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TORI AMOS

Crossover Prog • United States


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Tori Amos biography
Vocalist, musician, songwriter and record producer Tori Amos was born in North Carolina USA in 1963. She has actively been making music from 1986 to the present day. Often unfairly compared to Kate Bush or as a Kate Bush clone, Tori Amos has her own unique style of pop infected, piano led music with a very distinct vocal style.Her career commenced with the much lauded highly personal Little Earthquakes release in 1992. Many followers of her works often refer to this work as a great starting point for determining strong progressive song structures. Yet she evolved musically and further challenged boundaries with highly prolific releases, making even her most lukewarm followers respecting of her extraordinary ability to adapt different styles and release albums regularly.

Tori Amos concentrated the latter part of the 90's based in the UK. Full of baroque influences, the conceptually strong Boys for Pele was released. Amos set up her studio in Cornwall, UK and subsequent releases ensued. To Venus & Back released in 1999 combines gothic elements, with layered keyboards and strong musicianship throughout, not least Amos's haunting vocals. In 2001 Amos left the Atlantic fold and signed up with Epic Records which was a culmination of more pop crossover sounding albums, especially The Beekeeper released in 2005. Crossover with a great concept album as well.

Tori Amos continues to release further works. Her collaborations with numerous artists over the years stand testimony to her pedigree as a musician and a welcome addition to any progressive reference site. She is currently contracted to Universal Republic, her latest album Midwinter Graces released in 2009.

