30 Years Later: Tori Amos and the Birth of Little Earthquakes – Music News

This week, Tori Amos’ debut album turns 30 years old. On January 6, 1992, one of pop music’s most original singer-songwriters released Little Earthquakes into the hands of the world. Things have never been the same for the singer – or her fan group – since then. The album contains what would become classics not only of her career, but of the broader music scene at the time.

It’s hard to believe that this vibrant and talented pianist has hit the popular music scene all those years ago; The passage of time seems to be moving quickly in the world of entertainment. But long ago, Little Earthquakes proved to be an album that easily stood the test of time.

Amos continues to release strong music to this day (in October of 2021, she released the critically acclaimed Ocean To Ocean). In truth, it is difficult to fully understand Amos’ expression of herself in any other medium; Her music, literally, seems to be her language. She may not have started her musical journey with Little Earthquakes (the singer had previously released an album with the band Y Kant Tori Read, and had been composing music since she was a little girl), but she certainly launched her solo artist career in a way one can hardly imagine.

Little Earthquakes is an album of honesty and introspection. Amos’ upbringing certainly provided her with the ingredients she needed to savor the release. Something from Amos’ early years seems to bring a very dominant influence to her creative table at this time. In Little Earthquakes – as with many of its later releases – her early family relationships continue with her songwriting. It seems that her mother – a passionate academic and a deeply spiritual person – was a huge inspiration to Amos. Coupled this with the tremendous influence of her father – he was a Methodist minister – it is easy to see how early the scene was set for the highly charged and creative awakening of Tori Amos. The seeds of Little Earthquakes were planted long before Amos put her fingers on the piano to begin composing it. Released via Atlantic Records, Tori Amos worked with her then partner, producer Eric Rosse. The 12-track album was recorded between 1990-1991, and seems to be a confession for the singer. Dark, honest, full of sadness, and at times candid, in Little Earthquakes, Amos clearly wanted to pull the rind of what it means to be a woman in a world that is constantly asking her to compromise her identity, as a person and an artist (if the two can be divided).

It seems clear to listen that Little Earthquakes were shaped and pieced together from Amos’ own life and experiences, making for a remarkably emotional connection. On the opening track, Crucify, fans hear the singer break free from the many restrictions and chains that religion has imposed on her. It’s a challenging song, and it definitely empowers those who are imprisoned for their own beliefs and who are struggling to break their fists.

Me and a Gun was the first song to be uploaded from Little Earthquakes, and it definitely left an imprint. A track that quickly became a staple on their world tours, the composition was almost shocking in its open exploration of a deeply disturbing and shocking memory. Me and a Gun quickly became the talking point of her early career: here we had this wonderful artist who worked as a pianist and yet left your instrument behind to perform an acapella. At this moment, it seemed that Amos did not need an escort. Everything else was stripped – her voice, her words, and her experience carried it all. The theme that Amos sings about makes the listener sit up and pay attention; In live performances, the audience can hear the sound of a pin, like reverence for a track. Me and a Gun is an example of how brave Amos was as an artist – to share this experience with the world, it highlighted her courage as an author. More than that, it has helped pave the way for future generations – to help victims of abuse express their opinions and tell their story.

In the contagious track Unforgettable Girl, Amos sings about an inner battle – to try to redeem yourself from a deep-rooted need for other people’s approval. To finally be able to belong to yourself, in self-belief, without compromising, without worrying about the judgment of others. It is a path that breaks the chains of ownership.

In Winter’s enchanting, almost fairytale-like track, Amos sings seamlessly about the innocence of childhood, and about looking back on years past. She sings about an affair with an older patriarch and powerfully plunges her listeners into a dreamlike state through her meticulously enveloping vocal and piano delivery.

In Silent All These Years, Amos sings about getting one’s voice back again after years of being silenced. It is a song of recovery and undoing of all that was stolen. As in “Girl”, this song sounds like a tribute to ownership and taking what others have stolen and kidnapped. Silent All This Years is more important than ever, especially in light of the MeToo movement where many are encouraged to find their voice and talk about their experiences. In light of this, it is clear how far Amos was ahead of the curve as an artist even at that time.

For Happy Phantom, Amos worked with composer and musician John Philip Shenale, her longtime collaborator. A death tale, Happy Phantom is a quirky, uptempo track that unveils Amos’ vibrant humor and wit.

One of the undeniable diamonds on the album is the epic track Precious Things. Amos’ spirited vocals bring this 5-minute gem back to life, as the majestic song drags the listener in and refuses to let go. It’s a noticeably dark and steep path. “He said you’re really an ugly girl, but I like the way you play…” In this song perhaps more than any other on the album, Amos showcases the depth of her writing of her unfiltered songs, with a categorical brutality that set her apart from her contemporaries at the time.

When Little Earthquakes arrived in 1992, the alternative music scene was almost exclusively dominated by male voices. With the grunge movement finally entering the mainstream and bands like Nirvana and Pearl Jam becoming household names, Amos was a lonely female voice in a sea of ​​masculinity. Perhaps the reason why her debut resonated so deeply at the time was the fact that the singer/songwriter was brave and daring enough to share her lived experiences with the world, ones that a man simply couldn’t write.

While a song like Valuables breaks peace, the title track itself is an ocean of calmer reflection. “Those little earthquakes, here we go again… It doesn’t take much to tear us to shreds,” Amos sings at the album’s closing. The album closes the doors with this introspective 7-minute epic that is a deliciously sad story. In the final section, Amos enters in her dramatic soprano voice as she repeatedly sings, “I can’t reach you, I can’t reach you..” It’s the perfect ending to the album.

It’s easy to see why the Rolling Stones voted Little Earthquakes among their “greatest albums of all time.” Most fans agree that it’s a witty version. It contains a lot of what listeners love about this unique artist. A philosophical, spiritual, honest and weak-hearted album, it is an anthem for those seeking to recover all that has been lost. Nothing, Little Earthquakes seem to sing, is getting really far-fetched.

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