Tori Amos, Boys for Pele - 1h 10m 34s - Music CDs and CD Cover Arts @ Online Music CD Database

Tori Amos, Boys for Pele

Audio CD

Disk ID: 1341099

Disk length: 1h 10m 34s (18 Tracks)

Original Release Date: 1996

Label: Unknown

View all albums by Tori Amos...

“Boys for Pele” Tracks & Durations

1. Beauty Queen-Horses	6:07
2. Blood Roses	3:56
3. Father Lucifer	3:42
4. Professional Widow	4:31
5. Mr Zebra	1:07
6. Marianne	4:09
7. Caught A Lite Sneeze	4:26
8. Muhammad My Friend	3:49
9. Hey Jupiter	5:11
10. Way Down	1:13
11. Little Amsterdam	4:30
12. Talula	4:08
13. Not The Red Baron	3:50
14. Agent Orange	1:25
15. Doughnut Song	4:20
16. In The Springtime Of His Voodoo	5:33
17. Putting The Damage On	5:15
18. Twinkle	3:11

Note: The information about “Boys for Pele” album is acquired from the publicly available resources and we are not responsible for their accuracy.

Review

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

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