Tori Amos official website

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Buy TORI AMOS Music


Unrepentant Geraldines (Deluxe Edition)Unrepentant Geraldines (Deluxe Edition)
Mercury Classics 2014
Audio CD$11.79
$14.93 (used)
Little EarthquakesLittle Earthquakes
Atlantic / WEA 1992
Audio CD$3.98
$0.01 (used)
Scarlet's WalkScarlet's Walk
SBME SPECIAL MKTS. 2002
Audio CD$2.86
$1.46 (used)
Under the PinkUnder the Pink
Atlantic / WEA 1994
Audio CD$1.99
$0.01 (used)
Boys for PeleBoys for Pele
Atlantic 1996
Audio CD$1.49
$0.01 (used)
From the Choirgirl HotelFrom the Choirgirl Hotel
Atlantic 1998
Audio CD$2.71
$0.01 (used)
Night of HuntersNight of Hunters
CD+DVD · Deluxe Edition
Deutsche Grammophon 2011
Audio CD$9.41
$7.50 (used)
Gold DustGold Dust
CD+DVD · Deluxe Edition
Deutsche Grammophon 2012
Audio CD$7.85
$10.81 (used)
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Under the Pink by Tori Amos (CD, Jan-1994, Atlantic) US $0.50 [0 bids]
5h 42m
Professional Widow [US] [Maxi Single] by Tori Amos (CD, Jul-1996, Atlantic... US $1.00 [0 bids]
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Tori Amos Boys For Pele CD Atlantic Recording Corp. 1996 US $1.50 [0 bids]
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Little Earthquakes by Tori Amos (CD, Jan-1992, Atlantic (Label)) US $2.99 [0 bids]
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God [Maxi Single] by Tori Amos (CD, Feb-1994, Atlantic (Label)) US $2.99 [0 bids]
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6h 21m
Strange Little Girls by Tori Amos (CD, Sep-2001, Atlantic (Label)) US $2.99 [0 bids]
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From the Choirgirl Hotel by Tori Amos (CD, May-1998, Atlantic (Label)) US $2.99 [0 bids]
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6h 23m
Under the Pink by Tori Amos (CD, Jan-1994, Atlantic (Label)) US $2.99 [0 bids]
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To Venus and Back by Tori Amos (CD, Sep-1999, 2 Discs, Atlantic (Label)) US $2.99 [0 bids]
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6h 24m
Boys for Pele by Tori Amos (CD, Jan-1996, Atlantic (Label)) US $2.99 [0 bids]
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6h 24m
Spark, Tori Amos, Very Good Single US $2.99 [0 bids]
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Talula [Maxi Single] by Tori Amos (CD, May-1996) US $2.99 [0 bids]
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Tori Amos God 3 mixes RARE US DJ CD US $29.99 Buy It Now 6h 40m
From the Choirgirl Hotel by Tori Amos (CD, May-1998, Atlantic (Label)) US $0.99 [0 bids]
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Under the Pink by Tori Amos (CD, Jan-1994, Atlantic (Label)) US $0.99 [0 bids]
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CD Under the Pink by Tori Amos (CD, Jan-1994, Atlantic (Label)) US $6.29 [0 bids]
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Tori Amos CD "From The Choirgirl Hotel" US $6.60 Buy It Now 7h 54m
CD Little Earthquakes by Tori Amos (CD, Jan-1991, Atlantic (Label)) US $8.29 [0 bids]
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9h 26m
Boys for Pele by Tori Amos (CD, Jan-1996, Atlantic (Label)) US $1.00 [0 bids]
9h 36m
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10h 7m
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10h 19m
Tori Amos PROMO CD God US $4.99 [0 bids]
10h 20m
Boys for Pele by Tori Amos (CD, Jan-1996, Atlantic (Label)) US $1.00 [0 bids]
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Little Earthquakes by Tori Amos (CD, Jan-1992, Atlantic (Label)) US $2.55 [0 bids]
10h 46m
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11h 7m
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Little Earthquakes by Tori Amos (CD, Jan-1992, Atlantic (Label)) US $7.00 [1 bids]
11h 18m
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TORI AMOS " PROFESSIONAL WIDOW ( IT'S GOT TO BE BIG ) " CD SINGLE - UK FREEPOST US $3.30 Buy It Now 11h 55m
Scarlet's Walk by Tori Amos (CD, Oct-2002, Epic (USA)) US $0.99 [0 bids]
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1991 Tori Amos Cassingle - Silent All These Years b/w Upside Down Atlantic US $9.99 Buy It Now 13h 3m
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13h 14m
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13h 39m
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15h 4m
Tori Amos 12" Single In The Springtime Of His Voodoo Atlantic Records 1996 US $9.99 Buy It Now 15h 24m
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Little Earthquakes by Tori Amos (CD, Jan-1992, Atlantic (Label)) US $3.99 Buy It Now 15h 42m
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16h 22m
Tori Amos The Choir Girl Hotel US $1.00 [0 bids]
16h 33m
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16h 35m
TORI AMOS Strange Little Girl 2001 GERMANY 3 track collectors CD single US $13.60 Buy It Now 16h 37m
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16h 57m
Tori Amos Crucify Import CD-single LC 1557 East West logo 4 tracks US $5.99 Buy It Now 16h 59m
TORI AMOS Boys For Pele CD 1996 US $3.00 [0 bids]
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17h 57m
Tori Amos - From the Choirgirl Hotel (CD, May-1998, Atlantic (Label)) US $2.50 [0 bids]
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18h 2m
Tales of a Librarian: A Tori Amos Collection CD & DVD US $10.99 Buy It Now 18h 23m
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18h 39m
Talula, Pt. 2 [Maxi Single] EP by Tori Amos (CD, 1996, Atlantic) OOP Excellent!! US $3.50 Buy It Now 18h 41m
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Strange Little Girls by Tori Amos (CD, 2001, Atlantic) (Alternative) Excellent! US $2.00 Buy It Now 18h 43m
Boys for Pele by Tori Amos (CD, Jan-1996, Atlantic (Label)) US $1.49 [0 bids]
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18h 44m
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18h 58m
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19h
CD Tori Amos Scarlet's Walk US $7.50 [0 bids]
19h 20m
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TORI AMOS shows & tickets


  • Tori Amos on 11 Nov 2014
  • Tori Amos on 12 Nov 2014
  • Tori Amos at Palais Theatre, St Kilda on 15 Nov 2014
  • Tori Amos at Her Majesty's Theatre, Adelaide on 16 Nov 2014
  • Tori Amos at PCEC Riverside Theatre, Perth on 18 Nov 2014
  • Tori Amos at QPAC Concert Hall, Brisbane on 21 Nov 2014

