Fiona Apple | ||
| Allmusic Biography : Fiona Apple defied categorization or any easy career path, almost running the pattern in reverse, opening her career as a highly touted and popular alternative singer/songwriter, then transitioning into a cult artist. Apple certainly benefited from the open-door policy of modern rock in the mid-’90s, following the path of crossover alt-rock piano-based songwriters like Tori Amos, but Apple was hardly an Amos copycat: she had a strong jazz undertow in her vocal phrasing and melodies, she had richer arrangements, she had a poppier bent to her songs. All these things helped her 1996 debut, Tidal, find a wide audience, one that increased considerably in the wake of the controversial video for the single “Criminal,” but Apple made it abundantly clear that she wasn’t an amateur provocateur with her sophomore album, When the Pawn Meets the King, an album that increased her critical reputation and cult, which would be pillars of support during her intense battles while making her third album, Extraordinary Machine. Born to singer Diana McAfee and actor Brandon Maggart in 1977, Fiona Apple started playing and writing songs at the age of 12, in an effort to work out a traumatic childhood that included a rape at the age of 11. Apple continued to write, leaving high school for Los Angeles at the age of 16. She cut a demo tape that eventually earned her a contract with Sony Music in 1995. Teamed with producer Andrew Slater, she cut her debut, Tidal, releasing the album in the summer of 1996. Tidal was a slow build, earning critical acclaim and a cult that exploded when the controversial video for “Criminal” turned the single and album into a hit. Mark Romanek’s seedy, suggestive clip was overtly sexual -- a path Apple notably avoided afterward -- but it did the trick, helping the album reach the Top Ten and earning Apple a Grammy. Despite this titillation, Tidal appealed to the middle of the road, a path Apple definitively rejected with her next album, 1999’s When the Pawn Meets the King. The entire title was a 90-word poem, a fair indication of the artistic ambition that lay within. Produced by Jon Brion, the album was dense, literate, and melodic, not matching the commercial success of the debut but deepening her cult. Despite a romance with director Paul Thomas Anderson -- she contributed to the soundtrack of his 1999 magnum opus Magnolia -- Apple retreated from the spotlight, fostering an element of mystery that only grew when her next album experienced a series of delays. By 2003, the lack of a sequel became a sensation among some music message boards, where rumors swirled that Sony rejected her newest music for being uncommercial. Within the next year, unfinished mixes leaked onto the Internet and the saga of the album spilled over into the mainstream, earning ink in The New York Times. All this helped usher the album to completion in the fall of 2005, when the original Brion productions were tweaked and expanded with producer Mike Elizondo, who helped Extraordinary Machine reach its final shape. The album was greeted by generally positive reviews -- some compared it not entirely favorably to the leaked album -- and the record received healthy sales. In its wake, Apple maintained a moderate presence, touring with Nickel Creek in 2007 and appearing with the Watkins Family at times during their residency at the Largo in Los Angeles. In 2012, Apple previewed three songs from her fourth studio album (which boasted a typically enigmatic title in The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do) to a wildly enthusiastic audience at the South by Southwest music festival in Austin, Texas. Produced by Apple with her touring drummer, Charley Drayton, the album earned excellent reviews upon release in June 2012. | ||
 | Album: 1 of 5 Title: Tidal Released: 1996-07-23 Tracks: 10 Duration: 51:44 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Sleep to Dream (04:10) 2 Sullen Girl (03:54) 3 Shadowboxer (05:24) 4 Criminal (05:43) 5 Slow Like Honey (05:57) 6 The First Taste (04:46) 7 Never Is a Promise (05:54) 8 The Child Is Gone (04:14) 9 Pale September (05:50) 10 Carrion (05:47) |
