I get it and all, I'm just not feeling it. I guess that is the delineating factor when it comes to Tori: you either feel it with her or you don't. This one... not so much. There are some great sounds on this CD but lyrically I just did not feel that it was cohesive. Mine, thus, is rather dusty.

This is Tori Amos' greatest album right after "Scarlet's Walk".

Though "Boys for Pele" is far more allegorical and purposely deeper than this album, "Choirgirl" is far more listenable and likely to be one record that pulls in more Tori fans from the mainstream. Part of this records' allure is the fairly simple song-writing (as simple as Tori can get - however, compare this to her weird lyrics on "The Beekeeper" and you'll find that she has become less coherent and comprehensible over the years), as well as the stellar production (certainly the best on an Amos record to date - yes, even better than her remastered "A Piano" collection from 2006).

"From the Choirgirl Hotel" is a decade old now, and it holds up infinitely better than some of Tori's works from this decade ("The Beekeeper" and "Strange Little Girls" being the usual suspects). It's a beautiful record, yes, but also the most melodic - in fact, the melodies here are more stark and obvious than her debut "Little Earthquakes" (which I consider inferior to this - am I in a minority?). Prime example of this is a song here called "Northern Lad" - a track where instrumentation, vocal, rhythm and melody all converge into one glorious package (replicated by her only years later on a track called "A Sorta Fairytale"). Its not an obvious choice for "best track of the album" but its pretty close.

The singles released from the album are generally wonderful - "Spark" which supposedly speaks of a miscarriage is a beautiful song both with and without its' message, and "Raspberry Swirl" is the first time Tori did electronica (this record in patches sounds more DJ Tiesto/Tricky than you'd expect) and it works. However, my favorites are the ones that are standard `album' tracks, often overlooked. Here are the best of the lot:

1. "Black Dove" - Any casual listener will find themselves fascinated by this quirky song. It has a very definite verse and chorus, but the message is not immediately clear. However, the line "And I have to get to Texas!" holds multiple meanings for various followers of Amos - I have my own interpretation of this. This song just works, don't ask me why.

2. "IIeee" - The unpronounceable song title aside, this is the best track, musically, off the album. Based on Native American chanting, Tori marries it to a thumping club bassline and the result is sheer magic.

3. "She's Your Cocaine" - This seems like something the Velvet Underground would have released - its that acidic and groundbreaking.

4. "Pandora's Aquarium" - Famous for the line "Ripples come and Ripples go, and Ripple back to me", this is the most undecipherable song on the album. As an album closer, its long (though not as long as "Yes, Anastasia" from "Under the Pink") - but I can't quite imagine the album working without this track.

There are so many albums (Tori Amos albums included) that don't work because of their length. Prime example of this would be "The Beekeeper" which is the only Tori album I have tried to love (so many times, in so many ways) - but that just didn't work because it was a weak album any way you cut it. "Choirgirl" on the other hand is a short and succinct album, one that you can put on repeat and find new ways to love everytime you play it.

This is one album where there is no filler or weak track, nor is there any sense of desperation or pretentiousness. Coming as it did after her masterwork "Boys for Pele" it showed us a new side of Tori, and won new legions of fans over. The great part is that even in this day and age, it holds up beautifully, and is a necessary document should you wish to track the progress of alternative music.

Finally, I would like you to understand that Tori Amos is primarily a pianist, not a vocalist, and this works to her advantage on this record. One reviewer got it right when he said that this album reeked of Rachmaninoff and Mahler (I would add Dvorak and Mozart to that list) because it bases its tunes and meter on classical symphonies, and adds rock instruments and the piano in a layered effect to create something totally new and different.

Take a chance on this album, and discover a whole new genre of music to embrace. In her vast catalog, this remains a most unique animal.

Five Stars. Recommended for listeners of all types of music.

Interestingly, in her first book, Tori Amos: Piece By Piece (2005), Amos admitted that her songwriting at the time of From The Choirgirl Hotel (1998) was not at its strongest.

