When The Pawn... Reviews

• A true musician --- An incredible work of art

  
  By A12V6LLGTKS0QH on 1999-11-28
  All year long I have been waiting to see who would receive the title of "album of the year" on my personal charts. That album has been released by a musical genius who so far has been more misunderstood than appreciated. "When The Pawn..." is the fulfillment of the promise made by Fiona on her debut album; an amazing musical experiment, a great combination of deep (it's deep people, not weird) lyrics, a sultry voice, and excellent musical arrangements. I'm more than glad to see Fiona taking on a slightly new direction making use of elements not seen or heard on her debut album. It is important to note that this work is less piano/melodic driven than "Tidal" -which still ranks as one of my top ten albums of the past 2 decades- and more focused on experimenting with the jazzy-bluesy feeling that this artist had shared with us on her previous effort. Tracks like "On the Bound," "Limp," and "Paper Bag" are outstanding in presenting Fiona's maturity in vocal and writing power. Likewise, they stand out ib their impeccable combination of Fiona's piano and other elements of percussion as well as some loops. In this regard this album compares with Tori Amos' "From the ChoirGirl Hotel" and Suzanne Vega's "99.9F" both of which meant gigantic leaps for the artists into the experimental fields of music. Some listeners may find that a general sense of anger and sadness prevails through most of the tracks, especially on tracks like "Get Gone" (my favorite) and "Love Ridden" but you cannot expect an artist like Fiona, after what you heard on "Tidal" to be singing happy ditties. To make this brief, anyone who is into powerful performers, especially female musicians, will be captured by this gem. If you've never heard of Fiona or if you were turned off by her darkness the first time around, I recommend you to still give it a try, listen to tracks like "To Your Love" or "Fast as you Can" and you'll agree on how extraordinary this album is. I rest my case :)
  
  

• The Finest Rock Album of the Decade

  
  By A2ULSA0IRUE09E on 2001-01-05
  When 1996's 'Tidal' came out, it was clear that its' young vocalist was no flash in the pan. Despite an overall sense of gloominess and woe-is-me, Apple's debut was regarded as exceptionally stunning, drawing accolades for its' unmissable single 'Criminal' and the magical 'Sleep to dream'. It was thus no surprise that people anticipated her follow up album with sky-high expectations of it. In 1999, Apple unveiled her second album, the curiously titled 'When the pawn hits the conflicts...'. The full title actually works out to a mini-poem of sorts, and one that makes LSD-ish sense upon repeated reading. ...Rarely have there been albums where every single song is an unrivalled gem, but this is one of them (non-believers, you'd have to actually buy this CD to know what I'm talking about). Now, both sides of the Atlantic have sung their praises of this album, and I still can't get enough of it, despite listening to the album in its entirety over - literally - more than a hundred times.

  The opener, 'On the Bound' is a contradictory anthem of deep longing - despite the fierce independent tone of the title, we find Fiona wailing 'You're all I need' with a passion quite unseen since Sinead O'Connor's classic howls on 'Mandinka'. The second track 'To your love' is a grand ode to love, with the songstress apologising for her seeming indifference - 'Please forgive me for my distance' she whispers. This particular track is very effective, and frankly, its almost bewildering how Apple hasn't got the recognition and album sales that she so obviously deserves. Honestly, don't people know how to appreciate good music anymore? As if to reaffirm my bewilderment, the third, and perhaps most gutsy track on the album, simply floors you. "Limp" which was an official single release from the CD early in 2000 works on all levels - musically, instrumentally, and lyrically. Gripping stuff.

  "Paper Bag" and "Love Ridden" are in the same vein as many of the songs on 'Tidal', though the production values and lyrics are far better. Its apparent that Apple has evolved tremendously as a singer and songwriter, and 'A Mistake', another of the album's I'm-gonna-be-me-and-no-one-else tracks is highly reflective of this fact. One thing thats true of 'When the Pawn' is that it keeps reaffirming the Angry Young Woman image more so than 'Tidal' and the listener can get weary of this after a point. At places, its Apple's stunning talents as a writer that retain your interest in the song and not the music (like 'Fast as You can' - perhaps the most commercial of all the songs on this CD), but in most others, its a combination of innovative music and sheer lyrical poetry that keep you hooked. The final songs on the album are 'Get Gone' and 'I know' - both sung about a lover who could have done better, and these are among the slower paced, deeper tracks on the set. Not that I'm complaining. Fiona has proved time and again that shes a true master of the Love Ballad, and what better time to show off this skill?

  'When the Pawn' is an album that you come out of feeling light-headed and enriched - something I haven't felt since Tori Amos' 'Under the Pink'. On second thought, that particular album actually left me with a headache, but it broke new ground, which is something that Fiona has done here. What affected me most about this set is that it gets you in a way no other collection of songs has done through the last year. I've listened to Eminem, played my old Rolling Stones records again, and yes, even bought Spear's 'Oops...I did it again', but I haven't ever faced an album with such repeat value. I couldn't possibly recommend this album strongly enough, so all I'll say is : You'd better buy it to believe it. Its an absolute must-have.
  
  

• Unmissable

  
  By A2ULSA0IRUE09E on 2000-07-14
  When 1996's `Tidal' came out, it was clear that its' young vocalist was no flash in the pan. Despite an overall sense of gloominess and woe-is-me, Apple's debut was regarded as exceptionally stunning, drawing accolades for its' unmissable single `Criminal' and the magical `Sleep to dream'. It was thus no surprise that people anticipated her follow up album with sky-high expectations of it. In 1999, Apple unveiled her second album, the curiously titled `When the pawn hits the conflicts...'. The full title actually works out to a mini-poem of sorts, and one that makes LSD-ish sense upon repeated reading. ...Rarely have there been albums where every single song is an unrivalled gem, but this is one of them (non-believers, you'd have to actually buy this CD to know what I'm talking about). Now, both sides of the Atlantic have sung their praises of this album, and I still can't get enough of it, despite listening to the album in its entirety over - literally - more than a hundred times.

  The opener, 'On the Bound' is a contradictory anthem of deep longing - despite the fierce independent tone of the title, we find Fiona wailing 'You're all I need' with a passion quite unseen since Sinead O'Connor's classic howls on 'Mandinka'. The second track 'To your love' is a grand ode to love, with the songstress apologising for her seeming indifference - 'Please forgive me for my distance' she whispers. This particular track is very effective, and frankly, its almost bewildering how Apple hasn't got the recognition and album sales that she so obviously deserves. Honestly, don't people know how to appreciate good music anymore? As if to reaffirm my bewilderment, the third, and perhaps most gutsy track on the album, simply floors you. "Limp" which was an official single release from the CD early in 2000 works on all levels - musically, instrumentally, and lyrically. Gripping stuff.

