PopMatters: “Precious Things” has been re-worked so many times over the years and yet it is still so potent. How do you approach that song, so indigenous to Little Earthquakes, some 20 years later?
Tori Amos: It seemed to me that we had to retain the energy that we had in 1992, but we had to infuse this energy in a different way. What orchestras can do with their dynamics is unbelievable, and they can get very powerful, and make you feel as if Russians are coming over the ice in the distance—millions of them. Philly and I were talking and we said, “This has to be Prokovief, no question, and that’s where were we have to take it.” During this process, Philly and I talk every day, and then he goes off in his genius mind and checks back in. Then he makes a demo of it and we discuss it again and if there are changes, there are changes. We thought “Precious Things” had to be included [on Gold Dust] if you are going to talk about 20 years. That song had to come, but it needed a complete wardrobe change. And yet the soul of her had to stay. She had to have her soul and her intensity.