The truth is that From The Choirgirl Hotel represented a radical shift in both Amos' songwriting and musical output. The primary focus of her first three albums, Little Earthquakes (1992), Under The Pink (1994), and Boys For Pele (1996) had been Amos herself. Deeply intimate, brazen, visceral, direct, and often unique in their simultaneously illuminating and bleak visions, the albums quickly attracted a rabid fan base that seemed to sense that, on songs like 'Cornflake Girl,' 'Past The Mission,' 'Bells For Her,' 'Blood Roses,' and 'Father Lucifer,' they were coming into contact with aspects of life and human nature rarely if ever acknowledged or expressed anywhere else.

The very important difference on From The Choirgirl Hotel was that Amos had largely subtracted her personal, intimate self from the mix. While the album was written after a painful miscarriage (a direct or indirect theme on several of the tracks, including the only genuinely outstanding composition, 'Playboy Mommy'), Amos had radically distanced her 'self' from her material.

From The Choigirl Hotel, which often sounds forced, is dominated by its music, not its vocals or lyrical content, but ironically, the music is less distinct, less original, and less beautiful than the instrumentation on her earlier works. Many of the songs have little meaning; the ballads are shallow and anemic, the 'rockers' shrill, absurd, and embarrassing.

Whereas the songs on Little Earthquakes, Under The Pink, and Boys For Pele often sound as if they were forged in a cauldron of spontaneity, inspiration, desperation, and reflection, those on From The Choirgirl Hotel sound concocted, manufactured, and assembled piecemeal.

While Amos would intermittently rear her genuine and intimate face on later albums To Venus and Back (1999) and Scarlet's Walk (2002), 2004's The Beekeeper would find Amos releasing almost an entire album of musical pastiches, an ongoing trend which also hobbles much of American Doll Posse (2007). After Boys For Pele, Amos began replacing emotional immediacy and honesty with politics, opinions, and awkwardly executed 'concepts.'

Amos would also begin perversely leave her most vital compositions off her albums. From The Choirgirl Hotel would have been vastly improved by the inclusion of the miraculous 'Cooling,' the wise, melancholy, and lyrically clever 'Purple People,' and the rousing 'Bachlorette,' all of which found meager existences as b-sides. In the years to follow, Amos would continue to deflect a number of her finest songs from public scrutiny, including 'Indian Summer,' 'Apollo's Frock,' 'Tombigbee,' 'Garlands,' 'Peeping Tommi,' and 'Dolphin Song.'

For some listeners, anything that Amos produces is satisfactory; others hugely prefer--and miss--the intimate, emotionally open-minded creative genius of the early period. From The Choirgirl Hotel was the pivotal crossroads at which Amos started producing more doughnut holes than doughnuts.

I found this album a great way to get back into the swing of listening to Tori. It had been years since I'd bought one of her albums, and so I decided to pick up the action here, where I'd left off. I enjoyed many of the tracks, though the album is an experience to be had in totality, as with her other albums. I expect I'll be picking up another Tori album in the coming year.

I love Tori Amos, even though sometimes she misses. This was a definate hit. Favorite Songs: Spart, Black Dove (January), Playboy Mommy, Jackie's Strength. Anytime you like this many songs on an album... you know it's a keeper.

This album is a must have for any Tori fan. My personal favorite is Liquid Diamons, and Pandora is a dear friend of mine.

Jason McCarley
Salt Lake City, Utah

"From the Choirgirl Hotel" barely edges out "Little Earthquakes" as my favorite Tori Amos album. Whether it's the snowy softness of "Black Dove" , the unique, pensive sounds of "Spark" and "Iiieee", the flowing melodies of "Jackie's Strength", or the lambent sensuality of "Cruel", all the songs make this album stand out.

Tori's songs are all thought-provoking and beautiful as always, but here she expands her reach a little. "Raspberry Swirl" is a departure from her distinctive soft piano sound, but still displays the unique brand of thoughtfulness and sheer strangeness that drew me to her music in the first place.

My personal favourite is still Boys For Pele, but sonically this is the most consistent album she's ever made. Beautiful, tight and deep rooted songs about the miscarriages that she suffered back in those days. So that's the concept for this one: the hurt and pain of loss and how to dance with it so that it doesn't destroy you. Every song is cathartic. A tour de force album!

Few albums I've listened to in my life have affected me as profoundly and as instantly as this one. The writing, the singing, the playing, and the production are all of extremely high quality. I tend to think of this as the bridge between Amos's earlier piano-centric work and her later forays into electronica and other more exotic music forms. I also tend to think of this as the album on which she peaked. After "From the Choirgirl Hotel," I never found Amos's work to be as inventive, original, and heartbreakingly beautiful again.