  "Paper Bag" and "Love Ridden" are in the same vein as many of the songs on 'Tidal', though the production values and lyrics are far better. Its apparent that Apple has evolved tremendously as a singer and songwriter, and 'A Mistake', another of the album's I'm-gonna-be-me-and-no-one-else tracks is highly reflective of this fact. One thing thats true of 'When the Pawn' is that it keeps reaffirming the Angry Young Woman image more so than 'Tidal' and the listener can get weary of this after a point. At places, its Apple's stunning talents as a writer that retain your interest in the song and not the music (like 'Fast as You can' - perhaps the most commercial of all the songs on this CD), but in most others, its a combination of innovative music and sheer lyrical poetry that keep you hooked. The final songs on the album are 'Get Gone' and 'I know' - both sung about a lover who could have done better, and these are among the slower paced, deeper tracks on the set. Not that I'm complaining. Fiona has proved time and again that shes a true master of the Love Ballad, and what better time to show off this skill?

  'When the Pawn' is an album that you come out of feeling light-headed and enriched - something I haven't felt since Tori Amos' 'Under the Pink'. On second thought, that particular album actually left me with a headache, but it broke new ground, which is something that Fiona has done here. What affected me most about this set is that it gets you in a way no other collection of songs has done through the last year. I've listened to Eminem, played my old Rolling Stones records again, and yes, even bought Spear's 'Oops...I did it again', but I haven't ever faced an album with such repeat value. I couldn't possibly recommend this album strongly enough, so all I'll say is : You'd better buy it to believe it. Its an absolute must-have.
  
  

• The Finest Rock Album of the Decade

  
  By A2ULSA0IRUE09E on 2001-05-09
  When 1996's 'Tidal' came out, it was clear that its' young vocalist was no flash in the pan. Despite an overall sense of gloominess and woe-is-me, Apple's debut was regarded as exceptionally stunning, drawing accolades for its' unmissable single 'Criminal' and the magical 'Sleep to dream'. It was thus no surprise that people anticipated her follow up album with sky-high expectations of it. In 1999, Apple unveiled her second album, the curiously titled 'When the pawn hits the conflicts...'. The full title actually works out to a mini-poem of sorts, and one that makes... sense upon repeated reading. ...Rarely have there been albums where every single song is an unrivalled gem, but this is one of them (non-believers, you'd have to actually buy this CD to know what I'm talking about). Now, both sides of the Atlantic have sung their praises of this album, and I still can't get enough of it, despite listening to the album in its entirety over - literally - more than a hundred times.

  The opener, 'On the Bound' is a contradictory anthem of deep longing - despite the fierce independent tone of the title, we find Fiona wailing 'You're all I need' with a passion quite unseen since Sinead O'Connor's classic howls on 'Mandinka'. The second track 'To your love' is a grand ode to love, with the songstress apologising for her seeming indifference - 'Please forgive me for my distance' she whispers. This particular track is very effective, and frankly, its almost bewildering how Apple hasn't got the recognition and album sales that she so obviously deserves. Honestly, don't people know how to appreciate good music anymore? As if to reaffirm my bewilderment, the third, and perhaps most gutsy track on the album, simply floors you. "Limp" which was an official single release from the CD early in 2000 works on all levels - musically, instrumentally, and lyrically. Gripping stuff.

  "Paper Bag" and "Love Ridden" are in the same vein as many of the songs on 'Tidal', though the production values and lyrics are far better. Its apparent that Apple has evolved tremendously as a singer and songwriter, and 'A Mistake', another of the album's I'm-gonna-be-me-and-no-one-else tracks is highly reflective of this fact. One thing thats true of 'When the Pawn' is that it keeps reaffirming the Angry Young Woman image more so than 'Tidal' and the listener can get weary of this after a point. At places, its Apple's stunning talents as a writer that retain your interest in the song and not the music (like 'Fast as You can' - perhaps the most commercial of all the songs on this CD), but in most others, its a combination of innovative music and sheer lyrical poetry that keep you hooked. The final songs on the album are 'Get Gone' and 'I know' - both sung about a lover who could have done better, and these are among the slower paced, deeper tracks on the set. Not that I'm complaining. Fiona has proved time and again that shes a true master of the Love Ballad, and what better time to show off this skill?

  'When the Pawn' is an album that you come out of feeling light-headed and enriched - something I haven't felt since Tori Amos' 'Under the Pink'. On second thought, that particular album actually left me with a headache, but it broke new ground, which is something that Fiona has done here. What affected me most about this set is that it gets you in a way no other collection of songs has done through the last year. I've listened to Eminem, played my old Rolling Stones records again, and yes, even downloaded Spear's 'Oops...I did it again', but I haven't ever faced an album with such repeat value. I couldn't possibly recommend this album strongly enough, so all I'll say is : You'd better buy it to believe it. Its an absolute must-have.
  
  

• "Pawn" becomes a queen

  
  By A1D2C0WDCSHUWZ on 2004-10-17
  Fiona Apple returns in rare form in "When the Pawn..." (plus about ninety more words), her sophomore album -- and one of the rare ones that actually improves on the first. Her passionate bluesy-jazzy sound is blended with her strong, sensitive vocals and one soul-baring song after another.
  
  "Hell don't know my fury." You said it, Fiona. Anger and melancholy permeate her songs, including the rage of "Limp" ("But no matter what I try/You'll beat me with your bitter lies") and the restrained quality of piano-bombast "The Way Things Are." Even the musically gentle "I Know" has a deep sadness, starting to move past some of the bitterness and anger coming before it, and early on Apple seems to apologize for her romantic shortcomings.
  
  Female singer-songwriters are a dime a dozen today, but few of them do much more than set basic pop songs to acoustic guitar and piano. But Fiona Apple forges ahead with a noncomformist attitude and strong songs. In a nutshell, she comes across as an excellent musician, with all the power you'd expect from such a singer. And every song is a winner, gut-wrenching and beautiful in its intensity.
  
  Musically, it has almost as much impact as her writing does. The music is often led by Apple's piano -- not tinkly piano, but dark, fast melodies that match her songs in rhythm and intensity. Percussion booms in songs like "Limp," as if giving vent to Apple's feelings. And cropping up from time to time are odd gurgles and squiggles, as well as some well-blended horn arrangements in the background.
  