TORI AMOS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

TORI AMOS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.77 | 70 ratings
Little Earthquakes
1992
3.05 | 44 ratings
Under The Pink
1994
3.29 | 36 ratings
Boys For Pele
1996
3.70 | 50 ratings
From The Choirgirl Hotel
1998
3.45 | 27 ratings
To Venus And Back
1999
2.89 | 17 ratings
Strange Little Girls
2001
3.44 | 31 ratings
Scarlet's Walk
2002
3.00 | 26 ratings
The Beekeeper
2005
2.76 | 26 ratings
American Doll Posse
2007
3.58 | 31 ratings
Abnormally Attracted To Sin
2009
3.80 | 38 ratings
Night of Hunters
2011
3.60 | 15 ratings
Gold Dust
2012
3.32 | 19 ratings
Unrepentant Geraldines
2014

TORI AMOS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

TORI AMOS Videos (DVD, Blu-ray, VHS etc)

4.00 | 4 ratings
Little Earthquakes
1992
2.80 | 5 ratings
Fade To Red
2005
2.96 | 5 ratings
Welcome To Sunny Florida
2005
3.96 | 5 ratings
Live At Montreux 1991/1992
2008
4.00 | 3 ratings
Live From The Artist's Den
2010

TORI AMOS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.46 | 20 ratings
Tales Of A Librarian
2003
3.89 | 8 ratings
Midwinter Graces
2009

TORI AMOS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.17 | 4 ratings
Winter
1991
3.13 | 5 ratings
Crucify
1992
2.17 | 4 ratings
God
1994
2.22 | 4 ratings
Pretty Good Year
1994
3.00 | 1 ratings
God (Remixes)
1994
3.67 | 3 ratings
Cornflake Girl
1994
2.09 | 4 ratings
Hey Jupiter
1996
2.14 | 3 ratings
Caught A Lite Sneeze
1996
2.00 | 1 ratings
Talula
1996
2.00 | 1 ratings
Jackie's Strength
1998

TORI AMOS Reviews


Showing last 10 reviews only
 Under The Pink by AMOS, TORI album cover Studio Album, 1994
3.05 | 44 ratings

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Under The Pink
Tori Amos Crossover Prog

Review by Chicapah
Prog Reviewer

3 stars A while back I started to investigate Tori Amos' music and was surprised by how good her debut album was. She definitely proved herself progressive enough to warrant inclusion on this site and I found her novel and rebellious approach to being a female singer/songwriter quite refreshing. A Madonna clone she ain't. I was hoping that she'd push the envelope even harder on "Under the Pink" but she backed off a bit and I must admit I wasn't as impressed this time around. Conservatism happens often on sophomore efforts where an artist has put the material they've been fine-tuning for years on their first record and then has to come up with new stuff in a much shorter timeframe. What she does retain is her unorthodox attitude and individuality and both traits cover a lot of shortcomings.

She opens with "Pretty Good Year." Piano and vocal with a smattering of airy strings is always a good combination in my book and her sudden but very brief detour into a heavy rock motif, while jarring, shows that she's still willing to shake things up at a moment's notice. "God" is next and it's outstanding. The song benefits from a funky underlying track that toys with some uncommon and proggy time signatures and I'm always appreciative of that. The repeated lyric line of "God, sometimes you just don't come through" exploits our humanness that wants God to be what we'd prefer Him to be, not what He is. All in all it's a thought-provoking tune that delves deep. "Bells for Her" follows and Tori erects a very subtle atmosphere for this number but, alas, the lone piano and her breathy voice, expressive as they may be, are not enough to keep me engaged. "Past the Mission" is a light rocker that reminds me of Carole King (if she was into the emo thing, that is). I do like the contrasting aural textures she utilizes and the progressive mindset that permeates the song. "Baker Baker" demonstrates how adept Amos is at creating delicate templates without losing any of the tune's basic substance. Joni Mitchell's influence is all over this track and I suspect she's not trying to hide it. "The Wrong Band" sports a lilting waltz. The cut is short and sweet but far from challenging.