From The Choirgirl Hotel was the first new Tori I bought, years after my entire collection was stolen (see my review of the CD single for China for the full story, if you like) and I cast myself adrift in the world; I bought the cassette version in the fall of '98, and it was all I had to connect me to my own soul for awhile, living in the deep wastes of Roswell, NM. That tape got lost as well eventually, and for years I drifted. Then, when I finally landed in Austin, TX., managing to acquire some stability, this was the first record I bought, rather tentatively, when I started to rebuild. It had the virtue of being familiar, yet lacking the heavy baggage attached to her earlier ones (I'm a Toriphile going all the way back to '92), which, at the time, would only have made me dwell upon all the great singles I'd lost, never (or so I then thought) to see again. Whatever my reasoning, Choirgirl Hotel is a great record, right from the beginning. 'Spark' is a brilliant techno-symphony of emotional disturbance, ranking with her finest creations; 'Cruel' continues the theme but does so in a less Wagnerian, more danceable manner; 'Black Dove,' though it fits right in, moves more into the traditional Tori style of weird piano, fairy-tale noir we're all familiar with from Under the Pink And Boys For Pele. Little did I know when I first heard it that the 'but i have to get to TEXAS' part would later resonate so deeply in my own life, though I swear that even back then, that line did give me chills. . .
'Jackie's Strength' is a pleasant time-trip through Tori's memories, with an attendant theme that resonates through the last forty years of American life, macro-and-micro-cosms in perfect harmony. 'Iieee' is a vaguely Eastern-flavoured soundtrack to some deep human connexion coming apart, heavy on the religious imagery, contianing one of the record's (or, in my opinion, anyone's) best lines: 'We scream in cathedrals / Why can't it be beautiful?' I'm not sure what 'Liquid Diamonds' is about, but it's lovely anyway, slowing the record's pace and turning down the intensity a little, giving the listener (or the reviewer who's playing it as he writes, perhaps), a moment or two to think or breathe. Uh-oh, it's over; 'She's Your Cocaine' will not let me concentrate. Back in a few minutes. . .
Okay; I have returned. That is one of the sexiest, most perfect pieces of Rock I know of, and I'm quite well versed in these things. Aside from that, it reminds me of nearly every relationship with a woman I've ever been in, for better and worse. The next track, 'Northern Lad,' is a more traditional piece of Tori-torch-song magiic than most of this record, and alongside 'Spark,' 'Black Dove' and 'She's Your Cocaine,' the best it has on offer. 'Hotel' sounds like a chaotic piece of sexual angst with a tight, near military-cadence chorus; a very odd track, even for Tori, but one that keeps your attention. 'Playboy Mommy' is one of the most interseting lyrics on the record, partly because it makes literal sense, and partly for the story it tells of a daughter disapproving of her mother's wild past. It's a fun song with a good heart, and certainly reflects a situation that's been increasingly common since American women realised in the '60s and '70s that they have as much of a right to be interesting as men do; what more can I say? As any of you who've read my other reviews knows, quite a lot, actually.
And now we come to the closer, 'Pandora's Aquarium.' This tale of messed-up expectations allows you to relax a bit on the way out of this rather intense, high-voltage record, an excellent step forward from its predecessor, Boys For Pele, as well as an extension of its themes.
And as for my once lost collection? Well, this time, the CD of this record was only the beginning. thanks in part to local used record stores and in part to Amazon, I have not only recoverd most of what I lost, I've also managed to catch up with Tori's output in the years since. In fact, I've found the unfindable: a copy of Y Kan't Tori Read?! How's that for karma? Not bad at all, eh? Just remember: when you start something important in the middle, you can't just move forward: you must go both ways. From The Choirgirl Hotel illustrates this point very well.

You figure someone as talented and as unique as Tori Amos would polarize people. Such is life. I think she's brilliant, not only musically, but as a person as well. Spark is my favorite Tori song, and I love the denseness and the mystery of her music and lyrics. I always hated the whiny, indie rock of the 1990's exemplified by Lisa Loeb and Alanis Morrisette. I've always favoured Fiona Apple (who I think is astounding), and Tori. Tori is not like Fiona (and vice versa), but they are both accomplished and unique artists in their respective careers. This is my favorite of Tori's albums. She seems to grow on each successive album, and in a good way. She doesn't seem to buy into the celebrity aspects of the business, and seems intent on making her music better and better. I am in the cult of Tori, and quite proud of that. For those who dislike this vision for our ears, I suggest you open your ears wider. You're not listening...

