Boys for Pele [Deluxe Edition]

Boys for Pele [Deluxe Edition]

by Tori AmosTori Amos

CD(Special Edition)

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Boys for Pele is the harshest and most challenging work in Tori Amos' catalog. However, it also stands as the most cathartic, nourishing, and artistically thrilling of her career. Birthed in the wake of a devastating breakup, Pele is a sprawling ode to the feminine, conjured in a whirlwind of pain that forced Amos to embark on a quest into the dark unknown to find the fire within that had been snuffed out by the men in her life. After her breakthrough confessional Little Earthquakes and the delicate impressions of Under the Pink, Amos struck out on her own for the first time, unfettered and uncompromised. Pele would be her debut at the helm as sole producer, a control she would maintain for the rest of her career. With that power, Amos was free to exorcize the demons as she saw fit. She did so with new additions to her arsenal: a harpsichord, brass flourishes, a choir, labyrinthine lyrics, and a pantheon of spirits summoned in the Louisiana bayou and the Irish countryside. It was a jarring shift. While unflinching songs like "Me and a Gun," "God," "Icicle," and "The Waitress" flirted with what was to come, Pele delved directly into the darkness, cleansing both her and the listener in ways that she hadn't before attempted. Like hitting an exposed nerve or an open wound, the rawness was striking. Following the sparse opener "Beauty Queen/Horses," the discord on "Blood Roses" shocks Pele to life with medieval harpsichord magic. That electricity surges throughout, most notably on "Professional Widow," a powerful dose of industrial-piano ferocity that holds nothing back in its demands for peace, love, and a little something extra. When her rage is restrained, the pain seeps through in quiet moments of devastation like "Hey Jupiter," "Putting the Damage On," "Doughnut Song," and the utterly heartbreaking "Marianne." While the first half of Pele houses the more immediate numbers, the back end of the LP provides rewards for the patient listener. From the rousing "In the Springtime of His Voodoo" to the funky "Little Amsterdam," Amos slowly crawls out from the underworld, nourishing her spirit with a Southern gospel choir on "Way Down" and finding bittersweet solace on "Twinkle." Although the album runs long -- and is emotionally exhausting in scope -- the shared journey is part of the experience, as listeners play the Dante to Amos' Virgil. Boys for Pele remains one of her very best works, timeless in its examination of pain, self-discovery, and acceptance. [The 2016 remastered Deluxe version offers slight improvements to the original recordings, bolstering the background effects and amplifying much of the low end, especially in the quieter spaces on "Hey Jupiter," "Muhammad My Friend," "Little Amsterdam," and "Putting the Damage On." However, unlike the revisions found on Tales of a Librarian, these refinements don't alter much. Except for the curious exclusion of "Samurai," the bonus disc compiles all the previously released B-sides from this prolific era -- even Armand van Helden's jarring "Professional Widow" remix -- as well as the live tracks found on the Hey Jupiter EP. For longtime fans, the most exciting inclusion is the legendary "To the Fair Motormaids of Japan." While the new "Talula" mix and the "Voodoo" snippet of "Rookery Ending" will please the completist crowd, "Motormaids" is good enough to warrant inclusion on the original album, sonically falling somewhere alongside "Cooling," "Doughnut Song," or even an Under the Pink B-side. These additional resources provide an even deeper insight into both Amos' psyche during the Pele years (especially on "Hungarian Wedding Song"), as well as the atmosphere in the studios during these sessions (like on the revealing "Amazing Grace/Til the Chicken," which features George Porter, Jr. and a brief allusion to the opening chords of "Past the Mission"). Even for fans who already own the bulk of this material, the reissue is worthwhile for these new glimpses into one of Amos' most defining and honest eras.] ~ Neil Z. Yeung

Product Details

Release Date: 11/18/2016
Label: Atlantic
UPC: 0081227947767
catalogNumber: 553145
Rank: 9555

Album Credits

Performance Credits

Tori Amos   Primary Artist,Harpsichord,Vocals
Nancy Shanks   Vocals
Sammy Berfect   Choir, Chorus
Steve Caton   Organ,Guitar,Mandolin,Electric Guitar
Mino Cinelu   Percussion
Alan Friedman   Organ
Brian Graber   Flugelhorn
Manu Katché   Drums
Craig Klein   Sousaphone
George Porter   Bass
Peter Willison   Musical Direction
Mark Mullins   Trombone
Scott Smalley   Conductor
James Watson   Trumpet,Conductor
Darryl Lewis   Choir, Chorus
Marcel VanLimbeek   Bells
Mark Sterling   Choir, Chorus
Tracy Griffin   Flugelhorn
Clarence Johnson   Soprano Saxophone,Tenor Saxophone
Bösendorfer   Organ,Clavichord,Harmonium,Harpsichord,Vocals
Gus McField   Choir, Chorus
James Crawford   Choir, Chorus
Jack Trimble   Choir, Chorus
Marvin Sterling   Choir, Chorus
Michael Deegan   Bagpipes
Bernard Quinn   Bagpipes

Technical Credits

Tori Amos   Arranger,Composer,Producer
Rupert Coulson   Recording Assistant
Alan Friedman   Programming,drum programming
Dave Peacock   Composer
George Porter   Composer
John Philip Shenale   Arranger
Mark Mullins   Horn Arrangements
Mark Hawley   Engineer
Scott Smalley   Orchestration
Marcel VanLimbeek   Engineer
Jim Albert   Recording Assistant
Traditional   Composer
Gavin Edwards   Liner Notes
Chas Hodges   Composer
Tania Staite   Harpsichord Technician
Paddy Cramise   Graphic Design
Paul Chesell   Graphic Design
Robin Mills   Recording Assistant

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