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Gold Dust CD+DVD, Deluxe Edition


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Videos

Tori Amos: The making of Unrepentant Geraldines

Biography

Tori Amos has an extraordinary fan base. It’s not unusual to hear her listeners explain how a song changed their life, through its ability to alter perspective and heal. Or even that a song might have saved their life. Since the release of her debut Little Earthquakes 20 years ago in 1992, where she smashed apart boundaries with her piano rock and raw, confessional poetry, Amos continues ... Read more in Amazon's Tori Amos Store

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Product Details

  • Audio CD (October 2, 2012)
  • Original Release Date: 2012
  • Number of Discs: 2
  • Format: CD+DVD, Deluxe Edition
  • Label: Deutsche Grammophon
  • ASIN: B008RZHC7Y
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (82 customer reviews)
  • Amazon Best Sellers Rank: #26,305 in Music (See Top 100 in Music)

1. Flavor
2. Yes, Anastasia
3. Jackie's Strength
4. Cloud On My Tongue
5. Precious Things
6. Gold Dust
7. Star Of Wonder
8. Winter
9. Flying Dutchman
10. Programmable Soda
11. Snow Cherries From France
12. Marianne
13. Silent All These Years
14. Girl Disappearing

Editorial Reviews

This deluxe edition includes a 32 page hardcover booklet and a DVD that features music videos of Flavor, Gold Dust and behind the scenes footage.

20 Years of Conversations
How do you commemorate the 20-year career of Tori Amos, an artist who has sold over 12 million albums, played well over 1,000 shows, won numerous awards and, more importantly, touched, healed or changed the lives of millions of fans? For a composer with such an artful ability to dart and flourish in different directions, experimenting and searching for new ways of creating art, breaking more boundaries than perhaps any other female singer-songwriter, it would be impossible to predict. In this case of her 13th album, Gold Dust burst out of a series of serendipitous events. Gold Dust is the second album by Tori Amos released on the classical label Deutsche Grammophon, in cooperation with Mercury Classics. Soon after she started working on the first album, the acclaimed Night of Hunters, there was a phone call from the Metropole Orchestra in the Netherlands inviting her to play with them in October 2010. Once her songs had been performed live in an orchestral setting it was clear that Tori needed to make an album. I was really touched by the orchestra and I wanted to capture that on recording she says. And so Gold Dust was conceived. Of course Tori's musical history actually began in the classical world, when she entered the prestigious Peabody Institute at the age of 5. Frustrated by the close-minded limitations the classical world imposed on her in the 70s, she checked out and headed into rock when she was 13, magnetized by its expressive and expanding possibilities, intent on expanding her sonic architecture. Now she has been pulled back to approach that world again. Music has a way of taking you by the hand and saying, it's time to create like this she explains. Times have changed and now she feels limited instead by the contemporary world and the derivative sameness of what she hears on the radio. You don't have as many complex structures in contemporary music which is why musicians are trying to explore other ways of constructing a song. But her classical training provided her with the language, tools and understanding of form and structure to create Night of Hunters and Gold Dust. So how did she go about picking the right songs out of her vast repertoire? The track-listing for Gold Dust doesn't read like a collection of her Greatest Hits. Although it includes a number of her best-loved songs - Precious Things, Silent All These Years, Winter - some of the others tracks are lesser known treasures. She compares arranging the songs in a classical setting to giving a woman a makeover, considering who she is and what style would work for her. Tori has always thought of her songs as separate women and girls and jokes: you can't say 'Oh my God bangles are in so let's put everybody in bangles!' It doesn't work like that. Some of the songs have been reinvented quite dramatically with the help of Tori s long time arranger John-Philip Shenale. The fear driven rock sounds of Precious Things and the spheric electro soundworld of Flavor came to a new form of being in the environment of a symphony
orchestra. Other songs have undergone more subtle makeovers, taking, adding or changing individual colours to the beloved original versions. But all have been chosen for a reason. Almost autobiographical in structure, the songs represent stories in Tori's life. Jackie's Strength is about her relationship with her mother. Winter is about her father and grandfather. Snow Cherries from France, one of her favorites, is about falling in love with her husband. To bring them forward into 2012, Tori made a decision not to sing them as they were in the original form, and to avoid trying to be the person she was at the time.

Customer Reviews

Her voice, the music.
Amanda Alderman
Most of the songs are barely different from their originals, and especially if you're listening on earbuds, you may not notice any difference at all.
Matthew Buckley-Golder
This album is a must-have for Tori Amos fans.
Glittersparkgirl

Most Helpful Customer Reviews

95 of 111 people found the following review helpful By Melinda Lucas on October 2, 2012
Format: Audio CD
It absolutely kills me to give a new record from Tori Amos~~especially a record that is meant to celebrate her 20 years since the release of Little Earthquakes~~a lukewarm review, but I'm afraid I must. Of course, the music, engineering and Tori's voice and piano sound great. The problem lies within the song choices: most of which were already given an accompaniment of beautiful arrangements by her long-time collaborator, John Philip Shenale...so most of the original releases already had beautiful orchestral arrangements. Why not give classic Tori songs like Caught a Lite Sneeze, Crucify, A Sorta Fairytale With You, Spark and so many others the full-on orchestral treatment since they never had one before?