Tori Amos is sure one talented woman! She's been releasing great albums all along her career combining her amazing voice with piano and subtle yet very emotional songwriting. This album is no exception! This time she adds some more interesting elements such as electronic sounds to enrich some of her songs. No matter what she does though the effect is simply amazing. While not as good as her earlier albums "From the Choirgirl Hotel" is a very nice addition to your Tori Amos catalogue and a very good album to own.

Really this cd gets about a 4.6 from me. I could do without a few songs even though non are bad.

I think FROM THE CHOIRGIRL HOTEL & LITTLE EARTHQUAKES are pure magic!

FTCH HAS A DIVERSE COLLECTION OF SONGS THAT INCLUDE BEAUTIFUL ATMOSPHERIC SONGS (LIQUID DIAMONDS, NORTHERN LAD), HARDER SONGS (SHE'S YOUR COCAINE, IIEEE), & SOME OF THE COOLEST VIBED SONGS EVER (HOTEL, RASBERRY SWIRL).

If I could only pick one Tori Amos cd to keep for the rest of my life, it would be my own compilation (ha-ha). I know, that is cheating. OK, if it had to be an original, it would be hard to choose between FTCH & LE. If forced, I'll pick Little Earthquakes (I think). Oh well.

Have you ever wondered what the "fuss" about Tori Amos was? Have you perhaps heard one of her more successful singles in recent years (say, A Sorta Fairytale or Sleeps With Butterflies) and perhaps, blasphemy of blasphemies, thought she was a bit lightweight, a bit trite, a bit, dare we say it, uninteresting?

Well, if you did think those things, you would be wrong, and From the Choirgirl Hotel is the album to prove that to you. Choirgirl is a lot of things, but lightweight is not one of those. It is a dark, dense, intense, harrowing, experimental and adventerous trip, where your guide is 1/2 Sylvia Plath and 1/2 Chopin, with dashes of Massive Attack and Jimmi-Hendrix-if-he-had-taken-up-piano (for flavour).

I am an unabashed Tori Amos fan. I will admit that I'm biased in her favour. I would rate all of her 8 major studio albums from "good" to "amazing," having come to her music as a hard-core piano student during the mid-90's, when songs like "Blood Roses" and "Father Lucifer" seemed more like Bach and Debussy than like anything else on the airwaves at the time.

But why chose this album, then, as it marks the now 8-year trend of Tori moving away from the baroque, challenging, symphonic compositions that characterized her first three albums? Choirgirl was the start of her break for the mainstream, a move that culminated in 2005's disappointing MOR-mush of "The Beekeeper." It seems rather odd that I would venerate it above all others.

I do so because, while 'Choirgirl' is one of Tori's most accessible albums (especially for fans of dark alternative rock), it also shows her at the top of her game as a songwriter and instrumentalist.

Even though, for the first time, the piano took a backseat in some songs and was entirely absent from one (the slinky, sexy "cruel"), this album also contains some of her most breath-taking passages at the keyboard. Listen to the bridges of "Spark" and "Black Dove," the improvisational sections of "Liquid Diamonds," the piano breakdown in the 4th section of the multi-movemental "Hotel," the lithe, graceful playing of "Jackie's Strength," and the accomplished jazz stylings of "Pandora's Aquarium." All of these moments stand as testament to the fact that Tori started her life in the world of music at age 3, as a child prodigy, and that, if she had applied herself in a different direction, she could legitimately make it as a concert pianist with a classical repetoire.

This album is hard-hitting. Each track is a gem; the weakest of the set would be a standout on any album by a lesser talent. What's more, she doesn't bog the album down with filler (as in "The Beekeeper") or sometimes lose herself in self-indulgent ramblings (as can be argued for "Boys for Pele"). Sure, the lyrical ambiguity is here as per usual, but the ratio of comprehensible metaphors to head-scratchers is balanced in the former's favour.