  Apple's voice is strong and assured, but it also has that rare quality of expressing vast amounts of emotion. Without, I might add, sounding overwrought. Which, since the mood is that of an Angry Young Woman, is a hard thing to pull off, but Apple's richly poetic lyrics ("And you can use my skin/to bury secrets in") make her songs seem intensely personal.
  
  "When the Pawn..." is an almost exhausting experience -- just try listening to the whole thing without getting your heart rate up. From rotten lovers to personal pain, Fiona Apple explores the bitter side of love... and despite its bitterness, it's a gem.
  
  
• Soulful and funky; a leap forward in songwriting maturity.
  By A1XX5797TIZT5Q on 1999-11-26
  Whereas Tidal was the product of an unhoned prodigy's raw instinct, When the Pawn... is a tempering of Fiona Apple's lyrical and musical sense into a disciplined and thoroughly enjoyable whole.

  Firstly, her singing: Now fully in command of her smoky, dark voice, Apple's delivery is greatly improved, with a confidence never before exhibited. It helps that her melodic sense has taken a quantum leap in the past three years; there are no longer any more quaint, unsure moments like "Shadowboxer" on Tidal. Producer Jon Brion (Aimee Mann) must also have contributed his infallible ear to the arrangements because When the Pawn... offers a much richer, more distinct sound, and overall a more addictive one. Apple's piano sounds great, the fiery parts recalling Tori Amos' ferocious work on her From the Choirgirl Hotel album or Laura Nyro in her '60s heyday, and even when the songs lapse into sections of jazz-blues jamming (usually more fun for the players than the listener), on this record they merely serve to augment the spontaneity of the songs and the immediacy of the performances.

  A work worthy of an artist on the rise, When the Pawn... is a work that Fiona Apple should be very proud of. She has succeeded in mining her best assets while leaving her past faults behind.
  
  

• Vastly overrated
  By A2NBXR4C1JGOMW on 2005-05-10
  I don't know who the people leaving all these "she's a genius" reviews here, but let me tell you, this album is a huge disappointment. I bought the album lured primarily by the glowing reviews, and I feel cheated.
  
  The music is neither melodic nor touching, instead she produces a cocophany of loud noise and hopes her fans will see it as a "wonderfully elaborate arrangement".
  
  The vocals are unremarkable, the composition is mediocre, and the lyrics are hardly poetic. This is just another singer riding high on the hype generated by her record label.
  
  
• Intelligent pop artists always make good albums...
  By on 1999-12-23
  ...as long as they got the voice for it. This is the first album i've listened by this artist, and what brought me to her music is her quite original voice...simply much more feminine than those sickly sweet voices we hear on the radio. A low key, warm voice, with a certain edge to it. The music is even better, it is mostly piano, but mixed with the usual rock components, with a lot of rythm and breaks, so that each song has emotionnal and more rythmic parts. I don't like solo piano artists, but i love this album, because of the gathering of all these elements. An album gifted with a sublime voice and a talented music, which will get to you.
  
  
• Better than TIDAL
  By A25PE81GB097GT on 1999-12-01
  Know what I hate? When you're trying to figure out your favorite song from a CD, and it's virtually impossible. Every time I listen to the extraordinary "When the Pawn...," my 'favorite' is a different tune. At one point, it's the beautiful misery of "A Mistake." (Does anyone moan better than Fiona?) Then it's the playful stuttering of "Fast As You Can," which should have been a bigger hit. Then it's "The Way Things Are," which includes what are probably some of Fiona's strongest lyrics ever. Or is it "I Know," a soothing heartbreaker that makes me wish for a smoky nightclub and a long-lost lover?

  This is the quandary I'm in. "When the Pawn..." is so great I can't choose. "Tidal" is an excellent starting point for any self-respecting fan of brooding, dark and introspective mood music, but "When the Pawn..." is for the seriously daring. Fiona Apple is a consistent attention-grabber, only this time it's the beauty of her music that suprised me most. You will not regret buying this CD.
  
  

• Fiona's Taste For A Well-Made Mistake Pays Off Big Time
  By A263FG160CEZ80 on 2000-02-07
  What is a highly gifted singer, songwriter, and musican like Fiona Apple to do on her sophmore outting when her debut _Tidal_ made such a splash? Fiona, the chess master, obviously made all the right moves to "win the whole thing". Taking some risks by delving more into more of a jazz and blues influence, this C.D. shows that Fiona has some fighting chops and staying power. The best songs on this C.D. might be _A Mistake_ and _Paper Bag_. This C.D. also features stronger, more assured, rhythms; shades of her previous hit _Criminal_. Where Tori Amos is piano virtuoso-extraordinare and lyrical muse, Fiona Apple's songs display more rock and pop sensibility while remaining highly artistic and avante garde. Fiona also is gifted with a more direct and straight-to-the-heart lyrical approach. The result is a sophmore C.D. which hits right on the bull's eye. On the other hand, there's obivously still lots of room for Fiona to grow. But make no mistake about it. Fiona Apple knows what's she's doing, and what appears to stray from the mark is really her "well-made mistake".
  
  
• The Best Album by a female artist- Ever
  By on 2001-11-11
  Everyone in the world thinks When the Pawn... is an awesome artistic, lyrical, and musical breakthrough; I don't think I've read one negative review- on Amazon or elsewhere. But here's what each song means to me

