As she prepares the high-profile release of her new studio album Native Invader, Tori Amos sneaks out her almost forgotten '80s debut that has been officially unavailable for three decades: Y Kant Tori Read.
The three performances featured below serve as striking evidence that Amos nurtures rather than neglects her songs as they age, each successive performance expanding on the mythology and narrative of the world she’s created.
Today’s spotlight explores albums in Tori Amos’ repertoire that are arguably more divisive among listeners due to their unorthodox structures and diversity in production and sound. The essays that follow seek to unpack each of these records’ complexities with careful consideration of Amos’ and her collaborators’ intentions and both popular and critical reception of the works.
Tori Amos has always worked to create music that fits her own instinctive sense of what popular music should sound like. And via the brain of a piano prodigy with the compositional impulses of Bach, the rock sensibilities of Robert Plant and Freddie Mercury, the confessional courage of Joni Mitchell and Rickie Lee Jones, and the tinkering tendencies of Thom Yorke and, yes, Kate Bush.