"The Waitress" is a highlight. I love the industrial groove of the backing rhythm and the angst in her voice is honest and forthright. "Cornflake Girl" is another interesting number. The strong attack her band delivers brightens the mood and the song contains plenty of the cool quirks in the arrangement that sets her apart from the norm. I detect an invigorating hint of Annie Lennox in her voice during the second half and Tori's piano work is noteworthy and exciting. "Icicle" is next. The minimalist, fragile aura of the opening builds suspense but it fails to deliver when the subsequent recital-like vocal-with-piano performance enters. A track can grow ponderous in a hurry and this tune suffers from that tendency. "Cloud on my Tongue" follows. Fluid strings help to fill in the blanks left by the piano but Ms. Amos sometimes gets so intimate (as she does here) that I start sensing that I've intruded on one of her private therapy sessions and I just want to leave her alone. "Space Dog" is well-placed. A live recording with her band in tow, its jazzy foundation enables this tune to generate some much-needed energy and the tightly executed dynamics are intriguing. Tori's willingness to change direction in midstream is one of the things I like most about her. She closes with the nine and a half minute "Yes, Anastasia." I'm so rhythm-oriented in my listening preferences that it's hard for me to be objective about numbers like this one that just float along and set my mind to wandering where it will go. It's the same problem I have with some of Joni Mitchell's early material in that I have to be in a specific emotional state in order to fully appreciate and stay connected to the artistry involved. The stirring orchestral score is a pleasant intervention, though.

"Under the Pink" was released in January of 1994 when the music world was weaning itself off the MTV teat and the disc found a more receptive audience to her oddness than it would have a decade earlier, that's for sure. As with her "Little Earthquakes" CD, it did better over in the more accommodating UK where it went all the way to #1. It fared in a fairly respectable manner stateside, too, reaching the #12 spot and that's nothing to sniff at. Having sold over 2 million copies to date, it means that most will disagree with my deeming it to be not as good as her debut but I can live with that. It's not a bad record at all. I do like piano in my prog and her voice is unique so I look forward to exploring more of her catalog of work in the future. 3.2 stars.

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 Unrepentant Geraldines by AMOS, TORI album cover Studio Album, 2014
3.32 | 19 ratings

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Unrepentant Geraldines
Tori Amos Crossover Prog

Review by arcane-beautiful

5 stars Tori Amos has been an artist I have had a fond interest in just over the past few years ago. Having gotten into a lot of female singer songwriters, I was told that I may enjoy Tori Amos' music...and low and behold, turns out I do.

For anyone who hasn't heard Tori's music before, the best way to describe her is like a more comprehensible and easily accessible Kate Bush. But even then, describing Tori like this is a bit of an insult to her. Her genius is unfathomable and her talent is legendary.

Tori's career in the past few years has been one of interest but could also be seen as slight writers block. Her last full length album "Night Of Hunters" while in my opinion is a masterpiece, wasn't completely Tori's own material as each song was based on a piece of orchestral or classical music. Her last compilation album, "Gold Dust" was recorded orchestral versions of her material and before that "Midwinter Graces" was a collection of arranged carols and hymns. So, being her first proper full length in 5 years, how does the album hold up. Very well actually.

In fact, I would go far to say that this may be Tori's strongest album to be released since the late 90s. While Tori's material in the last 10 to 15 years has been pretty good, her spark that really drove her career in the early days was starting to dwindle and now it seems that that spark is back. Now, she isn't in her early 20's anymore, so her sound and lyrics are backed up by a more mature sound, but there is something there that wasn't there before, or at least in a long time. One of the aspects of Tori's music which puts her miles beyond any artist is her lyrics, and on this album she really shines. With the album's concept based around paintings and overtly anti religious feminism, some of the poetry on this album is beautiful and powerful at times, being overtly creative to be understood by most human minds.

