The never-ending Kate/Tori debate

[heisjohn@juno.com]

Marcel F G Rijs  wrote:
> "An attempt to pass her off as a Kate clone"? Well excuse me, but I
think
> I've missed something here.It's true that when I read a review of
"Little
> Earthquakes" in early 1992,  Tori was compared to the likes of a.o.
Kate
> Bush, but that was also the way I got to listen to Beverley Craven, Sam
> Brown and Mylene Farmer, to name but a few.
> Upon listening to the album I saw every comparison fade away - except
for
> the fact that, simply said, they both play the piano and they both are
female.

Help me out on this one here...  You deny that Atlantic Records in the US
marketed her as a Kate clone -- yet you indicate that you bought it
*because* of the very same marketing!  I don't get it...

I can't attest to how WEA marketed Tori outside the US, but here in the
states, the plan was specific, thorough, and extremely obvious.  In a
couple record stores in South Florida, Tori came to be known as "the poor
man's Kate".  The cover of Little Earthquakes probably started the whole
thing, but the "feeding frenzy" that developed over  the rapid succession
of singles with non-lp b-sides (topped off with a slew of promo-only
configurations) made the moniker stick.  The joke was: "Hey, if you can't
afford the Kate stuff, pick up a handful of Tori.  Some of it's bound to
be collectible eventually!"  The best part of the joke was -- it all came
true!

Jordan's (by way of Larry) original post said exactly that -- Tori and
Kate do not sound anything alike.  (Tori's a bit vulgar for my tastes --
but that's the subject of an entirely different post...)  BUT, you simply
can't deny the fact that Atlantic Records marketed Tori to specifically
cater to Kate's fans.

John