| Tidal : Allmusic album Review : Fiona Apple demonstrates considerable talent on her debut album, Tidal, but it is unformed, unfocused talent. Her voice is surprisingly rich and supple for a teenager, and her jazzy, sophisticated piano playing also belies her age. Given the right material, such talents could have flourished, but she has concentrated on her own compositions, which are nowhere near as impressive as her musicianship. Most of Tidal is comprised of confessional singer/songwriter material, and while they strive to say something deep and important, much of the lyrics settle for clichés. Apple does have a handful of impressive songs on Tidal, like the haunting "Shadowboxer" and "Sullen Girl," but the gap between her performing talents and songwriting skills is too large to make the album anything more than a promising, and very intriguing, debut. | ||
 | Album: 2 of 5 Title: When the Pawn… Released: 1999-11-09 Tracks: 12 Duration: 54:11 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 On the Bound (05:23) 2 To Your Love (03:40) 3 Limp (03:31) 4 Love Ridden (03:22) 5 Paper Bag (03:40) 6 A Mistake (04:58) 7 Fast as You Can (04:40) 8 The Way Things Are (04:18) 9 Get Gone (04:10) 10 I Know (05:05) 11 Across the Universe (05:07) 12 Never Is a Promise (06:12) |
 | Album: 3 of 5 Title: Extraordinary Machine Released: 2005-03 Tracks: 14 Duration: 57:23 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 Extraordinary Machine (03:44) 2 Get Him Back (05:26) 3 O’ Sailor (05:37) 4 Better Version of Me (03:01) 5 Tymps (The Sick in the Head Song) (04:05) 6 Parting Gift (03:36) 7 Window (05:33) 8 Oh Well (03:42) 9 Please Please Please (03:35) 10 Red Red Red (04:08) 11 Not About Love (04:21) 12 Waltz (Better Than Fine) (03:46) 13 Paper Bag (live) (03:09) 14 Extraordinary Machine (live) (03:34) |
| Extraordinary Machine : Allmusic album Review : To say that the released version of Extraordinary Machine is a marked improvement over the bootlegged version is not to say that it sounds more complete -- after all, the booted Jon Brion productions sounded finished, as evidenced by the two cuts that were retained; the intricate chamber pop of the opening title track and the closing "Waltz (Better Than Fine)" are the only time Brions productions not only suited, but enhanced Fiona Apples songs -- but they are both more accessible, and more fully realized, letting Apples songs breathe in a way they didnt on the original sessions. While Brions productions were interesting, they stretched his carnivalesque aesthetic to the limit, ultimately obscuring Apples songs, which were already fussier, artier, and more oblique than her previous work. When matched to Brions elaborately detailed productions, her music became an impenetrable Wall of Sound, but Mike Elizondos productions open these songs up, making it easier to hear Apples songs while retaining most of her eccentricities. Now, Extraordinary Machine sounds like a brighter, streamlined version of When the Pawn, lacking the idiosyncratic arrangement and instrumentation of that record, yet retaining the artiness of the songs themselves. Like her second record, this album is not immediate; it takes time for the songs to sink in, to let the melodies unfold, and decode her laborious words (she still has the unfortunate tendency to overwrite: "A voice once stentorian is now again/Meek and muffled"). Unlike the Brion-produced sessions, peeling away the layers on Extraordinary Machine is not hard work, since it not only has a welcoming veneer, but there are plenty of things that capture the imagination upon first listen -- the pulsating piano on "Get Him Back," the moodiness of "O Sailor," the coiled bluesy "Better Version of Me," the quiet intensity of the breakup saga "Window," the insistent chorus on "Please Please Please" -- which gives listeners a reason to return and invest time in the album. And once they do go back for repeated listens, Extraordinary Machine becomes as rewarding, if not quite as distinctive, as When the Pawn. Nevertheless, this is neither a return to the sultry, searching balladeering of Tidal, nor a record that will bring her closer to tasteful, classy Norah Jones territory, thereby making her a more commercial artist again. Extraordinary Machine may be more accessible, but it remains an art-pop album in its attitude, intent, and presentation -- its just that the presentation is cleaner, making her attitude appealing and her intent easier to ascertain, and thats what makes this final, finished Extraordinary Machine something pretty close to extraordinary. | ||