  All I Need is a pretty scary tune that like another amazon reviewer mentioned, is somewhat contradictory, since the lyrics indicate desire (the chorus screams: you're all I need!) but the music is wrenching and herky jerky and rather unpretty. A great song though.
  To Your Love could be a lyrical continuation of Sullen Girl from Tidal minus the rape metaphors. It's basically an apology from Fiona to a lover, explaining how sorry she is that she's so tortured and hard to understand.
  Limp- I didn't realize this until recently but Limp is lyrically about a guy who Fiona threatens with impotence (get it: limp? lol)-that is, if he continues to need her "shame to reclaim your pride." It's probably the first song you'll like.
  Love Ridden- A sorrowful song with a heavy emphasis on piano and string about the ending of a relationship. "Love Ridden I've looked at you with the focus I gave to my birthday candles." Gorgeous poetry meets skilled piano meets Fiona's luscious voice.
  Paper Bag- This song was nominated for a Grammy but lost to the talented but annoying Sheryl Crow. It is a truly magnificent song, based on a brilliant poem. Clever and inspired. Does music get any better?
  A Mistake- one of her songs that reveal Fiona's personality in greater depth. She explains a longing to do stuff wrong, to make people po'd, to make a mistake. She also claims, "I'm no good at math." Yeah right. There's no way someone who writes songs brilliantly and plays the piano, the hardest of all instruments, would be bad at mathematics but there's Fiona's personality- underestimating herself and thus winning the listener's appreciation.
  Fast as You Can- It's one of those songs so unconventional and complex that it makes you wonder how someone could write it. Where the melody began and so forth. The video's awesome. The song's catchy. Wow.
  The Way Things Are- the opening guitar riff of this song speaks volumes about how downtrodden and miserable this song is going to be. The rest of the music is minor and depressing. The lyrics are about how it's easier to be miserable and static than get off your butt and become happy again. Anyone who's gone through depression should immediately identify with this song.
  Get Gone- Fiona's talking about being stuck in a bad relationship with someone who is mean to you. I love this song because of the original music, the direct and identifiable lyrics, and the way she is so angry yet so vulnerable while she sings it.
  I Know- The end to the album. It is exactly the way an end should be. It's a slow pretty song- beautiful really- about optimism in the face of a relationship that probably won't work out too well. It's uplifting, sad, romantic, and a lot longer than the rest of the songs.

  Clearly, this is my personal favorite album of all time and definitely the best album of all time from a female artist. If you're thinking about buying When the Pawn... which I can't recommend enough, be warned: You may become obsessed with Fiona Apple!
  
  

• A great bluesy album, with some great beats.
  By A8P1VFCDZ8UTJ on 1999-11-23
  I bought this CD after hearing 'Fast as you can' on the radio.. I'm usually not one to buy albums after just hearing one song, but I'm a sucker for female vocalists and Fiona has a great voice. Luckily, I wasn't disapointed. Fiona has a great rich and full voice with a nice range. The emotions in the songs seems genuine and there's good variation of rhythms and sounds throughout. Most songs are just her with some strong piano and percussion and occasional brass or sax, and her voice is always the centerpiece. My only complaint might be that her song composition might be a little on the simple side on a few of the songs, being a little short on lyrics and high on repetition, but this is a great CD from start to finish.

  'Fast as you Can' is probably one of the best tracks, just because it has really interesting beats and composition, but the last track 'I Know' is just a gorgeous ballad, really showcasing her incredible voice.
  
  

• fiona apple owes me money
  By A1EDFI9XU6EE8Z on 1999-12-15
  ok, fiona used to go to private school in manhattan and one time i went to this party and she was there, only no one cared cos this was before she made that naked video that made everyone like her, this was just when she was some other chick, right? ANYWAY, so fiona apple- i don't know her name then, i only realized it was her in retrospect- but fiona apple asked if i wanted to chip in for a pizza so i gave her a dollar and i'll be goddammed if i never saw the pizza or the dollar ever again. so fiona, i want my goddam dollar! i think it was fiona apple. i was pretty drunk. this album is pretty good, though. i like the song on mtv where she puts the match out on her tongue. yeah, that was hip. man, are you being sarcastic? man, i don't even know anymore
  
  
• An All Around Fantastic Album
  By A3O9WT1M8QWE6P on 2005-10-20
  For those of you unfamiliar with Fiona Apple, her music is dark, dreary, occasionally uplifting, and always emotional. The songs have a structure more associated with pop music (maybe Alicia Keyes or Natalie Imbruglia) , but her deep voice shows that there is something more profound and disturbing under this facade. In her previous album, Tidal, with a few exceptions, Apple would sing the poetic verses that she wrote earlier in her life with piano accompaniment. This got a little tedious after a while. This follow up album corrects many of the problems of the first CD. In Tidal, it appeared as if she was holding back. There was definantly emotion and anger, but this rarely came through. In When the Pawn...we get Apple in all her anger. Tidal also suffered from a repetitious song structure and limited musical experimentation. With her second effort, Fiona experiments with long jazzy interludes and a variety of accompanying sounds to add texture to her music. The overall result is one of the most complete, powerful, and inspiring CDs ever released. With this album, Fiona really reached her potential.
  
  When the Pawn...opens with On the Bound, which sets the tone for the rest of the album. It is a dark sound with background sounds that really give the song a driving and grating feel. Here she proclaims "Hell don't know my fury" and by the end of the album the listener will have a better understanding of this fury. Yet, the track also shows her vulnerabiltiy that will also become a theme of When the Pawn... She sings "I dont know what I'm doing,/ dont know should I change my mind, I cant decide,/ there's too many Variations to consider." She continually undermines herself throughout the CD and shows her weaknesses. She puts her heart, her mind, and her soul with others, as she repeats "You're all I need." Yet, there is a questioning of this total devotion as she ends the song with "Tell me you belong to me/ Baby that it's all gonna be alright/ I believe that it isn't." Fiona finds independence and power in her pessimism. This is the only way for her to overcome her wishful desires, which she sees as weaknesses.
  
  To Your Love finishes up where Fiona left off. In this song she is further questioning her own feelings. She begins "Here's another speech you wished I'd swallow." Here again, she is using pessimism and sarcasm to give her self indepedence and power from her emotions. But then we hear self-doubt of even her pessimism. Her chorus "The pain is evident in my existence/
  Please forgive me for my distance/ The shame is manifest in my resistance" laments that she cannot get close to somebody because of her negative outlook towards emotions. She confesses "But by the time I'm close to you, I lose" and "I just need to be reassured". The tables have turned since To your Love. Instead of a source of power, her doubts prevent her from happiness, from true friendship, and from true love. Quite a beginning to an album.
  
  Then we get Limp. In my opinion Fiona's best song and the reason I initially bought the CD. Lyrically, the song is incredible. Musically it is a wild ride. I was always a little confused as to what exactly this track was about, but now I have my own theory, although I could be wrong. To me, this song is focusing Fiona's apprehensions towards men/ sex and showing how her being raped at an early age has distorted her images of men in general. Arguments and frustrations that she has had in other relationships take on the imagery of a rape. She writes "You'll beat me with your bitter lies/So call me crazy, hold me down/Make me cry; got off now, baby-" thus interspersing relationship troubles with the trauma of molestation. She compares her frustration towards men to her anger towards her violation "And when I think of it, my fingers turn to fists/I never did anything to you, man." And finally, she uses the image of "Lying limp in your own hand", a blatantly sexual reference, to compare the rape to the breakup of the relationship. Like the rapist who became 'limp' at the end of the act, the target of her lyrics also will eventually lose his power over her as the relationship disolves. Thus, male limpness becomes a source of empowerment, where the sexual drive is no longer a factor in binding her to the male.
  Even if you don't accept this interpretation, you have to admit the song is complex and pure poetry. I should also mention that the best part of the song is the power of its delivery and the jazzy interlude that takes over midway through.
  
