The issue is she has got about zero publicity for the last 25 years. I doubt many people are aware she is still performing and making records. Since her albums only came out on CD I pretty much didn't notice any releases, but for me that went for many artists that went to CD only after the early 90s. I've only got partly back into CD recently due to improved playback capability and been catching up on various artists 90s and 00s back catalogue. Yet to delve into TTs latter catalogue yet.
Was never seen in the same room as Lloyd Cole back in the day, which raised suspicions in some quarters.
"Cathedral Song" and "Twist In My Sobriety" are songs that i really like. I just have a compilation: Tanita Tikaram - The Best Of Tanita Tikaram
For a long time, I think there was a scene centered around feminist/lesbian/women artists that was pretty good about supporting its own. (I'm not talking Lilith Fair, but something far smaller-scale, and network-based.) My impression is that many artists in that demographic who had a brush (or more than a brush) with mainstream success were, later in their career, able to putter along through a combination of small-scale touring plus consistent sales in, I'm guessing, the 5K-20K range. For some of them, that was more than satisfactory, and allowed them to live their lives and have economic stability without chasing anything bigger. Of course, a lot of smaller "scenes" operate exactly the same way -- hardcore punk, free improvisation, certain types of New Age, whatever. But this one had a high degree of loyalty, and had enough people (many of them 40+ years old) willing to pay premium prices for small-venue shows and CDs so that the artist could make a living. I don't know if CD sales have cratered in that demographic as much as they have elsewhere. Nor do I know if it's still as robust as it used to be -- obviously COVID-19 has destroyed the touring aspect -- or how much TT participated. But it wouldn't be unusual for an artist like TT to be 100% OK with a smaller-scale career, playing to small audiences who know her music.
I’m not sure whether you are talking about all her releases or just later ones being CD only, but her debut album (the one with the big hits) came out on vinyl, and sounds very good too.
Agree at least 100%. The debut album is just about perfect; the second varies a bit in quality, but never below "good". I especially like "Sunset´s Arrived" from the second - those drunk horns are amazing!
I like her "sound" a lot, and have done since she first emerged, but the few later albums that I listened to were a bit bland and the songs themselves lacked substance and direction to my ears. I'm always keen to give her another go, and I'd be keen to catch a live show if she did one close by. I certainly find her more interesting than some of the singer-songwriters who have emerged to much acclaim in recent years. And her very name sounds like a catchy folk-song!!!
I nearly gave up with Tanita after hearing The Cappuccino Songs. Just didn’t like the sound or feel. But Lovers in the City is absolutely excellent, with stronger songwriting and great atmosphere, so I have been won over again.
Surprised that more Zombies fans haven't gotten into her, since producing her was Rod Argent's main gig in the '90s and his mark is all over her first four albums.
By your logic anyone born in America is a Native American. Native American is a term of origin and cultural identity that has nothing to do with national boundaries. The child would not be a U.S. citizen, but would still be Native American if they chose to identify with their indigenous heritage and preferred that term. Back on topic, thanks for the intro to Tanita, I like her singing.
Rod Argent was interviewed by Bob Lefsetz for Bob's podcast a few months ago. They discussed Tanita Tikaram. Rod, who seems like a level-headed and generous person, basically said that for the first album, he and Peter Van Hooke (arranger) got Tanita to come into the studio and sing her songs, and then built the arrangement around her. He suggested that it was a very sympathetic match. But as time went on, Tanita became more certain she knew how to build her songs and pushed Argent and Van Hooke to the sidelines. Without specifically saying it, Argent said she got increasingly difficult, to the detriment of her music.
Yes those exotic names do tend to remind us of the few reference points in our extremely limited contact with, lack of awareness of, and total non-interest we have in alien cultures. Michael McDonald always makes me think of hamburgers.
I have only Ancient Heart and bought it around the time of release. There are a few great songs on this (Good Tradition is my favorite) and I enjoy her delivery - the poster who pointed out similarities to Margo Timmins is spot on, I think - but I found the album maddeningly inconsistent style wise. I suspect others might enjoy the stylistic diversity more. I have heard good things about The Sweet Keeper.
Yes, I love the call and response between them on "It's Too Late". I don't remember if she was on other tracks.
I remember she had 2 hit singles in 1988, and I saw her live that same year, and there were three more singles in 89 & 90 that didn't do so well (and I just discovered there was a 6th single in 1991 that I never heard). I've not thought about her since then.
I see that Good Tradition was a hit in the UK. It did nothing in the US. She's pretty much only known for Twist in My Sobriety here among those who heard it back then.
I think the last album I bought of hers was "Closer to the People" which must have been 5 years or so ago..? Not sure if there's been any since, certainly not noticed any. I don't really dislike any of the catalogue but I rarely dig any out of the racks. If was in that mellow female singer / songwriter mood I'd probably head for latter-day Aimee Mann or maybe Nernia Pallot. This thread will prompt me to dig a couple out though. Thanks
