Introverted But Willing To Discuss Tori Amos – Details, episodes & analysis

“I think the thing that just astounds me about Tori is that she can take a bit of something like a melody or harmonic sequence for some of these pieces that were the inspiration and create something truly her own, showing how truly powerful her own creative stamp is. I think of Night of Hunters as a 70-minute song with 30 pieces of music held together by 13 sets of interlocking lyrics. Now that’s composing!

Tori was able to keep the narrative in my head at all times, very articulated and intricate. T would make sure I totally got it, explaining every facet and background info in just amazing detail. The story became flesh and blood, for me as it was for Tori.

I have to confess that it was bliss working with T on Night of Hunters. We talked for at least one hundred hours about this record. The amount emotions and deliberations and ponderings and weighing was incredible. [This is] the most complex project I think I personally have worked on, from musical/dramatic perspective for sure, but what was evenheavier was the emotional investment — the dreams, the considerations of narrative. Every few bars mood changes slightly, very little is repeated.

As far as style, and that would include harmonic choices and variations, melodies and variation, Tori has used this language since we first worked together. What has changed is her intensity, the refinement of this language, centering on the narrative. This , I think, is the driving force behind all of Tori”s music, and on this record for Deutsche Grammophon, she can use all of of her creativity, unbounded and without the restraint of ‘pop’ convention to make a extended multidimensional narrative, dramatic and compelling,and this includes her vocal and piano performances.”

John Philip Shenale - Night of Hunters Composer, Arranger and Collaborator to Matt Mazur, 2011.

Playlists:

• Joey
• Matty
• Kristen

With Strange Little Girls, Tori Amos approached the covers album as concept album, offering reinterpretations of 12 diverse male-authored tracks from the perspectives of an assortment of female characters. The project was inspired originally by by the homophobic and misogynistic messages which Amos believed to be prevalent in popular song at the beginning of the 21st century.

“People were talking to me about how popular music was getting more violent,” she recalled in Piece by Piece. “Male songwriters were saying these really malicious things … and I really felt … that a generalized image of the antiwoman, antigay heterosexual man had hijacked Western male heterosexuality and brought it to the mediocrity of the moment.”

The innovation of Strange Little Girls is to extend this debate into the realm of rock, and to recognise mainstream music as one of the primary cultural spheres in which gender roles get played out and patriarchal ideology disseminated. Supplemented by superb Cindy Sherman-inspired photography, the album is a rewarding and subversive work that boldly challenges the listener to reassess their relationship not only to each of these songs, but also to the wider cultural attitudes that they embody and endorse.

“I wanted to complement the significance and scope of what she was doing. I felt like we were really in tune together, with what we were searching for,” recalled Adrian Belew, the project’s guitarist. “It was very comfortable working with her. I was surprised at the whole of the record [when I first heard it]. The songs I was unfamiliar with, in the context of what I had played, really changed the way I saw her as a producer and what she had envisioned. I frequently sign Strange Little Girls CDs, and the evidence is there that this record is important to people and they make the association between me and Tori and my contribution to the record. And then I realize they were probably turned onto me by Tori, and that’s an extraordinary thing for a musician to know. It is reflective of the community she builds in her work.”

Playlists

• JV
• KK
• MM

Songs of Tori Amos – Season 6 selections referenced in the episode

• New Age
  • KK is team FOX
  • JV and MM are team FUCKS.
• 97 Bonnie and Clyde

On this week’s episode of Messing with the Master, Matt, Joey, and Kristen travel to a (sonic) desert garden in Taos, New Mexico, to explore Tori's sophomore album Under the Pink. Joey explains how Tori Amos turned him gay, Matt recalls how a Drag Queen at the Gold Coast brought Tori into his life, and Kristen discusses being emotionally unavailable as the Heterosexual-in-Residence. Themes of queer identity, womanhood, betrayal, and romance are explored. 

Under the Pink playlists: KK, JV, MM

Find Messing with the Master on YouTube and Instagram (@messingwiththemaster)

Content warning: This episode includes discussions of SA, DV, suicide. Take care while listening. 

On this week’s episode of Messing with the Master, Kristen, Matt and Joey unpack the mystical complexities of Tori Amos’ 2017 gem, Native Invader, which chillingly encapsulates the doomsday tensions of the era in an atmospheric sonic snapshot of the personal, the political and the otherworldly.

The year prior to the album’s release saw Amos in full-fledged activist mode with her contribution to the Netflix documentary Audrie & Daisy - the soaring original song “Flicker” - making global headlines as she once again lent her voice to victims and survivors of sexual assault. Behind the scenes, Matt inexplicably found himself working alongside Tori as she laid the groundwork for one of the most timely and emotionally resonant records of her career - as his own life went from dream to nightmare. 

