Word: pianos
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Dates: during 1990-1999
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Sean is 22 now, and having taught himself guitar, piano, drums and bass, he makes his solo debut next week with Into the Sun, an album that should lift him from the purgatory of hereditary celebrity and establish him as a promising if not fully matured songwriter. Produced by his girlfriend and roommate, Yuka Honda of the band Cibo Matto, the album explores a single subject: their love affair. This may sound familiar, yet Into the Sun has a sturdy, radiant optimism all its own. Home and Bathtub, two of the finest songs on the record, are typical: Lennon uses...
Amos, 34, has always been tough to figure. In 1992, when she entered the national music scene, her intensely personal style of piano rock was derided in some alternative-rock circles as precious. Today her brazen sexual persona seems a bit oversize to fit in with the Lilith Fair set ("I like a little testosterone," she says, explaining why she won't play the all-female Lilith scene). Still, she's found her own platinum niche. Her debut album, Little Earthquakes (1992), which features songs about sexual awakening, sold more than a million copies; her last, Boys for Pele...
Amos' latest CD, From the Choirgirl Hotel, is the best and boldest of her career. Her previous CDs were often irritatingly ethereal; on Choirgirl, a full band underscores her piano, giving her music new urgency. Now, instead of being a spectator for Amos' passion, you are swept up in the force and energy of the music. "I had explored the girl-at-the-piano thing," she says. "It was time for new territory." Amos has long had some of the most fervid fans in rock--the numerous websites devoted to her portray her less as a rock star than...
...ancient women's rhythms" in the waves. Indeed, some of her new songs, most notably Liquid Diamonds, have a natural, primal groove that draws one in like gravity. This is excruciatingly private music, but it's not insular; it's inviting. No need to stick your head in the piano. Just listen...
...does, everlastingly. Without a discernible beginning, middle or end, Baker's delightful change of pace can be summed up as: an American girl abroad looks around and thinks. Her observations and reflections are presented in 54 short, numbered sections. Reading them is similar to listening to a series of piano etudes, each with its own theme playfully developed. Baker's neat trick is to make the difficult task of conveying an emerging childhood consciousness look easy and innocent. There are no yucky parts. As Nory, pretending to be her mother, says, "There are, it is true, many terrible things...