The album's lead single "Trouble's Lament" is pretty much a beacon showing Tori's return to form. With religious imagery mixed with female views and geographic locations, the lyrics paint a very vivid picture. Brilliant vocals and a pretty cool song arrangement.

One of my favourite tracks on the album has to be "16 Shades Of Blue." Mixing electronic beats with Tori's brilliant piano playing, the arrangement is pretty interesting and very different, making it one of the standout tracks in the album.

"Promises" is a very interesting tune, as it has both Tori and her daughter Tash duetting together. The song has a pretty cool arrangement, with a pretty great vocal performance from both Tori and her daughter.

One of the oddest tracks on the album is "Giant's Rolling Pin." Reminding me of some of the more comical songs on Paul McCartney's material in The Beatles. With some joyous musical moments and some pretty creative lyrics, the song is like a fairytale for children but with an adult twist.

Two of the album's most beautiful moments can be heard in "Selkie" and "Oysters." Both songs contain some of Tori's most beautiful piano playing in years and even some of Tori's best vocals.

The album's final track "Invisible Boy" is a brilliant ending to this album. An incredibly emotional song about one of Tori's friends who passed away, she is almost on the brink of tears at certain points in this song. A beautiful ending to a pretty amazing album.

In conclusion, this album is really a landmark achievement for Tori, showing that her creativity has not dwindled one bit. Going back into the past and re finding herself, she has proved that like wine,you only get better with age.

8.6/10

Genres: Baroque Pop, Art Rock, Art Pop, Adult Contemporary, Progressive Rock, Electronica, Piano Rock, Alternative Rock

Country of origin: USA

Year of release: 2014

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 Little Earthquakes by AMOS, TORI album cover Studio Album, 1992
3.77 | 70 ratings

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Little Earthquakes
Tori Amos Crossover Prog

Review by Chicapah
Prog Reviewer

4 stars Face it, the Progressive Rock genre is and always has been pretty much a boy's club. Not from any ingrained bias that I've ever detected but more due to peer pressure, I suppose. I shall explain. Male musicians don't really mind being labeled as being a rebellious type who isn't interested in playing by the set rules. So for a guy to be called 'progressive-minded' in the field of music is not necessarily a derogatory thing. But women, in every way that counts, are different. They grow up being taught that it's the effervescent cheerleaders and pretty drill team members who rise to the top while the nonconformists and geeks are quickly tagged as being unfriendly, introverted weirdos that will never succeed in life. That's my theory as to why there is such a dearth of females in Progland and I'm sticking with it until further notice. Girls with musical talent are expected to compete with the Katy Perry's and the Pink's of the industry, not try to carve out a unique niche all their own. Is it a double standard? Well, does the Pope wear funny hats? It's a shame, really, because I have no doubt that the prog arena would benefit greatly from more of the feminine aura being injected into it. Seems Ms. Amos has always been an outcast of sorts, starting when she was deemed a piano prodigy at the age of 5 and was already composing instrumental pieces of her own. The 'experts' tried to steer her into the classical realm but she was allergic to the regimen it involved, preferring to boldly cultivate her adventurous and eclectic nature instead. I, for one, have always admired and enjoyed strong female vocalists who sing with authority and confidence so when I discovered that Tori Amos had been inducted into our esteemed branch of the aural sciences it gave me a good reason to check out her art. I'm very glad I did. As is my habit, I start with the earliest album I can get my hands on and work forward so I can hear how the artist in question evolved over time. In her case, it's the ground-breaking 'Little Earthquakes.'