Native Invader playlists: KK, JV, MM

Find Messing with the Master on YouTube and Instagram (@messingwiththemaster)

Three lifelong Tori Amos fans reflect on the iconic singer-songwriter’s catalog by thoughtfully and intentionally reorganizing each album into fresh playlists that explore Tori’s musical legacy as well their own interconnected personal narratives and friendship, which began with a shared passion for Tori’s music over 20 years ago. 

This week on the first episode of Messing with the Master, Joey, Kristen, and Matt are taking a sonic road trip across a post 9/11 America with one of Tori’s undisputed masterpieces, Scarlet’s Walk, which this past fall celebrated its 20th anniversary.

Scarlet's Walk playlists:  Joey | Kristen | Matt

Find Messing with the Master on YouTube and Instagram (@messingwiththemaster)

A quick preview of Joey, Matt, and Kristen discussing Scarlet's Walk. The first episode of Messing with the Master coming February 2024! :D 

As she turned 50 in the spotlight, Tori Amos’ 2014 album Unrepentant Geraldines dropped and was greeted with headlines trumpeting the singer-songwriter’s “return to form” and “comeback”. But here’s the kicker: she never went anywhere.

Although she had written a musical for the stage (The Light Princess, 2013), and composed a 21st century song cycle (Night of Hunters, 2011), Unrepentant Geraldines was Amos’ first record of entirely original compositions in five years, since Abnormally Attracted to Sin (2009). If that album found Amos floating above a palette of darkly-glowing synths and sultry beats, then Geraldines was firmly grounded in what many would deem the Amos “signature” sound: a foundation built around soulful, churchy organs, classical-complex pianoscapes, and pristinely-orchestrated vocal arrangements (exemplified on the single “Promise”, which prominently features her then-15 year old daughter Natashya).

The romantic and lush album evokes and references other key moments in Amos’ catalog, while somehow possessing a distinct energy that distinguishes it as its own living, breathing experience. “Each song had to tell a story that you understood without needing to hear another song to make it make sense,” Tori told me at the time of the records release. “Although some of them are interconnected, the songs, but they needed to live on their own.” There’s no rigid adherence to any one specific style of music or instrumentation, no concept to be beholden to, and yes, while there are influences from past albums, Geraldines deploys them with fresh style and in an alchemic, organic way.

The album possesses the kind of wildness of spirit that has always permeated Amos’ work, but here that oft-explosive vivacity is contained and refined on songs “16 Shades of Blue”, with it’s emotionally articulate swagger; and on the psychedelic sonic Fata Morgana of the title track. There is a noticeable confidence in the songs — in the writing, in the delivery, and in the bright verisimilitude of her compositional landscape. Also adventurous are her lyrical arrangements and vocal delivery. “I’ve told you many times: I sound like a fairy on crack. I know that! So you have to surrender to what your pipes are.”

Please join Kristen, Matt and Joey as they tackle a pivotal moment in Tori’s discography and history. Messing With The Master: Unrepentant Geraldines is available wherever you check out podcasts.

Playlists

• JV
• KK
• MM

Content warning: this episode discusses pregnancy and child loss. Please take care while listening.

On this week's episode, we book a round trip ticket To Venus and Back. Tori's surprisingly prompt follow -up to 1998's From the Choirgirl Hotel. After an epic world tour, Tori had implied that she'd be taking a break from recording for a while and planned to release a live album with a few new bonus tracks. As Tori's want to do, those bonus tracks developed into a full -blown 11 -track album with a bonus live disc that was released on September 21st, 1999, my 17th birthday. Thank you very much.

To Venus and Back is deeply beloved by fans and for good reason. It shows Tori and her band, Matt Chamberlain on drums, Jon Evans on bass, and Steve Caton on guitars at the height of their ensemble powers, and Tori at her most sonically experimental. As Tori herself once instructed, if it's too loud, turn it up. And that's precisely what she does on To Venus and Back.

The songs feel like an organic extension of the Choirgirl sound, but to say they sounded all similar to one another would be listener malpractice. Venus occupies a sonic space that is truly unlike anything Tori has done up to that point or has done since. The mixing, the engineering, the drum looping, the vocal distortions, the manipulation of the Bosendorfer, the introduction of new and strange synthesizer samples.

