Trying to pick just a few deep cuts from Tori Amos’ extensive discography is a challenge because she has gone through so many phases of her career. Early on, the beguiling singer/songwriter recorded so many extra songs that she had an extra disc’s worth of B-sides for each of her first three albums. With a career that has spanned arty rock to intimate piano ballads to classical crossover, there are different sides to Amos’ artistry. The following six picks are among her best deep cuts, but there are plenty more out there and plenty of passionate debate to go with them.
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“The Pool,” Little Earthquakes B-side (1992)
This eeriely ethereal piece sounds like it was completely created from Amos’ a cappella vocals, drenched in reverb to create a cathedral of sound. It feels reminiscent of the first part of the “Lux Aeterna” choral composition composed by György Ligeti and featured during the moon shuttle sequence of 2001: A Space Odyssey. “The Pool” speaks of an intimate moment between two souls and is haunting in its beauty. Amos first performed it live in 2017, coupling it with “Icicle,” and singing additional lyrics along with playing keyboards. It’s hard to replicate the original atmosphere of this piece without a choir, and that would be great to hear.
“Flying Dutchman,” Little Earthquakes B-side (1992)
This song was originally meant to be included on her solo debut album but ended up becoming a B-side instead. It was reportedly written for her friend Rantz Hoseley, a comic book artist who was going through professional frustrations that she had experienced. He told her he felt like the mythical Flying Dutchman, a ship doomed to sail the seven seas and unable to make port anywhere. This epic Amos track features her singing and piano along with sampled string and reed accompaniment offering support. Her classical background shines through this song of encouragement to her friend as it swoops and soars, then pulls back and gently glides. Amos has played the song live a few dozen times over the last three decades, and she reworked it with an orchestra on her 2012 album Gold Dust. Full circle moment: Hoseley was nominated for a 2023 Eisner Award for editing Amos’ Little Earthquakes graphic album for Z2 Comics.
“Honey,” Under the Pink B-side (1994)
Amos has acknowledged she intended to include this track on her second solo album, but under outside advice swapped it out for “The Wrong Band,” which she later regretted. In fact, she opened her Boston concert on that tour with “Honey.” This somber and gentle piano ballad, fleshed out by delicate acoustic guitar and keyboards, explores a relationship that’s fraying as her lover is too used to my honey now. Whether he has left her for another, or she is the other, remains open to interpretation.
“Talula” (BT’s Tornado Mix), Boys for Pele B-side (1996)
For her third album, Amos played harpsichord on a few tracks including the enchanting “Talula,” which includes some funkiness as well as mandolin and brass accompaniment in spots. One could imagine her going back in time and performing this (and perhaps the edgier “Professional Widow“) at some courtly 17th century party and “rocking the house” in very old-school terms. Amos once said this song was the one on Boys for Pele that gave her permission to dance after facing her monsters on other tracks. Her fingers dance vivaciously across the harpsichord here, and BT’s Tornado Mix (used for the movie Twister) gives it an extra rhythmic kick to make it rock a little more.
“Bouncing off Clouds,” from American Doll Posse (2007)
Perhaps it’s debatable whether the most-streamed track from her ninth album counts as a deep cut, but despite using it to promote the release here and abroad, including on some late-night TV appearances, it still didn’t take off as much as it deserved to. When she’s performing rock-based numbers, Amos brings a special kind of energy and sound to them. And sometimes it’s harder to describe the vibe than say, just listen. So listen.
“Abnormally Attracted to Sin,” from Abnormally Attracted to Sin (2009)
The title track to Amos’ 10th album is a hazy, dreamy track featuring ethereal guitar, synth, and organ washes. Its unusual vibe and lurching rhythm, and the injection of some restrained electric guitar work, make it stand out from many of her other songs. Plus it has that enigmatic Tori wordplay: Impeccable peccadillo / You are off your guard / Pussy willows groves / There by the church / Don’t go in if you are / Abnormally attracted to sin.
Bonus Pick: “Pirates,” from Y Kant Tori Read (1988)
Amos’ ill-fated ‘80s pop-rock project Y Kant Tori Read may have flopped, but it has its charms 36 years later. Given her penchant for fairy-tale imagery in many of her songs, this upbeat anthem from her “rock chick” phase has a quasi-Peter Pan-ish vibe that fits into her artistic “Big Picture.” In 2014, the singer/songwriter told The Boston Globe she was starting to bring back songs from this album in concert (including a revamped “Pirates”), and she said that she felt compelled to do so after seeing a group of dressed as pirates and brandishing swords. Thanks to the diehards!
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Photo by Jason Kempin/FilmMagic