Tori opens with 'Crucify.' Before we go any further allow me to confess that I adore the sound of an acoustic piano and the fact that it's her main instrument gives her a definite advantage in my book. Even mediocre material is enhanced when a finely-tuned Steinway or Baldwin is involved. On this song she plays it aggressively and the strong drum track beneath allows her emotive voice to soar. It serves as a great introduction to her distinctive mannerisms. 'Girl' follows and I can't help but be impressed by her unconventional approach to writing and her willingness to take risks as exemplified here by her manipulation of sampled strings and her odd approach to erecting background vocals. 'Silent All These Years' is next and it's the apex of the record. Amos envelops the tune in a very intimate atmosphere that brings the vocal close to your ear as if she's letting you in on a secret. I find her mien to be reminiscent of Joni Mitchell's and that's a hefty compliment coming from me. I also cotton to her flair for the dramatic as demonstrated in 'Precious Things.' She makes the most of the number's inherent dynamics by exploiting the drums and guitar incidentals tactfully. She's also not afraid to employ her sexiness if it will heighten the tension a notch and it does so here. On 'Winter' her piano, her singing and an orchestral score are all that's needed for this elaborate ballad to achieve its potential. 'Happy Phantom' is an anomaly. She takes such a strikingly different tack on this track that it kinda comes at you from left field. Its sarcastically upbeat motif is quite daring.

A very light Latin rhythm drifts just below the surface created by the beautiful, lush piano and string section during 'China.' The song is truly hypnotic in places. 'Leather' follows, a cut where Tori's piano acumen really shines brightly. In ways the number is comparable in overall feel to several of Paul McCartney's nostalgic ditties and the jazzy ending is uber-cool. Piano and vocal are the only ingredients in 'Mother.' Once again I detect a palpable Joni Mitchell influence in that the tune is not only extremely personal but it seems to flow directly from her heart into my ears without a filter. It's a bit long but it avoids growing tiresome. She brings in a full band for 'Tear in Your Hand' and they drive the song's momentum well. This cut has more of a pop vibe to it than the others but she manages to steer clear of becoming predictable or formulaic. I really dig the accordion/organ effect that fills in the gaps splendidly and gives it a compelling rasp. 'Me and a Gun' is a solo vocal piece she penned about getting raped that comes off a little bit like a traditional Irish air. She was very courageous to be so transparent about the incident but it is, nonetheless, disturbing in its frankness. This fallen world can be such an ugly orb. Tori ends with the title song and it's the most challenging and proggy track on the CD. The melody streams atop rumbling drums and takes the listener through a series of mysterious movements while the tune subtly builds in intensity all the while. She brings it back down for the finale and relaxes the mood as it trails off.

Released on February 25, 1992 Tori Amos' debut came out when the 90s decade was still attempting to find its groove so its timing really couldn't have been better. Despite its decidedly uncommon attitude it came close to breaking into the top 50 of the Billboard chart and she was able to find an audience who understood where she was coming from. It did even better in the more amenable UK where it rose to #14. While she'd had to battle the conservative-minded suits at Atlantic tooth and nail in order to retain her unique slant, 'Little Earthquakes' proved to be just what a noticeable segment of the music audience had been waiting for. If you have yet to sample her wares I recommend that you give this record a spin. You'll find that the Prog universe profits immensely from a lady's touch. 3.9 stars.

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 From The Choirgirl Hotel by AMOS, TORI album cover Studio Album, 1998
3.70 | 50 ratings

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From The Choirgirl Hotel
Tori Amos Crossover Prog

Review by admireArt

4 stars Prog related entirely; if not precisely in style it has everything in terms of composition (transgressor/crossover) This composer/performer is the kind of people so greatly needed in the Prog-World right now! Nice addition to this page. "From the Choirgirl Hotel" is one of her most transgressor works; back then and today. A catharsis within a catharsis; considering her first record the first. The deserving 4 stars here as I mentioned; have to do with her carryng on this kind of effort into very intimate sensual places and also the ones we all hide; the ones we never mention; both as composer and performer. Yes! Tori Amos can ripp off the keys of her piano as if it was her heart. But mainly; because she is a hell of a piano player. A composer who has set her own standards of language and composition in the music world; and shares this excellent effort in the form of this cd. Well yes! I will pass it on; Nice addition to your collection If progger this is the perfect place to start. The rest is up to you 4 STARS

