Customer Reviews

Prostitute

5 star:		(1)
4 star:		(0)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

I'm not sure how many stars to give Prostitute. The disk roams all over the musical map on this mostly electronic outing. You have the great driving beats of the title song and the interesting Fripp-tinged poly-rhythms of Ghosts In The Universe, along with great swinging vocals. You also have Toyah's talking travelogues that keep monologuing up (interjecting?) throughout the album, surfacing completely on Dream House and the Vale of Evesham (and with more humour on Home Craft). So, Prostitute is transitional, with Toyah, now essentially on her own, investigating more societial disconnect, but with less sci-fi...and a lot more wordiness. I enjoyed this album, but it demands attentive listening and generally doesn't have a tuneful pop approach.

Musically, this album is quite atypical of Toyah. Here, music is secondary to her desire to express her anger at the way she was being treated by her record company, her management, her banker, and many of the other people whom she dealt with professionally after her marriage to guitarist Robert Fripp. Suddenly all these professionals started asking her husband about her career rather than dealing with her directly. Toyah felt that she was no longer viewed as a person, but rather as property. Toyah's musical partner on this CD is the fabulous drummer Steve Sidelnyk who does for Toyah what Matt Chamberlain did for Tori Amos on her From The Choirgirl Hotel CD, injecting new life and power into her sound and providing perfect complement for her lyrics. As a basis of comparison, this album has a Laurie Anderson feel to it.

it's a rocky type of album;some of the lyrics have a double meaning it takes a bit of a swipe at male dominated estabalishments.ie;record industries;etc'first time i listened to it ;i sort of likedit 'on subsequent listening it started to grow on me .now i like it so much ;that certain tunes get stuck in my head'idon't think it;ll appeal to everyone.

Sounds like someone who teaching herself how to use 80's era music technology. This is something I would expect from a kid trying to sound like Art of Noise.