{"id":38262,"date":"2005-02-18T00:00:00","date_gmt":"2005-02-18T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/boys-for-pele-2\/"},"modified":"2005-02-18T00:00:00","modified_gmt":"2005-02-18T00:00:00","slug":"boys-for-pele-2","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/boys-for-pele-2\/","title":{"rendered":"Boys For Pele"},"content":{"rendered":"<p>Tori Amos&#8217;s fanbase made<br \/>\n<i>Little Earthquakes<\/i> and<br \/>\n<i>Under The Pink<\/i> breakout hits. After<br \/>\n<i>Under The Pink<\/i>, it seemed that Tori Amos fans would buy<br \/>\nanything. Most all of the Tori fans I knew had at least one bootleg<br \/>\nof her music; be it a concert or b-sides. However, that fanbase<br \/>\nactually showed some cracks and fissures after the release of<br \/>\n<i>Boys For Pele<\/i>.<\/p>\n<p>To hardcore Tori Amos fans,<br \/>\n<i>Boys For Pele<\/i> was Tori Amos&#8217;s<br \/>\n<i>The Wall<\/i>; a gargantuan album, filled with big music and big<br \/>\nthemes. It was a long-ass album as well. Eighteen songs and<br \/>\nclocking in at around 70 minutes,<br \/>\n<i>Boys For Pele<\/i> was Tori Amos taking the ranks among the big<br \/>\nboys of rock as she released her own &#8220;epic&#8221; double-album.<\/p>\n<p>To other fans,<br \/>\n<i>Boys For Pele<\/i> was as close to a betrayal as an artist could<br \/>\nrelease to his or her fans. Gone were the stark, personable lyrics<br \/>\nof<br \/>\n<i>Earthquakes<\/i> and<br \/>\n<i>Pink<\/i>, replaced with hugely abstract lyrics and &#8220;what the<br \/>\nfuck was that?&#8221; arrangements, such as &#8220;In The Springtime Of His<br \/>\nVoodoo&#8221; and &#8220;Blood Roses.&#8221;<\/p>\n<p>While some of the songs were &#8220;out there,&#8221; many still had vivid<br \/>\nimages to linger in your head from the first listen. You may not<br \/>\nget what &#8220;Blood Roses&#8221; is about on the first or seventh listen, but<br \/>\nwhen Amos sings in a trembling voice &#8220;chickens get a taste of your<br \/>\nmeat,&#8221; you&#8217;re stuck with that image for the rest of the night. &#8220;In<br \/>\nthe Springtime Of His Voodoo&#8221; is a much-needed pick me up during<br \/>\nthe last quarter of the album; after a few slow-paced songs, the<br \/>\nlistener gets to hear one of Amos&#8217;s most erotic songs: &#8220;Got an<br \/>\nangry snatch \/ girls you know what I mean \/ when swivelin that hip<br \/>\ndoesn&#8217;t do the trick \/ me pureed sanitarily Mr. Sulu \/ warp<br \/>\nspeed.&#8221;<\/p>\n<p>&#8220;Professional Widow,&#8221; &#8220;Caught A Lite Sneeze&#8221; and &#8220;Little<br \/>\nAmsterdam&#8221; are the most straightforward songs on the album. But if<br \/>\nyou give<br \/>\n<i>Boys For Pele<\/i> a few listens, you can appreciate the<br \/>\ndevastating effects of &#8220;Putting The Damage On&#8221; and &#8220;Muhammad My<br \/>\nFriend.&#8221; The only problem is that the album doesn&#8217;t sink in until<br \/>\nabout the seventh or eighth listen; something most listeners, even<br \/>\nhardcore fans, may not be willing to undertake.<\/p>\n<p>I will side with the hardcore Tori Amos fans who like<br \/>\n<i>Boys For Pele<\/i>. It&#8217;s definitely an album that&#8217;s far easier to<br \/>\nadmire than love. Still, it was great seeing an artist like Tori<br \/>\nstep up to the plate and try to record her big, epic, bloated album<br \/>\nlike Led Zeppelin and Pink Floyd have done before her (it&#8217;s no<br \/>\nsurprise that Led Zeppelin remains a major influence for Amos).<br \/>\nStill, she paid a price for<br \/>\n<i>Boys For Pele<\/i>: she never reachieved the sales or the<br \/>\nmomentum of her first two albums. If<br \/>\n<i>Little Earthquakes<\/i> was Tori Amos&#8217;s breakthrough album and<br \/>\n<i>Under The Pink<\/i> represented her abilities as a musician,<br \/>\n<i>Boys For Pele<\/i> was the line in the sand that divided her<br \/>\ndedicated rank of fans.<\/p>\n","protected":false},"author":7,"featured_media":24322,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"tags":[],"artist":[5650],"rating":[5613],"class_list":["post-38262","review","type-review","status-publish","has-post-thumbnail","artist-tori-amos","rating-rating-a-minus"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/38262","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=38262"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/38262\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/24322"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=38262"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/tags?post=38262"},{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=38262"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=38262"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}