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Corey sent us US Weekly’s review of American Doll Posse. They give the album 3.5 out of 4 stars and say:
On her ninth solo album, Tori Amos sings in the personae of five different women, including a photographer named Isabel who croons about political issues and Santa, a single girl who’s created a MySpace page. Is the mother of one, 43 — and a wife of sound engineer Mark Hawley (who helped on the CD) — having a midcareer identity crisis? Hardly. Amos sounds like her old soulful self on tracks such as the haunting “Girl Disappearing” the danceable “Bouncing Off Clouds” and the funny first single “Big Wheel” (in which she calls herself a “MILF”). The voices in Amos’ head rarely hit a sour note.
Here’s Helium.com’s track-by-track review of American Doll Posse. Thanks for telling us about this, Andres.
I’m not sure this is technically news-worthy but since I’m in news-postin’-robot mode, I’ll mention that American Doll Posse has Perez Hilton all confounded and perpuzzled. Not sure if that bodes good or bad, but there you go. A tip of the hat to Fabz and Armen for the pointer.
Entertainment Weekly reviewed American Doll Posse in their April 27/May 4 double issue (#931/932).
Amos’ ninth album is sung from the POV of five characters, each represented in the booklet by various costumes and wigs, a la 2001’s Strange Little Girls. Good luck figuring out who’s who, since “Isabel,” “Clyde,” “Pip,” “Santa,” and “Tori,” mostly seem to share their creator’s sassy, anti-patriarchal, divine-feminist sensibility…but they’ll all be getting their own blogs, so we can sort that out later. Too bad Posse is a conceptual wreck, because it benefits from some of the beefiest, most borderline-glam-rock moments Amos has put to record. — C+
Thanks to joe, Nathan and David for the tip!
Joe Vallese, aka Joey from Jer Z, has posted a rather thoughtful review of American Doll Posse on his blog.
“Just why do they say,” Tori Amos ponders on her latest effort, American Doll Posse, “have a nice day anyway?” On a political scale, there’s relatively little to smile about these days, of which Amos is well aware, and yet, she’s managed to put out her most raucous, infectiously foot-tapping, and pleasingly eclectic record to date. So what gives?
Head on over to the post to read the rest of his analysis of the record.
The April 21st issue of Music Week include this mini-review of American Doll Posse:
A masterful return to form from one of the Nineties’ most unique female singer-songwriters. From cheeky Bush-baiting political opener Yo George to the understated, orchestra-laden Girl Disappearing, Amos’ ninth album sees her living up to the much-mooted kook moniker by adopting multiple personalities while skilfully side-stepping the door marked comedy pastiche. A feminist’s gem, but where is the next generation of Björks and Toris?
Thanks to Doron for passing this along!
Mike Marrone has reviewed American Doll Posse in Business Week. (We’re not sure which issue.)
Reviewing a purely instrumental album is difficult. What can you really say about it? Most people listen to instrumental music in the background, letting it wash over them subconsciously. What I learned after repeatedly trying to absorb String Quartet Tribute To Tori Amos Vol. 2: Pieces in this way is that one should NOT make the mistake of doing that with this album: I discovered that the more I sat still and listened to it, the more impressive it became.
American Toriphile Tyler was recently lucky enough to hear American Doll Posse from start to finish. The full review is here and mentions a few songs we haven’t heard much about until now, including “Roosterspur Bridge” and “Fat Slut.”
Some of the highlights:
Finnish Toriphile Tommi reports:
I had the huge honour of being able to hear American Doll Posse today at Sonybmg headquaters in Finland and I thought I shared the experience with you.
The album in simply put excellent! I can’t say anything bad of it honestly. Its like sitting on a rollercoaster ride and it starts easy and suddenly it goes to more rock oriented sounds. I think Tori managed to combine elements of all her previous albums and add some of her favourite artists influence in the mix (Glam rock, Led Zeppelin infulences can be heard). There is also one track that reminded me of 60’s pop and other that came close to modern country. There are more guitars here than ever before and partially the sound is more American than before, which isn’t a bad thing.
Also added in the mix are horns and a harp (I think). So it is much more varied than Beekeeper or Scarlet’s Walk. Gone is also time of being too political and back is warrior woman. I can honestly say, that this is much better than 2 previous albums. It has some short interludes so the way it’s been put together is in the same style as Boys For Pele.
In other words, this is an album worth of waiting!!!