"From the Choirgirl Hotel" is tight. Over the 50-odd minutes it takes to play the album from start to finish, its 12 tracks are 12 musical punches to the gut, and if you give it your time and your attention, I'm sure you will finally understand what the fuss about Tori Amos is.

If you are, do you remember when you became a Tori fan? I do. It was when From The Choirgirl Hotel was released. I was listening to the radio one night when it was announced they were going to play a concert special featuring Tori Amos. I vaguely knew some of her songs, but really wasn't that interested. But since there was nothing else on, I listened anyway. And I'm glad I did. They first played selections of her previous songs, as a sort of build-up. Then they had a short interview with Tori. I thought it was cute but weird. Then they began with the concert. The first song played was "Black-Dove (January)". Being someone who is into darker songs, my ears pricked up. THe music, her voice, it hit me very hard. It was a while since I had heard good music on the radio, and I was so impressed. When the album came out, I rushed to get it. And I was not disappointed.

From the Choirgirl Hotel stems from a miscarrige Tori had on her previous tour. Tori was always known for her personal songs, and this one is no exception. I admire Tori for opening up herself this way. The events in her personal life are really none of our business, but she finds a way to speak to us...and for us, with her music. Choirgirl has a dark, watery feel to it, diving into Tori's grief and going through it with her til she finds her strength. If you put the songs into the booklet order, that is the original order that the songs her were written, and gives a better understanding of what she was going through, "piece by piece". I cannot recommend a better Tori Amos album to have, this is her quintessential album, both in accessibility and songwriting.

Another fine Tori CD,, Jackie's Strength is haunting and brings back old memories from that older era,, My other favorites are tracks 1,2,4,7.. enjoy!!..Chris

Yes I have to agree with all those who say,this is Tori's Greatest Recording!!!Every track is FABULOUS!!!!!The only one I am not in Love with is "Jackie's Strength"Liquid Diamonds...is fantastic,My Favorite I think,on the other hand!Raspberry Swirl is just Brilliant too.Hotel,is a Georgeously Mad,I Love Her soaring Vocals on this Track.She's your Cocaine, is Powerfully Sexy,Playboy Mommy..Tori's piano riffs are Wonderful on this Track.This C.D. Combines Tori's Mad Genius qualitys,with a degree of accessibility that Boys for Pele didn't have,Wow was that one out there.Don't get Me wrong I Loved"Boys for Pele"How could anyone not Love all that Harpsichord???But even Tori said about Her Music in a Rolling Stone interview that it was like Herring....an aquired taste...Boys for Pele was a Rough Pill to swallow in many ways,But Brilliant!!!!!The Choir Girl Hotel is a really Comfortable Place to stay!!!!!Tori's BEST EVER!!!!!!!

After being a little thrown off by Boys for Pele, I was not sure what to expect from Tori this time around. She changed so much between Under the Pink and Boys; I was delighted to find her journey had changed her even more on this album. She has a unique ability to drastically change directions on every new album and the versatiliy to actually make it work for her. Choirgirl easily became one of my most well-used discs of 1998 and beyond.

Spark is a good opener and was also the only song from this album that I heard played on the radio. (The station that played it is now defunct and I've never heard a Tori song played on air since. Wisconsin radio sucks!)

Cruel is a very sexy song that brings you into the world of someone who does things that she wishes she wouldn't do, but doesn't know how to stop herself. iieee is similar in sound to Cruel and would probably be a great song for a striptease! Raspberry Swirl is the most fun song with its driving beats and, ahem, unusual lyrics ("If you want inside her, well, boy you'd better make her raspberry swirl").

The ballads, such as they are, on this album (Tori's songs don't usually fall under such easy categorization as "ballads") are beautiful and tear inducing. I'll admit, I've cried while listening to [...] Mommy, a song about losing a child. Northern Lad has a similar effect on me, about trying to hold onto a relationship when the two people have very obviously grown apart. Jackie's Strength is one of my all-time favorite Tori songs, especially since I was just leaving my teenage years when this came out, and I could completely relate to the lyrics about sleepovers and needing to be anorexic in order to be popular. Black Dove not only combines Tori's piano virtuosity with some really rocking beats, it also has some very explicit imagery (the January girl was from "that tiny, kinda scary house").