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 To Venus And Back by AMOS, TORI album cover Studio Album, 1999
3.45 | 27 ratings

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To Venus And Back
Tori Amos Crossover Prog

Review by admireArt

4 stars After my "Choir Hotel" stop; next step was what turn to be my favorite Tori Amos album: "To Venus and Back"; nice name by the way. Stripped down after the "hotel" experience; chaos mellows down lyrically but her composition skills expand to new horizons. As if "purified". The opening cut "Bliss" is one of my favorite Tori songs; but as good is the next and so on and on. A perfectly threaded musical work; where no element could exist without the other. As a result we have a glimpse of how Tori Amos´s soul looks after the fire ...Anger still cuts but so does beauty. The Tori kind... 4 Stars....As mentioned my favorite Tori Amos record.

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 Little Earthquakes by AMOS, TORI album cover Studio Album, 1992
3.77 | 70 ratings

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Little Earthquakes
Tori Amos Crossover Prog

Review by rogerthat

3 stars Tori Amos may not be readily accepted as a prog artist (at least partly because of her popularity as a pop artist!) by many including this reviewer but that is not a consideration for me when it comes to reviewing the album. I am more interested in the merits of what is essentially a "piano-cum-singer-songwriter" album with some art rock ambitions.

Yes, there is some art rock in this 12-track album but you have to dig it out from amongst mostly American pop music. Tori Amos is often compared to Kate Bush with some insisting she is just a 90s clone of Kate, but it is difficult to understand this comparison. There are some melodies of Tori that might bring to mind Kate Bush but other than that, the only similarities to me are that they are female and they play piano (duh!).

Kate's work is far more colourful and edgier than at least whatever's on offer on Little Earthquakes. Whether in the Andrew Powell days or the albums she produced herself, she used a wider array of sounds and appeared to absorb more diverse influences. She also relied much more on discord. It is well advised not to make this comparison because Tori's music sounds pretty safe and staid by comparison.

Which, mind you, is not necessarily a bad thing at all. Because she is also very earnest, almost too much so at times, and this quality elevates tracks like Girl. I can safely say that had said track not resonated with me, I might never have got this album. The arrangements are restrained, subtle and sensitive on this album and work beautifully in combination with her soft mezzo voice more reminiscent of Madonna than Kate Bush.

But not all of her piano ballads are nearly as captivating and some tracks can evoke a generic late 80s/early 90s pop sound. Not so much in terms of the arrangements or the piano work, both of which are tasteful, but the melodies. I am afraid melodies like China don't hold my attention much and as I progress further through this album, it gets more and more difficult to stay the course.

Perhaps to break the monotony, she introduces some light piano rockers like Happy Phantom and Leather. But this brings in its wake two problems. One, a song with a seductive mood like Leather doesn't gel with the strident feminist pathos of the rest of the album. Two, Tori's singing is not bold enough on such songs. She tends to stick to a mumbling croon which works up to a point on the ballads but can't open up on the rockers. Her singing style is somewhat at odds with the emotions she is trying to express, as if trying to make it sound more acceptable from a mainstream perspective. Why Kant Tori make up her mind whether she wants to make pop or art rock.

Until the end, notwithstanding the impressive title track, this dilemma remains unresolved. This is the work of a talented and ambitious musician who is just a bit mindful of making her ambitions palatable for a large audience. In the process, she perhaps eschews the opportunity to say much more with the music than she actually does. 3 stars for a good album with some standout moments (also Crucify apart from the ones already mentioned) but which is not quite essential.

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 Little Earthquakes by AMOS, TORI album cover Studio Album, 1992
3.77 | 70 ratings

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Little Earthquakes
Tori Amos Crossover Prog

Review by bonestorm

4 stars Just for something a little different, it's a Tori Amos review! I'm delving into this one as it's an album I love, even if the prog credentials are a little shaky.

There is an exquisite atmosphere on this album, crafted by Tori's haunting lyrics and the accompanying melodies. I've never been a rape victim, or a girl trying to reconnect with her mother, or any of the other scenarios presented by the 12 tracks on this album. But thanks to Amos' masterful delivery of these songs, I'm able to step into these roles for just a few moments and experience what it might be like. That's how powerfully the ideas are conveyed on this album.