  Love Ridden is a more mellow song that discusses an aftermath of a breakup.
  
  Paper Bag is one of my favorite songs musically. Lyrically it reminds me of a scene from American Beauty.
  
  With Mistake we get a return to the theme of equating weakness with her inability to get close to others. This time, she calls this pessimism a mistake.
  
  Fast As You Can is another great song musically. Its fast paced delivery really draws you into the song. Apple returns to the theme of getting power from being withdrawn (in defiance of her previous song). Her procomation that she is "blooming within" says it all. Her 'craziness', her distance is what makes her what she is. She can deny that this is an important part of her self-identity.
  
  Way Things Are is a more uplifting song. Instead of lamenting the mistakes or blaming men for her own pain, Fiona here is resolved to the "way things are." She realizes that she is perhaps "much better off" and that she is "able to move on."
  
  Get Gone is another great sounding track. Here she shows her desire to withdraw and separate from others. Much like Limp she equates sexual conquering with the end of the relationship (how literal this is supposed to be is unclear) as she sings "You got your game, made your shot, and you got away/ With a lot, but I'm not turned-on." Sex for Apple here is neccessarily an act of powerlessness, as in a rape. She says quite simply "I'm not benefitting." Wheather or not she derives pleasure from it is immaterial, the fact is that, for Apple, sex is a way for men to force a kind of closeness that makes her weak and vulnerable.
  
  I Know casually closes out the album. It is a bit mellower than other tracks.
  
  I've concetrated on Fiona's lyrics only because they are amazing. Musically this album is wonderful and I apologize if I haven't got this point across. I consider this to be one of the best CDs ever. I would recommend it to anyone.
  
  
  
  
  
  
  
  
  
  
  
  
• lush and thrilling
  By on 2000-01-30
  I bought Fiona's first cd because of the song "criminal" and was slightly disappointed with the rest of the cd, except for a few songs that stood out. Most of them seemed too angry or melancholy for my taste. However, I liked her enough to buy "When the Pawn...", hoping that the brief flashes of genius on "Tidal" were a sign of better things to come. I wasn't prepared for what I heard. "Pawn" throbbed with strength and originality. It was as if Fiona had made a pretty sketch with "Tidal", and had expanded on the same theme to create a brilliant oil painting in "Pawn." And, as with all good works of art, it grew stronger and revealed more of itself with each listen. The whole cd glows with imagination. Fiona's voice goes to greater lengths, and where on her last album her voice sank to a whisper or rose to a strained wail,on this one it growls and trills and vibrates with emotion. Either Fiona has grown more courageous or her vocal strength has grown. Lyrically, many of the songs are similar, but also seem to have grown in depth and inventiveness
  
  
• Have you bought this yet? What are you waiting for!
  By A23AGXGTSICSLI on 2000-06-25
  My big regret is that I waited to buy this AMAZING Cd for so long...I was spell bound by Fiona Apple when she put out Tidal. I was so Happy when she called the Record Industry on the carpet at the music awards and told everyone what she really thought of the fakeness and faux cool people in that world. I ate up interview after interview with fiona. She was just the Cats Meow times a million and two...

  Then the new album came out and it got some really sketchy reviews. Most people kinda shruged her off as that 'Angry' 'Sad' 'Ungreatful' girl who shed her knickers in the CRIMINAL video (something Fiona sez she regrets now..).

  Anyway, I believed the bad reviews and just didn't buy it...then the other day at my pals house she was playing this album and i was blown away.

  So much in fact that I ran right out and bought it. I have been listening to this album for the past week and I have yet to get bored or think its anything less than Heaven.

  I really think that Fiona has grown more, maybe listened to more 'Rubber Soul'/'Sgt Peppers' era Beatles...Note the horns, and the style of the arrangements.

  Songs like "PAPER BAG" (...I thought he was a man but he's just a little boy...), "LIMP" (...and when i think of it my fingers turn to fists...), and 'A MISTAKE' (...I ran where they told me not to run, but I sure had fun...) just beg to be turned into a sing along.

  The single "FAST AS YOU CAN" is as sharp and honest as an Anne Sexton poem. When Fiona sings "...my pretty mouth will frame the phrases that will disprove your faith in man.." you dont doubt her...

  My current favorite song on this one is "love ridden". Fiona sings '...I want your warm, but it will only make me colder when its over...'. It's so beautiful I could cry...

  If you dug Tidal you should thumb your nose to the music journalists who said this was 'just ok' and get this amazing work of poetic genius.
  
  

• The spoken word is obviously her second launguage
  By A1HSUT19AAIE0A on 2000-03-03
  WOW--I never intended to like Fiona Apple. I used to call her Fiona Snapple, and she was just this bizarre waif who I saw on the grammys speaking in tongues and acting like a complete dork--and permanently exiling herself as a tragic footnote in the career of Maya Angelou . And then a few months ago I was buying cigarettes in Miami and I heard this song playing--the georgeous girl who sold me the cigarettes had no idea who it was. I vaguely knew the texture of Fiona apple's voice from "Criminal"--so of course I go out and buy BOTH Fiona Apple albums because I had to have that song (It turned out to be "Under the Waves" from "Tidal"). And, of course, I listened to that song over ond over for days and days and days. Darn, I bought two whole CDs for 1 song? What ensued was an involuntary and cumpulsory week-long spiral of intense boundary breaking and stunned awareness and appreciation of this girl's awesome talent--I realized that I was in love with EVERY song on both, and in no time I was sadly and desperately hounding the ticketmaster site for seats at her Roseland gig--to no avail--it was sold out. And I NEVER go to concerts.... It happens fast, and many more discriminating listeners than I have fallen under her spell. If you think it coudn't happen to you I dare you to buy one of her albums. Now of course I LOVE the fact that she's also a total geek and a freak, and especially LOVED the enthusiasitically spastic manner in which she "danced" on her SNL appearance. Wouldn't it be just too much if she was 100% choreographed and retouched and perfect? She's too weird for Disney, not weird enough for "Korn" fans--that makes her 100% original. And the deliberate smiles on the liner pics infom us somehow that she's not really the angry little girl of her lyrics--It's just a cultural genre she's participating in. In the fifties artists like Doris Day sang about love and marriage, and that was cool, but now they all seem to be proving how smart and tough they are. And I'll bet there's an awful amount of pressure from reps to deliver the "angry product". It would be great to hear someone like Fiona Apple write and sing something sweet and simple one of these days. She obviously possesses lots to celebrate.....
  