Choirgirl also contains my least favorite of all Tori songs, She's Your Cocaine. I know everyone else seems to love this song, but I just can't stand to hear it and usually have to skip over it. It just doesn't agree with me I guess.

All the other songs on the album are excellent. Hotel is a dark bit of electronica and Liquid Diamonds and Pandora's Aquarium are somewhat jazzy little numbers.

All in all, this is top-notch Tori. Check out the B-sides from this album's singles, too. If you can get your hands on "Never Seen Blue" or "Bachelorette", definitely go for it. This was a great time for Tori.

From the choirgirl hotel is Tori's best and most personal album. All her albums are great but choirgirl is just so gorgeous and haunting. Spark is booming with intoxicating energy, Northern Lad is layered in extreme lovliness, and Jackie's Strength is my favorite song of the collection, lyrics like, "you're only popular with anorexia so i turn myself inside out in hope somone would see." The music before the chorus is incredible and it still gives me chills. Playboy Mommy is so sad and personal, you feel almost guilty listening to such a real and heartwrenching song. She's your cocaine is dripped in unrequited ecstasy the line, "And isn't true that devils end up like you, something safe for the picture frame." Tori knows what the heck she is doing. Choirgirl is a stunning achievement from the goddess of weird.

Tori hasn't been to lucky in love, and that's evident in the way she chooses to express her veiws on the so called luxury of life. As many critics have stated 'From the Choirgirl Hotel' is by far Tori Amos' BEST album to date. Her talent in both writing and vocals shine forth, dripping with sincerity from EVERY track. The opening 'Spark' which is the most infectious Amos song ever written (closly followed by 1,000 oceans and Carnival) talks candidly about the losing of a child and as Amos utters words like "are you sure where my spark is" and "she couldn't keep baby alive" you're almost brought to tears as you experience her loss. As has been mentioned, sex is Amos weapon of choice and she uses it brilliantly in songs like 'Cruel' and 'She's your Cocaine' where she bellows about the destructive, violent side of love. Songs like 'Liquid Diamonds' show her soft delicate side while the closer shows her unstibility. This album gives a great look at the beauty that is Tori and her wonderfull soul.

To start, my favourite Tori album used to be Pele, but "From The Choirgirl Hotel" has grown on me so much over the last four months that it has become not just my favourite Tori album, but one of my top-10 favourite albums of all time. As you know, the albums' subject is based on a hotel and each song represents one character staying at this hotel, which is a very strange subject matter indeed.

"Spark" begins the album. It is in my one of my favourite Tori sings of all-time (top-5 at least), and ironically was the first single to be released from this album, and was the only single to be released in the UK from this album, peaking at #16 there, #50 in Australia, and #49 in the US. This is an amazing song about Her miscarriage and the climax is also amazing. I wasn't sure of this song at first (or the entire album for that matter) but like the album, it has grown on me so much. "Cruel" is the second track. It was the fourth single in the US, but did not chart. It doesn't have any climaxes or big pitch or texture changes, which makes the song very dark and quite haunting - which is not to say that the song is bland, it is very complex. "Black Dove" is next and can be compared to "Spark" - they both feature similar instruments, have a great climax, repeated lines etc. This song has many time signature changes though.

"Raspberry Swirl" is one of my favourites, it is a dance song, it was the third single it the US, failing to chart. It is one of my favourites because it is just so strange and crazy, not to mention the video clip is one of my favourites ever! "Jackie's Strength" was the second single in the US, peaking at #54, which is her second highest-peaking single in that country, just behind spark. This is one of my favourite Tori ballads with Winter and Josephine. I am beginning to wonder if this song is based on a young adults / teenagers point of view. "Iieee" is another out-of-control song which is just really distorted and unique to say the least. Defiantly one of my favourites!

"Liquid Diamonds" slows the album down a bit, and was an early favourite for me. It is very laid-back (quite the opposite to the previous track), and it is sung beautifully. "She's Your Cocaine" should have been released as a single in my opinion (or can't they say the word 'cocaine' on the radio - I know they can in Australia!) - it is radio friendly but at the same time a cool alternate track. A lot of changes in texture, pitch, and features some VERY strange lyrics. "Northern Lad" is the albums second real ballad, and yes, this is the song that gave the album a 'this recording contains explicit language which may cause offense' in Australia. It touches on conformity, anger and also love.