When listening to this record, which streamed for a week on a Polish radio station (I think), I literally could not tell the difference between this new rendition of Jackie's Strength and the original that came out of From The Choirgirl Hotel. And the ending of Precious Things sounds like a cacophony of loud horns and Tori moaning and screaming...and it just sounds bad. And, as LOVELY as Star of Wonder sounds, this song has no place on a Tori retrospective (it's off a 2-year-old release called Midwinter Graces and is a riff off of the Christmas carol We Three Kings of Orient Are)...except this Star already had a beautiful orchestral arrangement. It sounds lovely...and exactly like the original release from MidWinter Graces. It, along with Snow Angel or Our New Year would have made a nice B-Side, and another more important song like Baker, Baker, Cooling (recently voted Tori's greatest song, ever) or Northern Lad could have made the cut on the main record. Even though I think that MidWinter Graces is the most beautiful holiday record I own, I only listen to it for about a month a year.
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40 of 47 people found the following review helpful By Kevin Kochanski on October 2, 2012
Format: Audio CD
This is not a bad album, it's just unnecessary and a missed opportunity. Interesting song selection - not just a greatest hits. But I wish it was more like Joni Mitchell's Travelogue, which expanded an eclectic selection of Joni songs to a full orchestra, really transforming them. Tori picked songs that were already suited to this treatment, often already full of strings - what was the point of "Flying Dutchman" or "Yes Anastasia?" They are not reinvented, just rerecorded. And if that's the case, there could have been some more exciting songs there at least.
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12 of 14 people found the following review helpful By Cliff Holt on October 5, 2012
Format: Audio CD
In Tori's hands (considering her repertoire), this project could have really WOWED. But it seems such a lazy selection of songs to give this treatment to. As many have said before here - these songs were already orchestrated (for the most part).

What about songs like She's Your Cocaine, Professional Widow, Horses, Bliss, Witness, Waitress??? These songs would have really wowed anyone familiar with them already.

I do like this recording for what it's worth - I just feel it could have been worth a WHOLE LOT MORE. She has a vast group of songs to play around with - but stayed too safe with her selections.

On the plus side, this is a very beautiful recording. I do think she and the orchestra sound beautiful together. I love the photographs and packaging as well. I'd actually welcome a second volume of songs given this treatment - just ones that challenge her and the arranger a bit more.
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11 of 14 people found the following review helpful By MusicFreak on November 20, 2012
Format: Audio CD Verified Purchase
This is probably the lowest score I've ever given a Tori record. I'm a HUGE fan. I like all her albums, but some more than others, of course. This one is a huge step down from her magnificently brilliant previous album 'Night of Hunters.'

Her stated intention for this album, in her own words: "20 years ago, when Little Earthquakes was released in the states, I was touring alone with just a piano on stage. A passion I remember having was to play these songs one day with an orchestra." Basically, the whole point of the album was to explore adding a symphonic orchestra to songs from her catalog.

Here's what sucks: Eight of the 14 songs chosen ALREADY had the 'symphonic treatment.' It's pointless. Sure, if you listen closely, you can tell that the orchestral elements have been "amped up" in the songs that already had an orchestra in their original version ("Winter" and "Marianne" come to mind.) But, that's like eating the exact same hamburguer and just adding a little ketchup. Why not take songs like "Raspberry Swirl," or "Liquid Diamonds," or "Space Dog" and re-imagine them with an orchestra? Go for it, grab some oddities from your catalog which had NO symphonic elements, and rework them with the orchestra. But no, we get reheated versions of old songs.

I can't hate Tori, though, and the album is not a complete failure by any means. "Flavor" and "Precious Things" certainly are different (even if the latter is a bit of a disappointment. Symphonic orchestras do have percussion, you know? I kept waiting for it to bang in, but it doesn't enter at all until the end.)

At least I get two songs ("Flying Dutchman" and "Snow Cherries from France") that I wasn't familiar with because I don't have all her singles, nor her compilation 'Tales from a Librarian.
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6 of 7 people found the following review helpful By W.H. on October 14, 2012
Format: Audio CD Verified Purchase
I would have preferred to have heard strong, long-forgotten songs like "Professional Widow," "Playboy Mommy" and "Past The Mission" given the orchestral treatment rather than be subjected to tired re-treads of "Precious Things"," "Jackie's Strength" and "Snow Cherries From France." It would have been interesting to have heard a song or two selected from her much-maligned, largely forgotten debut album "Y Kant Tori Read." Amos seems more disdainful of that album than anyone else, but it is a collection of mostly good songs marred only by the late 1980s production values which make it sound dated. The "Etienne" trilogy could have sounded absolutely beautiful with an updated musical arrangement--God knows I did not need to hear "Winter" again!

A few new takes on old B-sides like "Sister Named Desire," "Cooling" and her cover of "Famous Blue Raincoat" would also have made welcome additions.

Anyone who would like to hear classic songs transformed by orchestral arrangements should check out Joni Mitchell's albums "Both Sides Now" and "Travelogue." I would not have wished for Amos to make a carbon copy of either album but I do wish she had listened to them and been inspired to make something entirely new of her old songs--the only one that sounds radically different from its original incarnation is "Yes, Anastasia."

"Gold Dust" is perfectly pleasant and, yes--I can hear the differences between these versions of her songs and the originals. But they are far too subtle to be truly arresting. This album represents a missed opportunity and I would love to hear Amos try out the concept again in earnest one day. If she ever does, I hope that she will take more risks in both her choice of songs and their musical arrangements.

In the meantime, I will dig out my copy of Mitchell's "Travelogue" and play it tonight.
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