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Unrepentant Geraldines (Amazon Exclusive)
 
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Unrepentant Geraldines (Amazon Exclusive)

12 May 2014 | Format: MP3

7.99 (VAT included if applicable)
Buy the CD album for 9.49 and get the MP3 version for FREE. Does not apply to gift orders.
Provided by Amazon EU Srl. See Terms and Conditions for important information about costs that may apply for the MP3 version in case of returns and cancellations. Complete your purchase of the CD album to save the MP3 version to your Amazon music library.
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4:09
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3:39
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2:53
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3:41
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6:54
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4:55
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Digital Booklet: Unrepentant Geraldines
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Product details

  • Original Release Date: 1 Jan. 2014
  • Release Date: 12 May 2014
  • Label: Mercury Classics
  • Copyright: (C) 2014 Mercury Classics
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:02:30
  • Genres:
  • ASIN: B00K1TIMO6
  • Average Customer Review: 4.5 out of 5 stars 64 customer reviews
  • Amazon Bestsellers Rank: 15,620 in Albums (See Top 100 in Albums)

Customer Reviews

Top Customer Reviews

Format: Audio CD
As a long time Tori fan I have been hoping for some time that she would hand in a more piano-centric album, a return to her girl-and-a-piano roots of old. And with Unrepentant Geraldines she has finally delivered this.

This is the first album (sans the classically-inspired Night Of Hunters) since the mid-90s not to feature long-time collaboraters Matt Chamberlain (drums) and Jon Evans (bass). So inevitably the album is less of a band affair, featuring no less than seven tracks with only Tori and her piano. The rest of the tracks have drums programmed by her husband, who also adds his usual guitar flourishes throughout.

One thing that struck me listening to this record is that her vocals sound more controlled and strong than her more recent albums, utilising her upper range to great effect, at times harking back to her vocal stylings on Little Earthquakes.

As for the songs, title track Unrepentant Geraldines is an utter masterpiece in my eyes. The main body of the song is largely experimental and unpredictable, shifting between contrasting sections with ease, a reggae tinged verse, leading into a punk-rock style bridge, then going into a piano-centred anthemic chorus. Just when you think you've wrapped your head around the song it ends abruptly and goes into a beautiful piano-centred outro section, which, on a first listen could very easily be mistaken for an entirely different song. It really has to be heard to be believed.

Other highlights include the haunting Weatherman and the gloriously quirky Beatles-esque Giants Rolling Pin.
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Format: Audio CD
Is this the best Tori Amos album? No.
However, is this still a fantastic album? Yes.
Everyone remembers the unconventional and, at times, groundbreaking debut "Little Earthquakes" and the 3 albums that immediately followed - "Under The Pink", "Boys for Pele" and "From The Choirgirl Hotel". Tori's output up to and including 2002's "Scarlet's Walk" was pretty flawless, however in recent years her albums have become overly long, bloated and full of filler. After a period of revisiting her childhood classical training and working on a musical with London's National Theatre, Tori has returned to making contemporary music. I'm trying to avoid the word "pop", because she's never made "pop" music. Whilst this isn't the greatest Tori album, it's most certainly worthy to bare her name, with songs like "Wild Way", "Invisible Boy" and "Selkie" echoing her earlier piano orientated work, and "16 Shades Of Blue" and "Rose Dover" containing elements reminscent of her electronic work on "From The Choirgirl Hotel" and "To Venus And Back".

Vocally, Tori sounds better than she has in at least 10 years and her piano playing is on point. Both lyrically and musically compelling and interesting, the album is exactly how you would expect Tori to sound at this stage in her career, ignoring her 2 most recent contemporary efforts "American Doll Posse" and "Abnormally Attracted To Sin", which now sound more like a desperate cry for help during a midlife crisis than compelling music.

"Giant's Rolling Pin" is a bit unnecessary and "Promise" (a duet with Tori's daughter), though a nice song, sounds out of place on the album.
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Format: Audio CD
"Earthquakes" was shattering. "Pink" was magnificent. "Pele" was explosive. "Choirgirl" was mesmerising. "Venus" was stellar. "Scarlet" was stunning. There you have arguably the absolute Tori-top. And then it all went downhill, leaving hardcore fans inconsolable, and the rest of the world rather indifferent. At 50, and totally owning her own genre, for her new album Tori packs half a century of experiences into 59 minutes in her fiery piano confessional style, bearing them straight from the heart. Though it is not a drastic change from her familiar style, it is much more inviting and accessible than the infamous trilogy of "The beekeeper", "American doll posse" and "Abnormally attracted to sin" which clouded fans/listeners. In fact, "Unrepentant Geraldines" easily could have been the follow-up to "Scarlet's walk", picking up right where that record left off, despite the different thematology.

Those who are willing to approach this without fear it might be as uninviting as the last three albums, they will soon find themselves drawn to it. It seems as though Tori has taken some of her past albums' great moments, creating her most interesting work in years. Letting the songs come together on their own, here she abandons the disastrous, inaccessible content of over-reaching concepts, complex writing, and lengthy duration of late albums, and steps forward with a lighter, yet mature, self-assured, yet heartwarming, captivating record. "Selkie" and the title track are examples of her unparalleled songwriting magnificence, while "Oysters" and closing track "Invisible boy" evokes simultaneously strength and vulnerability, in the most heart-wrenching way. It has always been Tori's art that made her unique, but it is her heart that made her precious. "Geraldines" are glorious.
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