AMERICAN DOLL POSSE

23 songs and 78 minutes based around a concept where Amos created five persona based on Greek mythology that she actually dressed up as and pretended to be when she wrote an performed "their" songs- seems like a recipe for pretentious, indulgent, hubris. And yet it's actually one of Amos' hookiest and strongest LPs. There is a dizzying range of styles on offer here and Amos really shows her strengths as a vocalist, pianist and songwriter. There's just about something for everyone.

Like a lot of records with convoluted and arty concepts, the backstory is best dismissed- just listen to the songs. Inessential intro Yo George dispensed with, we're into the goodies, beginning with the saucy southern stomp of Big Wheel (where she repeatedly delivers the fantastic line "I am an M I L F"). Then we're Bouncing Off Clouds with fantastically produced Kate Bushy pop (has anyone ever written an Amos review without bringing up Bush?) before crashing into the hard pub-rock snarl of Teenage Hustling, but this being Amos she doesn't play it straight, dropping an old-timey vocal breakdown into the middle.

The painfully beautiful Digital Ghost glides by next, then the kinky You Can Bring Your Dog which may make many male listeners feel a little funny, then the sarcastic yet still affecting Mr Bad Man- gotta love the vocal crescendo on the chorus. Girl Disappearing, another one so pretty and sad it breaks the heart, rolls by but then we're into a plainer portion of the album. Secret Spell is certainly not a bad song but it's a bit plain while Body And Soul simply runs too long. Father's Son is very atmospheric and haunting but lacks the hooks and Code Red may be a bit messy and dark for some tastes. However, even during this dip, there remains a sense of effort and integrity which keeps things interesting. Additionally, ADP is such a varied disc, that though I don't love those songs, someone else is sure to.

With the fragile Roosterspur Bridge (another excellent vocal) things recover. There's the sweet pop of Beauty Of Speed, the poignant Almost Rosey where nothing much happens musically but Amos holds it together with her voice/lyrics and a strong chorus, then the epic Dark Side Of The Sun which would be an incredible number to close live shows with. The album continues however with the extremely odd Posse Bonus (if someone can interpret that business about porcupines I'm all ears), the harsh and ugly (deliberately so, as it deals with murder and abuse) Smokey Joe and then the absolutely stunning Dragon where Amos' delicate vocal melodies combine with a sinister piano riff to finish things off magnificently. And that's without mentioning the mini-tracks, the favourite of which for me is the hilarious Programmable Soda, though the feedback and growling of Fat Slut is sure to surprise a few.

The critics and Amos' fanbase seem to have decided that anything she does post Scarlet's Walk is never going to be "as good as her old stuff" but in the case of this album I think they're wrong. A rich and fascinating collection of what I call progressive-pop.

Three of a Tedious Trilogy

Ok, so the mid-2000 albums from Tori Amos were not an official trilogy but they sort of sounded like one. The three painfully long and somewhat uninspired albums can each be described by one line from my Beekeeper review: "another massive 80-minute behemoth filled with some mediocrity, some really good songs, and a few aural bacon strips." I'll stand by that line for Doll Posse as well. The premise this time is Tori writing songs as five different characters, the women you see on the front and back cover. Despite her impressive wig collection these characters feel pretty cheesy, contrived, like they wouldn't exist anywhere other than a Tori Amos photo shoot. Even Natalie Merchant's dress-up session for Ophelia felt less unnecessary, though not by much.

The music here is livelier than the comatose Scarlet's Walk and more diverse than Beekeeper, but the results are not much different. The album simply lacks the spark of her best work and so often sound arbitrary, by-the-numbers, forgettable. The length is a part of the problem though not entirely. Tori has proven she can issue a behemoth that holds the listener (the exotic Pele) but the last three albums have proven she should perhaps try something shorter than a film. There are some truly lovely tracks here such as "Bouncing Off Clouds" (wonderful pop) and "Father's Son" (really gorgeous melody). "Smokey Joe" has an ambitious dual-vocal that momentarily de-glazes my eyes. "Beauty of Speed" also manages a certain richness in the piano and harmony, but you will have to be patient as an alter boy to hear the goodies. The days of every track being spellbinding are but a memory. Even the painful, obligatory Bush-bashing doesn't sound any more original than a tired protest poster slogan. The guitar work on other albums could be quite inventive while here it is comprised of rather faceless power chords that feel hastily considered.

Certainly not horrible, the trilogy has its charms. The best tracks from these three releases would make one really good 50-minute album. But as they exist they are pretty much for her devoted fanbase. Casual fans would be best to stick with her 90s work. Lest anyone think I'm only willing to praise her "old stuff' I'm happy to report that her next album was a significant improvement over the previous three.