Native Invader is an intense feast of melody, protest, tenderness and pain. In the summer of 2016, Tori took a road trip through North Carolina's Smoky Mountains. The intention was to reconnect with the stories and songlines of her mother's family, who were from the North Carolina and Tennessee Smoky Mountain area. That winter, two seismic events knocked the plan off its axis. The fall out from the US Election. And in January her mother, Maryellen Amos, suffered a severe stroke leaving her unable to speak. The complex influence of America's alt-right Super PACs, lobbyists and think tanks informs much of the tension in Native Invader. "It wasn't going to be a record of pain, blood and bone when I began," Tori says. "It wasn't going to be a record of division. But the Muses 9 insisted that I listened and watched the conflicts that were traumatizing the nation and write about those raw emotions. Hopefully people will find strength and resilience within the songs to give them the energy to survive the storms that we are currently in". The sense of semantic distortion permeates Native Invader. Tori talks of the need to form a "militia of the mind" in the face of national lies.

Myra Ellen "Tori" Amos is an American singer-songwriter and pianist. She is a classically trained musician with a mezzo-soprano vocal range.

Strange Little Girls is a concept album released by singer-songwriter Tori Amos in 2001. The album's 12 tracks are covers of songs written and originally performed by men, reinterpreted by Amos from a female point of view.

For many pop-music cynics, excess can be neatly summed up in three things: live albums, double-CD's, and Tori Amos records. Damned if To Venus and Back doesn't hit the trifecta. But perhaps Amos is just trying to prove what we've always suspected: that her muse possesses a sly, ironic wit and has been frantically trying to give us a wink while Tori whipped up her heady cocktail of quiet Sturm, desperate Drang, and angst in the panties. There's teasing moments on this double-dose of Tori's love affair with her own melodic and mystical dramaturgy to support that notion, even in the disc of powerful new studio recordings that inaugurates this set. Dubbing a song "Glory of the 80's" is burlesque enough, but yearning to have oneself cloned as Kim Carnes at its climax is simply inspired. Amos is to Kate Bush's distaff mysticism what Mark McGwire was to Roger Maris; she hasn't so much broken the mold as willfully hammered it into her own image. After Bush hit the snooze-bar on her career in the late `80s, Amos boldly stepped into the fray, building a body of work that demanded to be taken seriously, even while the thrift-store chic set were laughing up their tattered sleeves at her ambitious chutzpah. They're not laughing now; in fact, many may find Venus to be a deliciously guilty pleasure. Amos supporters have long maintained that the key to understanding her intrigue lies in her live performances. Disc two boldly states their case as Amos coos, whoops, and warbles through a hit-sprinkled set, her shrewd, sorely undervalued band hanging with every nuance and turn of phrase. Cynics are from Mars; Tori is from Venus--that's just the way her galaxy crumbles. Jerry McCulley

Boys for Pele, the title of Tori Amos's epic third album, is as awkward and confusing as the music inside. Though it sounds like a recruitment slogan for Little League soccer, the name actually refers to the lost temples of feminine divinity. Pele, you see, is the Hawaiian volcano goddess; the boys, well, they're the sacrifices that quell the rumbling lady's rage. Attempting to regain fires stolen long ago, Pele rewrites the crucifixion to star a girl Jesus and in doing so conjures a forgotten matriarchal mythology. While Amos's characters--Jupiter, Muhammad, Lucifer--are male by name, the aural landscape into which they're thrown is as symbolically and expressionistically female as Georgia O'Keeffe's skull-and-roses paintings. Pele is a complex and formless--and often impenetrable--work of gothic-pop chamber music, both beautiful and ghostly in its nearly complete reliance on Amos's rolling Bosendorfer grand piano, chilling harpsichord (which she bangs like a courtly punk rocker), and acrobatic voice (as earthy as Joni Mitchell's and as otherworldly as Bjork's). Unfortunately, she takes us only halfway: her songs engage and challenge us to understand, but the imagery offers few clues to help us crack their frustrating opacity. Pele ends up as much a pretentious and self-indulgent trip as it is a synthesis of talent, imagination, and skewed vision. Still, there's reason to celebrate that an album as formalistically and thematically alien to pop audiences as Pele would win such quick success upon its original release. --Roni Sarig

From the Choirgirl Hotel (stylized in lowercase) is the fourth studio album by American singer and songwriter Tori Amos, released on May 5, 1998.

by Tori Amos Atlantic / Wea Sales Rank: 3457 - Avg. Rating: 4.5 (out of 5) Released: 01 February, 1994 - UPC: 075678256721 Audio CD

托丽．阿莫斯迄今为止最好的专集，她在著名的＂ＭＥ ＡＮＤ Ａ ＧＵＮ＂（我和枪）里把自己亲身遭遇的强奸事件无比哀怨地道来，内心承受的纠缠，悲伤和凄楚让听者无不动容．

☆2014年重回搖滾初衷，為當代女性刻劃生命真實軌跡 2009年，美國另類搖滾音樂家多莉‧艾莫絲覺得自己的創作已經遇到瓶頸，想要重新尋找新的方向。因此，她暫時出走流行與搖滾樂圈，進入不同的音樂領域，嘗試創作音樂劇《輕輕公主》的詞與曲，並且把自己過去的歌曲重新以管弦樂配器並且錄音。 幾年後，吸收了不同養份的多莉‧艾莫絲推出個人第十四張錄音室專輯「不悔的潔蘿丁」，象徵她再度回到流行與另類搖滾音樂。而多莉‧艾莫絲的女兒也在「Promise」這首歌曲中兩人攜手合作。 多莉‧艾莫絲的音樂一向以性、宗教、女性主義和個人的經歷為創作起點，這張經過長時間醞釀的專輯除了探索不同風格與題材，也像是個人對於生活間大小事的觀察與描繪，特別是對於小女孩時期的童年記憶，以及德國在2013年指控美國國家安全局監控等事件。而視覺藝術，如：美國攝影家黛安‧阿布絲、法國畫家塞尚、英國畫家羅塞蒂、愛爾蘭肖像畫與插畫、歷史畫家麥克萊斯的作品也是多莉‧艾莫絲的創作靈感來源。