“I can remember where I come from.”
That line is from a 1992 Tori Amos song entitled “Mother,” a beautiful piano ballad about leaving home, or maybe leaving what you know. It’s really more of a plea than an assertion—a fear about forgetting what makes us who we are. The song, one of my personal favorites, is off her first album, Little Earthquakes, and now—22 years and 13 albums later—Tori brings that idea full circle with her latest LP, Unrepentant Geraldines. In the song “Oysters,” she sings, “I’m working my way back to me again.” Exploring the self or being self-aware is a common thread throughout all of her albums, but it resonates particularly strongly with Geraldines, in part because the album seems to be a return to form for her—that is, it’s more piano-based, simple storytelling/songwriting than some of her recent high-concept albums. I could easily hear a song like “Weatherman” nestled between the songs on 1994’s Under the Pink or “Selkie” sitting alongside the best of her early B-sides. Don’t get me wrong—this isn’t Tori trying to relive past glories; the songs are much fresher than if she were trying to replicate what she’s already done. Unrepentant Geraldines comes from a different place than any of her early work, from a maturity that only comes with time—whether that means writing about aging (“16 Shades of Blue”), being a mother (“Rose Dover” and “Promise”), or corporate greed/religious oppression (“Unrepentant Geraldines”). Her early work will always be my favorite, but I’m happy to have an album like Geraldines that, over 20 years after I first started listening to her, speaks to me.
If you’ve liked any of her previous work, I’d give this album a try. In addition to the CDs we have in our collection, you can find almost every Tori Amos album, including Unrepentant Geraldines, on Hoopla. What isn’t on Hoopla—Scarlet’s Walk, The Beekeeper, and American Doll Posse—is available on Freegal.