3 of 4 people found the following review helpful
Remastered and revisited, maybe not reinvented,
This review is from: Gold Dust (Audio CD)
After the strong Classical influence on her 2011 effort "Night Of Hunters", Tori Amos has chosen to render this style to some of her masterpieces on "Gold Dust", her 13th studio album. I do quite enjoy listening to alternate versions of songs as they can often be completely transformed and reinvented - but, on this release, not all of them are as Tori has picked a few songs that sound very similar to their original versions as they are still piano led with orchestral arrangements. But overall, it does live up to the expectation.
The opening track "Flavor" is transformed from a poignant and sombre Pop Rock tune into a grandiose orchestral led ballad. "Yes, Anastasia" is a condensed version of the original, but that is pretty much the only noticeable change. The same goes for "Jackie's Strength" and "Cloud On My Tongue" although they are just as beautiful as when I first heard them in the 90's, the latter being one of my favorite Tori tracks. The fantastic "Precious Things" sounds just as creative and angst driven with a full blown orchestra as it did with electric guitars which is a pretty good achievement. I do not really remember "Gold Dust" from "Scarlet's Walk", but it does sound revived on here and much classier. "Star Of Wonder" is also quite spectacular and is greatly improved. "Winter" is just as perfect as the "Little Earthquakes" version released 20 years ago. "Flying Dutchman" is an uplifting number that I had only heard once before as it does not feature on one of her other studio albums, so it is nice that she has included one of her rarer tracks. "Programmable Soda" has such a lovely melody - it is such a shame that it is such a short song. "Snow Cherries From France" sounds much better than on her compilation album "Tales Of A Librarian", "Marianne" and "Silent All These Years" sound just as majestic and theatrical whilst "Girl Disappearing" ends the album with tenderness and the usual intrigue that surrounds Tori and her music.
"Gold Dust" as a whole is a great concept and it does work. However, I think I would have preferred it if Tori had chosen to change the melodies a little more rather than just the arrangements (and some of the vocal harmonies). I would have probably also liked her to chose some more daring song choices such as "Cornflake Girl" or "Professional Widow", but I will settle for what she has done on here as it is a strong collection of some of her best work.