 | Album: 4 of 5 Title: Original Album Classics Released: 2010 Tracks: 32 Duration: 2:25:06 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Sleep to Dream (04:10) 2 Sullen Girl (03:54) 3 Shadowboxer (05:24) 4 Criminal (05:43) 5 Slow Like Honey (05:57) 6 The First Taste (04:46) 7 Never Is a Promise (05:54) 8 The Child Is Gone (04:14) 9 Pale September (05:50) 10 Carrion (05:47) 1 On the Bound (05:23) 2 To Your Love (03:40) 3 Limp (03:31) 4 Love Ridden (03:22) 5 Paper Bag (03:40) 6 A Mistake (04:58) 7 Fast as You Can (04:40) 8 The Way Things Are (04:18) 9 Get Gone (04:10) 10 I Know (04:55) 1 Extraordinary Machine (03:44) 2 Get Him Back (05:26) 3 O’ Sailor (05:37) 4 Better Version of Me (03:01) 5 Tymps (The Sick in the Head Song) (04:05) 6 Parting Gift (03:36) 7 Window (05:33) 8 Oh Well (03:42) 9 Please Please Please (03:35) 10 Red Red Red (04:08) 11 Not About Love (04:21) 12 Waltz (Better Than Fine) (03:46) |
| Original Album Classics : Allmusic album Review : Sony/BMG repackaged and re-released the first three Fiona Apple LPs -- Tidal, When the Pawn..., and Extraordinary Machine -- as a slipcased box set. All of them are excellent, among the best trio of albums from any artist of the 90s and 2000s, and its the perfect way to acquire the albums if you dont already own them. Still, the completist route could lay beyond the reach (and interest) of the casual fan. | ||
 | Album: 5 of 5 Title: The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do Released: 2012-06-18 Tracks: 10 Duration: 42:37 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Every Single Night (03:30) 2 Daredevil (03:28) 3 Valentine (03:33) 4 Jonathan (05:04) 5 Left Alone (04:51) 6 Werewolf (03:13) 7 Periphery (04:58) 8 Regret (05:17) 9 Anything We Want (04:41) 10 Hot Knife (04:02) |
| The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do : Allmusic album Review : So much of the drama surrounding Fiona Apples third album, Extraordinary Machine, focused on its recording and release -- how the original Jon Brion productions were scrapped in favor of new versions helmed by Mike Elizondo, all fueling fan panic and an Internet protest pleading for a free Fiona -- that ultimately all the clamor obscured Apple herself, both her songs and performances. She runs no such risk on The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do, her fourth album, arriving some seven years after Extraordinary Machine. Alone with her voice, piano, and percussionist Charley Drayton, Apple has nowhere to hide, nor does she give any indication shed prefer to run. These spare but not skeletal arrangements -- each cut is subtly colored with harmonies, slight effects, overlapping rhythms, and additional keyboards -- never shift focus away from Fionas magnetic vocals, the human element pulling us into these songs. Some hooks are stronger than others -- "Periphery" cuts to the quick, whereas "Every Single Night" surges -- but what was rumored about Extraordinary Machine is actually true about The Idler Wheel: there are no singles here, nothing concise and concentrated to facilitate an easy sell. But thats not to say that The Idler Wheel is alienating. As elliptical as the melodies and words can be, the music is immediate and the songs unfold quickly, certain turns of phrase or thrilling runs swiftly seeping into the subconscious. Lacking either ornate production or a pop single, The Idler Wheel plays like Fiona Apple at her purest and thats plenty complicated: she takes no shortcuts or easy turns, her intent somewhat shrouded but never absent. Much of the charm of Apples music isnt decoding what it all means but learning its internal clockwork, letting the songs take root, so the love songs ("Jonathan") seem sweeter, the braggadocio ("Hot Knife") funnier, the pathos ("Valentine," "Regret") and paranoia ("Werewolf") feeling fathomless. Once the startling Spartan surfaces of The Idler Wheel become familiar, similarities to her three previous albums are apparent -- she takes certain jazzy strides that hark back to Tidal, theres a rigorous dexterity reminiscent of When the Pawn -- but whats new is an unwavering determination and cohesion. Nothing is wasted, either in the composition or arrangement, and this lean confidence binds The Idler Wheel. Stripped of all her carnivalesque accouterments, Fiona Apple remains as rich and compelling as she ever was, perhaps even more so. | ||