  
• A Young Artist Matures
  By on 1999-12-03
  Fiona Apple's sophomore release is a marked departure from the inconsistent 'Tidal.' From the whimsy of 'Paper Bag' to the restrained fury of the poorly titled 'Get Gone,' Apple displays her musical versatility in a way that she did not in her first release. 'I Know,' an achingly beautiful and intelligently written ballad and the album's only unequivocal love song, concludes the album by leaving the listener with the realization that Miss Apple is capable of being earnest after all.
  
  
• 90 words, but 10 great songs
  By on 1999-12-04
  I became an instant fan of Fiona on "Tidal". I loved the intimate feel of the disc along with her gorgeous melodies. This new album expands her sound with an almost psychedelic sound at times. Tracks I can't get enough of "Get Gone", "Love Ridden" and the truly inovative "Fast As You Can". Just when I thought music was becoming safe and boring, Fiona is there to save the day. Also, here's my nomination for most beautiful lyric of 1999: No, not baby anymore If I need you, I'll just use your simple name Only kisses on the cheek from now on And in a little while, we'll only have to wave

  -"Love Ridden"
  
  

• one of the best albums of the 90's
  By on 2002-09-01
  Fiona Apple is by far the best singer-songwriter of the 90's, rivaled only by Kurt Cobain and Jeff Buckley. Her songs are more than just "angry tunes," each are dexterous works of art with lyrics that convey a unique viewpoint on the world in which we live.

  For women who love Alanis Morissette, Jewel, Sarah McClachlan, etc, you might be surprised by this CD and how it completely pulls a trick on you. This is not music to heal to, it doesn't convey any kind of political or feminist message, and you certainly won't hear it on the radio...

  Overall, it's music told from one voice, one piano, one songwriting brain, one perspective- that of a young woman struggling to find herself in a world that seems cold and harsh...who can't relate to that theme? it's the theme that drives Catcher in the Rye, the Bell Jar, and many many works that have graced us during the past century...It's not for all tastes, but those who enjoy music and art that conveys the qualities of questioning vs. preaching, uncertainty vs. righteousness, and honesty vs. falsity, this album will hold special appeal.

  The opener is a loud brash anthemic tune, "On the Bound." The first clue that this album might be great occurs in the lyric "It's true/ I do/ imbue my blue/ unto myself/ I make it bitter" and the crazy innovative wurlizter interlude that sounds like creepy circus music.

  "To Your Love" affirms the suspected brilliance with a haunting bridge, more wurlitzer and the chorus "Please forgive me/For my distance/The pain is evident/In my existence." Such a painfully honest tune, with ingenius music to match the complexity and introspection of the lyrics.

  The rest of the album is consistent with tune after tune of painful yet beautiful songs that assess life as it is. "Limp" and "Fast As You Can" providing possibly the only radio-friendly songs. Speaking to an ex-lover on "Fast As You Can," she sings, "Fast as you can/Baby run free yourself of me."

  The closer is the tender, lovely "I Know" closer to Ella Fitzgerald than anything on the radio. She sings it as if it's a bedtime lullaby and it's an odd yet perfect closure to the beautiful fury that has preceded it.

  When the disc clicks off, you almost feel healthy having listened to such an intelligent and amazing work of art. I would categorize "When the Pawn" as THE album of the 90's. Shamefully underrated, yet Fiona ultimately prevales and comes out the winner in the end.
  
  

• Mesmorising Sophomore Album
  By A14GK0E64J0WAS on 2004-07-19
  Fiona Apple rose to notoriaty with her 1996 debut album "Tidal" (released when she was all of 19 years old), and then took 3 1/2 years to release her second album in November, 1999. It was well worth the wait, and the album sounds as good now as it then, if not better.

  "When the Pawn" (10 tracks, 42 min.) delivers on the promise of "Tidal" and then some! From the excellent opener "On the Pound", Fiona delivers one standout track after another, and shows how much her songwriting has matured from "Tidal". Although her music is very different from Tori Amos, spiritually they are both on the same page. I can't help but notice, though, that Matt Chamberlain, drummer and side-kick for Tori's albums, drums on most tracks here too. If one has to pick out standout tracks in the album (there are no weak tracks truly), I will pick the angry "Limp", the enthralling "Fast As You Can", and the pensive "The Way Things Are".

  One thing that stands out is how much Fiona's lyrics have improved from her debut album. This despite the ridiculous album's full title (which is a 90 word poet). It's been more than 4 years since "When the Pawn" was released, but supposedly a new album is in the works for later this year. "When the Pawn" was released in late 99 and I called it one of the best of 2000 (see my annual "best of" lists) simply because I felt its impact wasn't felt until then. It still resonates with me now as it did then. Just magnificent!
  
  

• When the Pawn floored me.
  By A1LA5EF74R5L75 on 2000-02-07
  I've never considered myself a Fiona Apple fan, per se, but because I absolutely loved the single Fast as You Can, I bought When the Pawn. The first listen through intrigued me: her vocal style and range is a refreshing change, the lyrics are raw and real, and the music is colored with the blues. I have had this cd for about 3 days now and have listened to it over and over, repeatedly getting lost in the music. I totally love this cd.
  
