VOX - TORI AMOS continued...

With Tori's new album, "from the choirgirl hotel," her fourth album following the platinum releases "Little Earthquakes" (1992), "Under the Pink" (1994), and "Boys for Pele" (1996), Amos reestablishes herself as one of the most brilliant and gifted vocalists and songwriters of the generation. Unorthodox, uncompromising and unashamed to follow her own unique musical instincts - wherever they might lead - Tori also emerged as a piano player of unusual brilliance and complexity. Now, with the recording and release of her new album, again self-penned and self produced, Tori is coming at her music from a new angle.

That angle was explored when we caught Tori at the Arrowhead Pond of Anaheim on September 18, 1998, and came away even more enamoured with the magickal being that is Tori and her music than before. Tori has the uncanny ability to make each fan feel like they are getting their own private performance. There is a sincere and complete romance that exists between Tori, her music, and the fans. All three come away feeling spent and fulfilled. Spending the entire evening at her piano with a synthesizer behind her which she used sparingly, Tori was able to mesmerize the fans and convey the passion that she has for her music. By effectively mixing new music with older songs, she kept everyone involved for the duration of the night.

"I developed this record around rhythm," she says. "I wanted to use rhythm in a way that I hadn't used it before; I wanted to integrate the piano with it. On the whole record, the piano and vocal were cut live with a drummer and a programmer. I didn't want to be isolated this time 'round - I've done the 'girl and the piano' thing - I wanted to be a player with other players."

The results, though unmistakably Tori, are unquestionably different. Compelling lyrics are coupled with pulsing, polyrhythmic patterns -- to dramatic effect. Although ultimately more of an evolutionary musical change than a revolutionary one, this self-imposed shift of focus has certainly been one to keep Tori on her toes.

Recorded in Cornwall, England in a 200-year-old barn converted into a studio, "from the choirgirl hotel" finds Tori joined by a core band consisting of long-time collaborator Steve Caton on guitar, Matt Chamberlain on drums, bassists George Porter Jr. (Meters) and Justin Meldel-Johnsen (Beck), and programmer Andy Gray. And on stage, Amos is now joined by Caton and Chamberlain, with Jon Evans on bass -- marking her first-ever touring with a full band. This, too, represents a major evolution for Tori as a performer. Since the beginning of the decade, she has communicated intimately and passionately with her live audiences simply through her voices and piano -- in the process building one of the music world's most fervent, dedicated followings. Now, by enlarging the sonic scope of her live work, she is taking the Tori concert experience to a whole new realm.

"from the choirgirl hotel" could mark further changes in the career of an artist whom, in the past, so many have encouraged to court controversy. Listeners and observers straining to hear or see the effortlessly provocative, apparently "kooky" Tori Amos of legend may be a little unsettled today with the eloquent, honest woman whose definition of girl power is simply: "The power is in the people being moved." Tori seems no longer interested in playing up to people's expectations or seeing her words twisted into oddball shapes for the amusement of others. "I've already given God a blow job," she says. "After you've done that, there are other things that interest you."