Every singular moment is its own dynamic piece of a dark, twisty, truly otherworldly puzzle that Tori has constructed with this record. It's cliche to say it was ahead of its time in 1999, but given how fresh and bold and immersive it sounds in the year of Our Lord 2024, no one would argue that Tori truly wrote, performed, and produced a collection of songs that pushed not only her own boundaries, but the boundaries of her listeners.

Perhaps Tori summed it up best herself in the lyric from Spring Haze when she instructs us that quote, the only way out is to go so far in. So join us as we break the terror of the urban spell.

• JV playlist
• KK playlist
• MM playlist

Ever feel like just being someone else? With the regal and roaring opus American Doll Posse, Tori Amos gave her listeners permission – and a psychic road map – to become the characters who hide in plain sight in all of our brains; even the “character” of ourselves. With healthy doses of showmanship and flamboyance, American Doll Posse saw Amos sonically embracing a towering, modern production style tinged with classic and country rock elements.   No stranger to being a sonic character actress exploring roles, ADP’s real gag was stunningly Cindy Sherman-esque: Amos would manifest her characters in a new way, by literally becoming four distinct women who each represented aspects of her own personality. Enter Clyde, Isabel, Pip and Santa -aka the Posse. Taking a page from David Bowie’s glittery glam rock opera playbook, not only would Amos portray the characters in song and for the album’s still photography, she would also be portraying them -and performing as them- in full costume nightly at her live shows.  🤯🤯🤯  While she may have fully disappeared into each character, the moment you realize Tori Amos is also playing “Tori Amos” as a character in a sequined American Flag jumpsuit, the winking concept clicks, and every lighter in the arena goes up in the air. While each of the Posse gals gets their moment in the spotlight, the overall through line of the ambitious ADP is unity, strength in numbers, as five powerful women band together to deliver a ferociously righteous rock and roll sermon about how the patriarchy needs a good old-fashioned slap across the fucking face.  Dontchu for-get to join Kristen, Matt and Joey to take a closer look at one of the most audacious records and eras of Tori’s career. Hold onto your wigs, and strap in tight for the wild ride of Messing With The Master, American Doll Posse. This one’s for the MILFs.

• JV playlist
• KK playlist
• MM playlist

Content warning: this episode briefly discusses DV and suicide. Please take care while listening. 

“So what if you find you like to tango alone?" Tori Amos asks in the final moments of “Birthday Baby," the closing track of her 15th solo album Ocean to Ocean, released on October 21, 2021. An ode to the unexpected ways we collectively learned to both mourn and celebrate during the years-long isolation of the COVID-19 crisis, the song vacillates between a rousing eleven o'clock musical number and something a David Lynch character might sob inconsolably to while draped over a diner jukebox. 

This juxtaposition is the essence of Tori, who has been masterfully weaving the familiar, strange, tender, and unsettling for over 30 years. What immediately distinguished Ocean to Ocean upon release from Amos’ previous records, though, was its timeliness, an album written and recorded during the most hopeless heights of a global pandemic, released into a world that had barely begun to scratch the surface of its shared trauma. 

Never one to shy away from documenting her own emotional turbulence, Tori allowed Ocean to Ocean to wear its melancholy on its sleeve. It’s a record inspired and consumed by loss – loss of connection to others, loss of the self, loss of Tori's beloved mother Mary – and the process of trying to piece together both who we were before the storm and who we might become on the day after. The result is a tight, cohesive collection of songs that expertly articulates and somehow finds meaning in the deepest recesses of despair. 

Ocean to Ocean is ultimately both a technical triumph -- Tori recorded virtually from her home studio in Cornwall, England with longtime collaborators Matt Chamberlain, Jon Evans, and John Philip Shenale (quite literally oceans apart) -- and a triumph of the spirit, Tori finding the artistic and emotional strength to recontextualize a year of losses into a record of rebirth. 

So, stay with Joey, Kristen, and Matt as they unravel the gorgeous, generous fishing net that is Ocean to Ocean. 

"Get Out of that Pain," a conversation between Joey and Tori for BOMB magazine: https://bombmagazine.org/articles/2020/05/06/tori-amos-resistance  

Tiny Desk Concert: https://www.youtube.com/watch?v=SufUZu4h_m8 

JV playlist: https://open.spotify.com/playlist/7zhxFp9ESB5WH9YuWY4Rpe?si=bedb114b0215415e

KK playlist: https://open.spotify.com/playlist/2rFV8OAbjkRUsAx1sXBrFc?si=2b8a0878dcf6471c

MM playlist: https://open.spotify.com/playlist/3Cf1JxCjkBhExAKP5ug4IC?si=ae970433a23e4377