You can stand in front of the Mona Lisa as it resides deep underground in Paris and you can marvel in the perfection, the composition, and you can be haunted by Time, by the sheer scope of history and the insignificance of what is shadowing the piece before you and you are struck by the beauty, by the sheer audacity of one human being’s attempt to capture something exquisite, a slice of art that is permanent and captivating. You can do all that but it doesn’t necessarily mean that you think it is the most interesting or truly dynamic of works; that it is so beautiful and evocative but ultimately it is not as good as the brain or the heart desires it to be.
The news that Tori Amos had hit a sort of wall in her music must have by-passed everyone who has listened to her music over the last couple of years and last few albums. Taking time to listen to anything she has produced in that time period can only lead to the scratching of heads and slight bewilderment at the thought. For in Unrepentant Geraldines Ms. Amos has produced yet again arguably one of the finest albums you will hear all year.
Tori Amos, Birmingham Symphony Hall, May 2014. Photograph by Ian D. Hall.
Liverpool Sound and Vision Rating 9/10
Expect the unexpected, anticipate the astonishing and most of all imagine the extraordinary, for when it comes to watching Tori Amos on stage you can do more than sit there and take in the majesty of it all.
Just 18 months after releasing her debut album Little Earthquakes, Tori Amos stamped her authority on her music direction by releasing the superb Under The Pink. Gone were the days Y Kant Tori Read forever, this was 100 per cent what the talented musician was all about, trailblazing, confessional, confrontational but with that alluring feminine smile paving the way before slamming the piano with full heart and lyrics that were designed to make you thing as well as enjoy. The musical personification of poets Sylvia Plath and Anne Sexton but with even bigger welcoming attitude and an allure that got beneath the skin of the subject she wrote about.
When Genesis released their debut album, From Genesis to Revelation, the sales it received could have seen any of the labels that were around at the end of the 1960s keep the band at arms-length until they split up and left them bitter and forlorn musicians. Thankfully they were given time, their music given the space to find its own special way in the world. Roll on 20 years and the young Tori Amos, the woman who would go onto become of the biggest female acts of all time, was about to suffer the same fate with her debut album as part of the band with the same name, Y Kant Tori Read.
When listening to Tori Amos it almost feels that you are joining her on a spiritual journey in which she alone knows the final destination and she will lead you blindfold past the final signpost whilst holding your heart carefully as she goes. Such is the timeless beauty of Scarlett’sWalk that it easily ranks in the top three studio releases by the enigmatic piano player.
In 1992 an album was released by the name of Little Earthquakes and the impression it made on those who heard it turned the composer of the delicate and angst ridden tunes into at first a cult hero and then over the ensuing 20 years has turned her into an absolute legend. Tori Amos doesn’t sit still, not at her beloved piano and more importantly not in her life. Just a little over a year since she released her first foray into classical music, she has come out all guns blazing with the breathtaking Gold Dust.
Originally published by L.S. Media. September 2nd 2012.
In 1992 Tori Amos released her debut solo album Little Earthquakes and in amongst the battle ground between the dying days of 1980’s preening rock stars, the new wave of grunge and the coming of so called super celebrity music. The music, always evolving always up for musical comment and commitment to the latest music cause looked to dragging out in a three way battle that ultimately has led to none being hailed as loudly as Tori Amos, the first woman of 1990’s music.
Originally published by L.S. Media. November 27th 2009.
After what seemed an eternity without a new Tori Amos album, two come along within a year. Midwinter Graces is Tori’s first attempt at a seasonal offering and in her usual way of doing these things, it works. It is a return to form after her disappointing debut album for Universal Republic, the critically loved but fan- slated Abnormally Attracted To Sin earlier in the year.
Tori Amos on stage at the Manchester Apollo. Photograph by Ian D. Hall
Originally published by L.S. Media. November 6th 2011.
L.S. Media Rating * * * *
Tori Amos has long been touted as one of the best female performers of the last 20 years, her albums have touched millions of fans, all of whom share some infinity and connection with the Cornish based, American born singer, so much so that her live shows are keenly awaited and strongly attended by all cross sections of society.