AnneCarlini.com Home
 
  Giveaways!
  Insider Gossip
  Monthly Hot Picks
  Book Reviews
  CD Reviews
  Concert Reviews
  DVD Reviews
  Game Reviews
  Movie Reviews
  Jeffrey Reddick (Director - Dont Look Back)
  Amanda Seyfried (Mank)
  Eddie Izzard (Six Minutes to Midnight)
  The Home of WAXEN WARES Candles!
  Angelina Jolie (Those Who Wish Me Dead)
  Check Out Anne Carlini Productions Now!!
  David Chase (Creator, ‘The Many Saints of Newark’)
  NEW! Crystal Gayle
  NEW! Chez Kane
  Anthony Hopkins (The Father)
  NEW! Ellen Foley (2021)
  NEW! Doogie White (2021)
  COMMENTS FROM EXCLUSIVE MAGAZINE READERS!
  Michigan Siding Company for ALL Your Outdoor Needs


©2021 annecarlini.com
Ghost Canyon

Title - 'Live at Montreux 1991-1992 [LIVE]'
Artist - Tori Amos

The latest addition to Eagle Vision’s admirable Live At Montreux series, the CD pairs one of our favorite piano-pounder’s earliest recorded solo performances at the Swiss festival in 1991 with footage of her return in ‘92.

The first, from July 1991, was filmed a few months before the release of her Little Earthquakes album and the second from July 1992 followed a few months after. There is a fascinating progression from one year to the next as she grows in confidence and skill as a live performer, buoyed by the critical and commercial success of the album.

Naturally most of the songs are taken from Little Earthquakes but there are also rare songs from her various EPs released across the two years which didn't make it onto the album including her distinctive takes on Led Zeppelin's "Whole Lotta Love" and "Thank You" and Nirvana's "Smells Like Teen Spirit".

Many of Amos’s greatest moments happen in a live setting, the arena in which she’s been able to achieve perhaps the purest expression of her complex art. There are many such indelible moments here: the abrupt segue from ‘Silent All These Years’ to ‘Precious Things’; the shocking ad-lib in the middle of ‘China’; the charming little screw up in the first verse of ‘Happy Phantom’ (”I forgot my own words, can you believe it?”); the emotive ‘Upside Down’; the brief anecdotal insight into her early corporate wars that precedes ‘Leather’; the stunning performance of ‘Winter’ (”This is my last song. It’s for my Dad”); and, finally, the truly touching surprise that Amos registers at the unanticipated request for an encore. [AR]





...Archives