"Hotel" is fantastic. My second favourite song from here. And it is another crazy song (I just realized that this is one crazy album...). After the first verse there is this operatic, space music (and sorry I can't explain it very good - it is like nothing I have veer heard). And the third verse is the climax and it for me is the climax of the entire album. "Playboy Mommy" - another favourite. It is such a powerful song and defiantly a fan favourite. This sounds like the albums final song, but the album closes with "Pandora's Aquarium" (note that from Pele onwards Tori has always closed her albums with a slow ballad) which is another great song and is nothing to complain about - it has to grow on me though, it is very inaccessible.

I love the 98-99 period of the electronic Tori, and I think this period (especially Venus - album) is very underrated - it features some of Tori's best songs, but none of her worst.

10 / 10

Tori Amos is one of those artists who I have always respected even if I didn't necessarily enjoy her music. She's an attractive red-head with an amazing and passionate voice, a talented lyricist who sings about the woes of the ordinary woman in such an abstruse way that it makes sense. Yet in spite of all this, and in spite of numbers like "Cornflake Girl" which I found myself listening to over and over again, I never quite got into a lot of her music. Some of her longer ballads and piano pieces, while artfully constructed, made me impatient; I felt they were too long and lacked punch. That is why I was exciting when, on her fourth album, Tori Amos pushed her piano to the back of the studio and added some electronic instruments to the mix.

1. Spark-I have heard that this whole album was inspired by a miscarriage that Tori Amos suffered after touring with Alanis Morrissette. This song in particular seems to be about that, with haunting lines like, "She's convinced she can pull back the glaciers, but she couldn't keep Baby alive." It is a slow song that speeds up when the piano is introduced. (One of the best.)

2. Cruel-Another slow song that trips along and seems to taunt the listener with its chorus, "I can be cruel, I don't know why..." All right, although not a favorite.

3. Black-Dove (January)-A slow song. I'm not sure what this one is about, but it does draw the listener in with its plea, "But I have to get to Texas..."

4. Raspberry Swirl-The first fast track on the album, this one sort of has a techno feel to it. It also is rather explicit in its intentions and is apt to disconcert the more prudish a great deal. (Very good).

5. Jackie's Strength-A ballad. I really didn't like this song, but if you liked some of the slower songs on Tori Amos' other albums, you will probably enjoy this one.

6. I-i-e-e-e-This song sounds kind of like a chant, and is reminiscent of "Cruel", although somewhat better I think. According to an interview I heard, Tori Amos says it is inspired by her Native American ancestry.

7. Liquid Diamonds-Another slow song, and also the longest track on the album. Very good and sultry. One can't help but wonder what Amos is referring to as she murmurs, "I guess I'm another one of them, but I guess I can't take it personally."

8. She's Your Cocaine-Probably tied with "Spark" as my favorite track on the album. This one is true, trashy, classic garage rock, and Tori Amos totally gets into it and overly emotional.

9. Northern Lad-Another ballad. This one is okay, it's better than "Jackie's Strength".

10. Hotel-This song relies the most on electronica. It has a really surreal feel to it. I read in an interview that Tori Amos wrote this just before she got married when she was preparing to say goodbye to her single years. With its haunting musical bridge before the chorus and lines like, "You were wild, where are you now?" she paints a strangely evocative picture of her emotional state.

11. Playboy Mommy-A slow, yet sort of jazzy song. The second song on the album that is explicitly about Tori Amos' miscarriage. (Okay).

12. Pandora's Aquarium-The closing track on the album; very intriguing. Allegedly, this song is about a friend of Tori Amos' who was abused by her father. It relies mostly on piano music and Tori's voice which hauntingly intones, "I am not asking you to believe in me..." (Good).

All-in-all this is the best and most interesting album I have heard from Tori Amos. With it, she proves that she is willing to take risks with her music and go places no one ever would have suspected she would go. As with all of the Amos' albums, the characters, situations, and emotions, she is trying to express come alive in the listener's mind in unusual ways. Listen to this album and be willing to think about it and feel it.

