構成数 | 1枚

合計収録時間 | 01:01:08

Personnel: Tori Amos (vocals); Joke Schonewille (harp); Seija Teeuwen, Herman Van Haaren, Lucja Domski, Vera Van Der Bie, Polina Cekov, Arlia de Ruiter, Vera Laporeva, Ruben Margarita, Dennis Koenders, Sarah Koch, Wim Kok, Marijn Rombout, Pauline Terlouw, Casper Donker, Elizabeth Liefkes-Cats, Pauline Marieke Koning, Marianne Van De Huevel, Feyona Van Lersel (violin); Isabella Petersen, Mieke Honingh, Norman Jansen, Iris Schut, Julia Jowett (viola); Annie Tangberg, Jascha Albracht, Jos Teeken, Maarten Jansen, Emile Visser, Wim Grin (cello); Mariel Van Den Bos, Janine Abbas, Marie-Cecile de Wit (flute); Marc Scholten, Paul van der Feen, Leo Janssen, Max Boeree, Jos Beeren (clarinet, saxophone); Martin De Ruiter, Willem Luijt (oboe); Martijn DeLaat, Ray Bruinsma, Ruud Breuls (trumpet); Roel Koster, Pieter Hunfeld (French horn); Bert Pfeiffer, Jan Oosting, Bart Van Lier (trombone); Martin van den Berg, Juliane Gralle (bass trombone); Jasper Soffers, Hans Vroomans (keyboards); Frank Wardenier, Eddy Koopman, Murk Jiskoot (percussion). Audio Mixers: Marcel VanLimbeek; Mark Hawley. Liner Note Author: Tori Amos. Recording information: Martian Engineering, Cornwall, UK; MCO Studio 3, Hilversum, NL. Photographers: Dennis Martin; Sean Mosher-Smith; Danielle Levitt. The release of Gold Dust was inevitable, and was recorded to celebrate the 20th anniversary of the release of Little Earthquakes, the album that established Tori Amos as one of the premier -- if not the premier -- singer/songwriters of her generation. Here she revisits songs from her catalog backed by the famed Metropole Orchestra conducted by Jules Buckley. Amos recorded live with the orchestra in the Netherlands, making it a greatest-hits comp with a twist. It works. The songs keep their inherent melodies and basic arrangements, and the Metropole Orchestra underscores the inherent drama in them without overwhelming them (no easy feat). While everyone will have her favorites -- or be disappointed about those that have been left out -- the arc of the album works quite well. Songs like "Marianne" and "Yes Anastasia" are as direct and compelling as ever. The title track, with its elegiac intro, is more elaborate, yet never gives in to excess. "Precious Things" is, if anything, more militant, even as it proclaims "let these precious things be." The gospel feel in the chords that introduce "Snow Cherries from France" are quickly supplanted by a near-theatrical feel. The set closes with "Girl Disappearing" from American Doll Posse. In this arrangement, subtler shades of meaning are coaxed from the lyric by the orchestra and by more elaborate piano flourishes from Amos. Gold Dust is another of Amos' dreams realized -- to record live with an orchestra -- and it is most certainly for her dedicated fans, who will no doubt find elements in these new versions to enjoy. ~ Thom Jurek