released: September 8, 2001

First Charted: September 17, 2001

Peak: 7 US, 3 RR, 23 A40, 14 UK, 14 AU (Click for codes to singles charts.)

Sales (in millions): 0.53 US, 1.3 UK, 5.0 world (includes US + UK)

Airplay/Streaming (in millions): 0.3 radio, 154.4 video, -- streaming


About the Song:

“There is no false advertising here.” AB’00 “Never has a pop song more effectively done what it says” TL With its “catchy hooks, a salaciously cool video and lyrical content” NME this “irresistibly fun, flirty dance-pop confection” MX “can be very very difficult to get out of your head.” AB’00 “The Cathy Dennis and Rob Davis-penned single sinks its playground chant of a hook into the brain and just refuses to let go as Kylie sexes it up.” TL

Before penning this song, Dennis had a couple top 10 hits in the U.S. in the early ‘90s. This one was offered first to Sophie Ellis-Bextor, who turned it down. SF The song is also known as “The La La Song” because Kylie sings “la la la, la la la la la la” repeatedly in the chorus. SF That “hook wormed its way into several billion ears worldwide” PD as the song topped the charts in over 40 countries. It was her 20th top ten hit in the UK, where it was also the most played song of 2001 and her best-selling single. SF

While Kylie had been a successful actress and sex symbol in her native Australia and musically was huge around the world, she hadn’t graced the American charts since her 1988 debut. However, “the pint-size Aussie disco dolly seduced the U.S. with this mirror-ball classic.” RS’09

So “how did Kylie make one of the decade’s finest dance-pop anthems” PF and what PopEater.com called “one of the greatest dance-pop cuts of all time”? PE “By offering less: less singing, less melody, less feeling. What’s left is a buzzy, insatiable desire, an itch you can’t scratch but maybe can dance out.” PF She knows “intuitively how each coy purr, each insouciant whisper can speak to and for the lust of her audience.” PF “If its sleek, synthetic surfaces feel hollow, it’s because fantasy is hollow, a shell for impossible expectation.” PF

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