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.

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

Content warning: this episode discusses SA. Please take care while listening.

Objectively speaking, Tori Amos’ Little Earthquakes is one of the all time great debut records. On the latest episode of Messing With The Master, Kristen, Matt and Joe lovingly look back and contextualize this seminal album, which laid down the foundation for the mythology of Tori and created a language all her own. The bracing new musical vocabulary of Little Earthquakes truly signaled the birth of a star.

Very few– if any– albums from debut artists sustain the kind of power and resonance of Little Earthquakes. Amos dared to make the most private parts of her life public, infused them with poetry, gathered an army of fellow survivors, and created a genuine community that’s with her to this day.

Crafting an origin story for the ages, Amos proved she understood the assignment and the stakes and caught a ride with the moon. The prom queen minister’s daughter next door made a modern rock record and became a star. It felt like we knew her and spoke the same language. Oh, these little earthquakes. Here we go again. It feels familiar because we’ve all been there. Tori took a major risk setting her diary to music, and verbalizing the verboten, but it’s one that continues to speak directly to the hearts of countless listeners, somehow, after all these years.

Playlists:

• Joey
• Matt
• Kristen