  
• Fiona of our eye
  By A2WSNLL4SK7Q9A on 2000-03-21
  This album will be a dud salewise for young Fiona Apple. Perhaps, we will see one more outing from this gifted songwriter and then it will be off to "dropped from the label" land. Why? Because Apple is apparantly so dysfunctional she refuses to compromise her artistic muse for the sake of another "Criminal" hit. This new album is so good it's possible she could have very well made the last great album of the twentieth century. Not unlike Kurt Cobain, who was also able to seamlessly meld artistic credibility with pop sensibility, Fiona Apple has had to resort to unnecessary fashionable representations (i.e. being a poster child for deer in the headlights waifs across the world) to gain and maintain her immediate popularity. Had she always been presented strictly for her talent, there's a chance this record would have been viewed as far more accessible. Yet because of her past notoriety, Apple is obviously forced into appealing to her young fans in order to sell millions of records, which isn't going to happen here. Most telling is her recent rants against such phony female singers as Christine Arguille and Britney Spears. The fact that Apple thrusts her name in comparison is indicative of the dilemma she is facing. Unfortunately for this still emerging talent, the respect due her is eluded while her true counterparts P.J. Harvey and Ana DiFranco garner underground accolades that seemingly guarantee them an almost Iggy Pop immortality. This record is curiously, if not purposely, devoid of top 40 sounds. Nor is it youth oriented. This is simply a great record. Apple plays piano in almost a Jerry Lee Lewis fashion, betraying an obvious American influence and talent that would easily intimidate Canadian counterpart Tori Amos. Combined with a great production team, Apple brings Janis Joplin into the 21st century, reflecting an honesty and emotional breadth sorely missing from popular music today. One can only hope that young and intense talents such as Fiona Apple are nurtured and encouraged, despite any perception of their future profitablilty for the corporations they record for. Otherwise, great records like this new one from Apple may never be heard again. As Morrisey once sang, "How can someone so young sing words so sad?"
  
  
• Apple fulfills promise of her debut
  By AXPYGNIC5ZIXS on 2000-05-01
  Fiona Apple's debut album, "Tidal," a dark project packed with moody musical landscapes and poetic lyrics sung in a husky, sultry timbre, was one of the most striking pieces of its time. Among the midst of Alanis, Jewel, and countless other knockoffs, Apple rose to the top of the pile as a singer/songwriter sophisticated beyond her years. This of course led to many people awaiting her follow-up, "When the Pawn...," with anxious skepticism, expecting her to fall flat on her face artistically. Instead Apple trumped her own remarkable first work.

  The set opens with the dark gothic of "On the Bound" and "For Your Love," songs that not only expose but celebrate a needy and conflicted psyche. "Limp" is an aggressive, slightly explicit kiss-off ("it won't be long till you'll be lyin' limp in your own hands") and "Love Ridden" is a stark and gorgeous ballad backed by a warm string section.

  Elsewhere a strong Beatles influence serves Apple well, whether it's the swinging tempo of "Paper Bag," the offbeat instrumental flourishes of "A Mistake," or the overall feel of the chillingly angry ballad "Get Gone." But the album's strongest moment comes on the first single, "Fast as You Can," a frantic, multiple-tempo gem that is easily the most innovative single to hit radio in a decade.

  It's also a pleasure to find Fiona's lyrics on a higher level than last time around; whereas her debut's lyrics sometimes seemed to be trying to hard to impress, the emotional targets here are dead-on, even when her verse actually makes you dash for a dictionary (and don't feel bad if it does...how many people use "desideratum" in everyday speech?).

  Throw in fine-tuned production by Jon Brion, surrounding Apple with a backdrop that is as exciting and unpredictable as she is, and you have a project that is anything but a sophomore slump. Oddball, 90-word title aside, this is a work of art.
  
  

• Hickory Smoked Goodness...
  By AHWCIEQDR7SN on 1999-11-19
  This is an absolutely gorgeous album. While my personal favorite has to be "I Know", each song has it's own merit and none seem out of place. Unlike Fi's first album, "Tidal", which at times seemed to be, lyrically, a twisted attempt to win the Booker Prize, the lyrics here never seem belaboured, even in "Paper Bag", where Fi confuses the "Dove of Hope" for a... well, a paper bag. It is astonishing that Fiona could transform such an unwieldy poetic device into lyrical divinity with her golden voice and newly acquired literary SUBTLETY. While I enjoyed "Tidal", "When the Pawn..." exceeds it's predecessor in every way that counts.

  It has been remarked earlier that Fiona still has a long way to go in order to catch up with Tori Amos, both in vocal style and arrangement quality. Not that I don't respect that opinion, but who ever said that Fiona was even trying to catch up with Tori? I am a huge fan of both of them, but I think comparing the two is like comparing Nine Inch Nails and Korn. I can definitely see what is being said, but I would argue that just because Fiona's vocals and arrangements are not as complex as Tori's, that doesn't make them inferior. I only address this issue just to clarify to the uninitiated on either front that Tori and Fiona are totally different musicians, and just because you like one of them doesn't necessarily mean you will like the other, so make sure first!

  (Apologies if I misuse apostrophes, I am only a college student! :-) )
  
  

• Another "best" of 1999!
  By A182O6NXIQSBTC on 1999-12-06
  This album just blew me away. Fiona manages to show growth and evolution in her music without alienating her fans. 'Tidal' was excellent, and 'When the Pawn...' is even better. Have no doubts! Don't miss this one!
  
  
• A very poor CD.
  By AX91NG2YIU25C on 1999-12-15
  After, hearing all the hype surrounding this CD, and seeing it on my Amazon 100 best of the year, I decided to check it out. And I can safely say this is some of the worst 'music' I have ever heard. Fionna Apple has no voice, little writing talent, and absolutly no melody in any of her songs. All of the songs sound pretty much the same..Bad. Not a single good song on this recording. I recommend you save your mony.
  
  
• Absolutely Amazing
  By on 2003-02-18
  When I bought Fiona's first release, 'Tidal', I was very impressed with the album. But when I bought 'When the Pawn', I was absolutely blown away. 'When the Pawm' is so much more better than 'Tidal' in every possible way. Every track is much more evolved and lyrically mature. On her Fiona's first album, she had 7 out of 10 songs be ballads. They were great ones, but were just a bit overkill. On 'When the Pawn', 8 out of 10 songs are upbeat, therefore I enjoyed it more. Don't get me wrong, just because I said upbeat, doesn't mean I meant happy. 'When the Pawn' is a dark, witty, and sometimes disturbing songbook of Fiona's life.

  1) On the Bound -- 10/10 -- A great opener for a great album. A dark song.
  2) To Your Love -- 9/10 -- Another dark but great upbeat tune.
  3) Limp -- 10/10 -- Fiona has that "Don't f**k with me" voice in this song.
  4) Love Ridden -- 8/10 -- A slow sad song that sounds much like a song that would appear on 'Tidal'.
  5) Paper Bag -- 9/10 -- This song is lyrically awesome. Though its a sad song, it's beat is a bit more uplifting.
  6) A Mistake -- 10/10 -- My personal favorite. This track is drawn out, slower, but still has a great bass and lyrics. Creepy.
  7) Fast as You Can -- 10/10 -- Wow. This song's lyrics are just absolutely extraordinary. The way she sings the words fast is great. Very sexy voice.
  8) The Way Things Are -- 10/10 -- This song sounds a lot like 'A Mistake'.
  9) Get Gone -- 10/10 -- Another favorite. I like the way Fiona changes the beat from Jazz-sounding piano to great, powerful beats.
  10) I Know -- 9/10 -- This slow song also sounds like it came from 'Tidal'. You can sense some Ella Fitzgerald influences here.