Track 5, "Winter", is one of the saddest songs I've ever heard. It achieves this through sincerity and a sense of being genuine, rather than the typically contrived methods employed in your average pop song. "Winter" never fails to elicit a response from me when I hear it. It is told from the perspective of a young girl who lacks belief in herself and a father who is trying to instil it within her. It is beautifully phrased with an unforgettable piano melody, without doubt the album highlight.

There are many other great tracks on the album but I'll single out "Me and a Gun" for special mention. The only instrument used is Amos' voice. Set against the confronting lyrical idea of a woman's desperate thoughts as she is being raped, this is certainly a song that sticks in the memory.

As far as I am concerned this album is the pinnacle of Tori Amos' career, and I still enjoy listening to it 20 years later.

8.5/10

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 Night of Hunters by AMOS, TORI album cover Studio Album, 2011
3.80 | 38 ratings

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Night of Hunters
Tori Amos Crossover Prog

Review by Menswear
Prog Reviewer

4 stars The Queen is Dead?

No, I'm not stating Morrissey and the Smiths for the sake of it, it's true. Well, she's not completely flatline and this time, Deutsh Gramophon, defebrillo pads in hands, is shouting 'CLEAR!' over this record.

To me, this record is the best in a long time, a change of pace, a breath of fresh air in her claustrophobic world. She is joined by her daughter on many tracks, and surprisingly, I'm not bothered at all by it. Nastashya Hawksley is bringing a new dimension to the story, playing characters and singing the best she can , not trying to copy mommy (which is quite okay).

The orchestration behind falls a bit short in grandeur, the whole music is somewhat put in the back row because Mrs. Amos' voice is, again, up and front. And it's one of my few negative comments on this record, the music could've been a tad higher in volume. A bit more crazy moments would've been nice. A shame since American Dull..pardon Doll Posse was filled with arrogance and rawness.

I think that what brings me to this record is the homogenic blend of her piano skills and the feel of a simple orchestration behind. We don't experience that often in prog rock, and even less often in general rock. So if you don't have an anti-guitar album, this one is thick and juicy piece of vegan chamber rock.

The whole thing feels lushious green and charcoal grey, it's a great match!

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 Little Earthquakes by AMOS, TORI album cover Studio Album, 1992
3.77 | 70 ratings

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Little Earthquakes
Tori Amos Crossover Prog

Review by Frankie Flowers

4 stars Little Earthquakes was such an excellent debut album for Tori Amos. It's quite an emotionally intense album. She delivers such distinctive, sensual, haunting, dark music and melodies. She can often be cheerful, humourous and uplifting too. As a whole this album is quite a ride. This artist really has a lot of qualities. It's easy to compare her with Kate Bush and I'd say some touches of Joni Mitchell, for she sings, plays the piano, has a talent for writing great poetic lyrics etc. However, there is still something different about her sound, approach as well as her own brand of wide-ranging vocals and dabbles in many musical styles. Best songs for me are "Precious Things", "Winter" and "Silent All These Years". Highly recommended!

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 Boys For Pele by AMOS, TORI album cover Studio Album, 1996
3.29 | 36 ratings

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Boys For Pele
Tori Amos Crossover Prog

Review by mohaveman

3 stars Not the best of the Tori Amos albums, in my mind, but certainly one of the weirdest and most progressive she has released. Contains great tracks like "Father Lucifer", "Caught a Light Sneeze", "Muhammed my Friend", and "Not the Red Baron". However, most of the rest of the album is not as good and some I would even regard as filler. I won't mention the photo contained herein of Tori and the piglet. My girlfriend HATES that picture! Pretty weird. A good album but not her best by any means. Any Tori fan should, however, already own this anyways but it might be too strange for newbies to her music.

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Thanks to chris s for the artist addition. and to NotAProghead for the last updates

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