clap clap blog: we have moved

Wednesday, March 03, 2004
Eventually, the lack of real control he had as a producer got to him. An incident involving someone at Atlantic foisting a drum machine and synthesizers onto the deliberately spare Tori Amos record he was working on became the last straw.

Whatever, Davitt Sigerson, we all know Little Earthquakes is all Eric Rosse's, production-wise; you're just the knob-twiddler. There's nothing in any account to indicate that you sincerely thought putting synths and drum machines on a track would be a bad thing, and your resume--Kiss, Oliva Newton-John--doesn't exactly indicate a distaste for drum machines and synths, know what I mean? There's nothing wrong with those and nothing wrong with those musicians, but just because Tori got cred after she and Eric figured out how to make it work with her and a piano doesn't mean your phone-it-in ass gets to take credit. Don't try and play it like you weren't one of the Atlantic assholes who got blindsided by grunge and couldn't see very far past Y kant Tori Read.

Besides, the syths sound good on some of the tracks--Tori is a keyboardist, after all. (They don't sound good on "China," but "China" just kind of sucks regardless.) One of the great things about her is that she clearly doesn't care a whole lot about authenticity or purity, so I don't think she'd have the same ideological problems with those value-neutral instruments you seem to have. Of course, she could care a bit more about rockin', but that's a whole other subject.

Incidentally, this Tori FAQ has a good series of answers to a question I've always been interested in: what the hell is "Professional Widow" about? I like the first quote a lot, which reminds me to ask you folks to remind me to write a post about PJ Harvey and Patti Smith and Tori Amos dueling to the death with Kathleen Hanna and Ani DiFranco and Ari Up sometime.