  So, that's my track by track review of Fiona Apple's second release "When the Pawn Hits the Conflicts he thinks like a king what he knows throws the blows when he goes to the fight and he'll win the whole thing 'fore he enters the ring there's no body to batter when your mind is your might so when you go solo, you hold your own hand and remember that depth is the greatest of heights and if you know where you stand, then you know where to land and if you fall it won't matter cuz you'll know that you're right".

  This is a great album: GO PICK IT UP
  
  

• Mistaken Tools
  By AQ83UGURI3LC3 on 2004-03-14
  ?I?m gonna make a mistake, I?m gonna do it on purpose,? murmurs Fiona Apple just over halfway into her sophomore release, ?When the Pawn?,? an album equal in the chances it takes and the success that it has. She?s right: the album is a giant mistake. 1999, the year that saw the album?s release, was supposed to be a year off for solo songstresses; Alanis was in her awkward unplugged stage between ?Thank U??s full-frontal video and a new album to come in 2002, Madonna was still reaping success from ?Ray of Light,? her reintroduction into pop culture, Shania was about to hit it huge with 1997?s ?Come on Over,? Jewel put out a label-pleasing Christmas album, Natalie Imbruglia was living large overseas off of her revamping of Ednaswap?s ?Torn,? Sheryl Crow?s ?Globe Sessions? fame had died down, and Paula Cole and Meredith Brooks put out two career-devastating albums on the same date, ?Amen? and ?Deconstruction.? Hell, the most successful female of ?99 was Erykah Baduh, and that was only because she crooned the acoustic-soul refrain of the Roots? ?You Got Me.? On top of all this, Fiona Apple was not supposed to save female rock ?n roll. She had become famous off of the thriller ?Criminal,? which could be attributed solely to its just-short-of-soft-core-porn video. So on November 9th, 1999, ?When the Pawn?? hit the shelves, the biggest f*ck-up in the history of female music. But after a listen, the album can easily be described by another Fiona-penned lyric: ?I?m always doing what I think I should, almost always doing everybody good.?
  
  The goodness kicks off with ?On Your Bound,? almost a ?Criminal? rewrite due to its recycling of pounding piano chords and shy carnival flutes. This song really gives light into Fiona?s ability to stun with a smoky voice, sounding like the mature counterpart of the victim in ?Criminal.? ?To Your Love? continues this voice, backing it with staccato piano hits, timpani-smashes, and during its chorus a Santana-esque guitar line. The first all-out attack comes in ?Limp,? featuring the switch from Fiona?s submissive mood to her inner-aggressor, a verbally-assaulting femme fatale who would rather play with the Sex Pistols than Janis Joplin. The song starts with climb-up piano chords and water-drop percussion like that ending Missy Elliott?s ?Get Ur Freak On,? but within 50 seconds it morphs into Fiona?s thrash backed by continually fastening paranoid instruments behind her. The song?s peak, however, is when an extra inch of rasp crawls into Fiona?s delivery while the bass falls beneath her accompanied by muted bongos gone haywire.
  
  This new face of Fiona shocks but is expected. Looking at the cover photo of ?When the Pawn?,? we see one half of Fiona?s seemingly bipolar vocal capabilities, that half being the emotionally-distraught woman continuously hiding her sadness with a faux-smile. The other side is pictured on the back cover, a turned-away Fiona representing her f*ck-the-world verbally discharging self, once attempted by Alanis Morissette on her ?Jagged Little Pill? and now perfected on ?When the Pawn?? The other prime example of this face of Fiona emerging is on the album?s standout, ?Fast As You Can.? Secretly a pastiche of the pop culture music movement in the nineties, Fiona takes the coked-up bongos from the percussion section in Bjork?s ?Miss You? and loosely strings them together with a few piano hits for the song?s verses. The most interesting part of these verses, though, is Fiona?s free-verse rambling, only calmed when the song salsa-spirals into its chorus, a mere hyping-up of Beck?s ?Derelict.? The song?s midsection boasts a free-form jazz drone, giving Fiona a breath of air to make an offer in between the song?s otherwise spontaneous awakenings.
  
  Elsewhere, Fiona is able to sew a patchwork of imitations into beautifully melodies like she does throughout ?Fast As You Can.? ?Paper Bag? could be Beatle-esque if McCartney let Yoko Ono pen all of the love song lyrics. ?Get Gone? melds the storytelling vibe that Tori Amos has always had with a piano-rollick refrain that could be attributed to Carole King if she married Thom Yorke.
  
  Throughout this album, Fiona proves her worth and keeps the interest of millions of fans who would have liked to dispose her as soon as MTV put the ?Criminal? video out of rotation. At the same time, she has made thousands of critics fall in love with her broken heart, something that among the female singer-songwriters only Tori Amos and Alanis Morissette have really done. But Fiona is something with much more potential than Alanis; as opposed to imitating her and saying ?You Oughta Know,? Fiona closes her album by telling every ?I Know.? And in this song, she tells us exactly what she does know: ?I am your crowbar.? Finally, someone has entered into the music world who instead of denying it openly embraces the fact that they are a complete tool for the giant vulture circle that is the pop culture movement. The difference, though, is that Fiona is a tool who we all love to use.
  
  
  
• Fiona is an extraordinary machine...
  By AM7VYMZ1UD736 on 2005-04-12
  Please, please, please buy this album. I can guarantee that when Tori Amos listens to this she thinks Fiona is clearly a Better Version of Me. Oh, well. The fact that Sony releases such trash month after month and won't let Fiona release the best album of her career just makes me see red, red, red and I just want to Waltz right over and break a Window! With this album Fiona continues to write psycho girlfriend, Get Him Back, Used to Love Him anthems that resonate and last listen after listen.
  While most of the songs really are not about love, they'll have even the most mysogenist progenitor whistling, Oh, Sailor!
  
  Free Fiona. There is no one in the putrid Sony catalog as good.
  
  

• Tidal
• Extraordinary Machine
• Extraordinary Machine
• The Reminder
• Little Earthquakes