This is Tori Amos' best work yet. Choirgirl is so emotional and raw, and it rocks at the same time. With hearwrenching tracks like Playboy Mommy, she uses music as a means of healing her soul from the trauma of her very real first miscarriage.
"Don't judge me so harsh little girl, you got a playboy mommy" she sings, " but you just tell them my name, you've got to cross that bridge all on your own" and " I'll say it here right by your grave, those angels can't ever take my place..."
I love this album for all these reasons. Tori Amos, Fiona Apple, Bjork, and underground phenomenons Corinna Fugate, and Raven.

This was the first Tori Amos album I heard after I saw the video for "Spark". I ran out and bought it, thinking it was her first cd. I know, I know. I'm one of "those" guys. But in my opinion, this is her best work. I like her on a piano like her earlier cds, but this cd has so much more to offer. You get the piano, you get wonderfully orchestrated songs and even a techno/dance floor style song. This has almost all of my favorite Tori Amos songs including the imortal "i i e e e" and "Hotel". a lot of this album is more fast paced than her previous recordings and I really wish she would have stayed with that trend. It's ok though, this album will always be in my collection. This happens to be the only vinyl record I own that isn't Pink Floyd or Led Zeppelin, so that says a lot.

From The Choirgirl Hotel is a dark and gloomy record, yet that doesn't stop it from being a masterpiece. I really have no idea how I got into Tori Amos' work, I just did and I have no regrets. Even though I only own two of her albums I definitely know more of her albums are going to soon be in my possession. I started out buying To Venus And Back, the album that follows this one, when I heard that she had released an album in the sort of genre of the studio material from "To Venus..." I decided I must have it. I love this album so much, it was immediate, unlike To Venus And Back which took two listens to truly love.

This album is very dark and influenced by her life experiences and most of all her miscarriages. Overall, this blend of different themes makes each song unique and special. This album is also a departure from her "girl & piano" persona. While she doesn't abandon the piano completely it makes for some quite enjoyable listening.

"Spark" is the lead single off the album, it is written primarily abpout her miscarriage/s. I really like this track, I love the lyrics the most. I also find the texture within her voice to be very provocative. The songs structure is also of note. "Cruel" is a more full on approach to electronica, and it works. I love the instrumentation and the simple lyrics.

One of the tracks that caught my attention first was "Black-Dove (January)". It's a beautiful string orientated ballad. The chorus is very explosive and leaves a lasting impact. The next track is a full-out assault of electronica, "Raspberry Swirl". It's very euphoric and sounds like she was on drugs when she was writing it. But that aside it is very good, it's really great actually.

Obviously written about the wife of JFK, "Jackie's Strength" is a departure from the electronica and a return to strings and Tori's signature piano. It's a haunting ballad. It has very good imagery in the lyrics. "i i e e e" is a weird track, firstly because of the title and the lyrics. It is a good song nonetheless and has an arabic-like string section in it.

"Liquid Diamonds" is a good track but not the best on the album. It just doesn't work at times. "She's Your Cocaine" on the other hand is great. It sounds really retro. It's the most rock-orientated track on the album, almost punk sounding.

"Northern Lad" is a beautiful piano ballad, it's beautiful yet is has a sense of angst in it. I love how Tori's voice is really longing for something in this song. "Hotel" is a weird, quirky track. It has many sections to it which gives it a great structure so that it's length doesn't deter you.

"Playboy Mommy" is another track obviously about her miscarriage/s. This song is probably my current favourite off the album, it's just full of raw human emotion. It seems like it was recorded just after Tori lost her child. I love the jazz sound that it has in parts. It also goes religious towards the end with the line "Gloria..., hosanna". To finish the album the song "Pandora's Aquarium" filters through your headphones. I admit this song took a while to grow on me. But now I love it in all its quirky and abstract beauty.

Overall, From The Choirgirl Hotel is a magnificent work of art. This was released in 1998 along with Madonna's Ray Of Light. Both these albums are good but Tori's is completely different from that album and from any album released in that year.
I recommend this album to anyone prepared to just sit down, alone and soak up all the emotion from this album. If you can manage this album, then go out and buy To Venus And Back.

But this album is the only one I actually ever bought from her. And why because it has some real good songs on here. People say cause Tori was trying something different on this album and I suppose so and that's why I think I like it. Tori is to me a very odd woman, but very talented obviously, yet I think she just isn't for me...but I do like a few songs from her and most are on here.

Spark was a grower but it grew to be a real good song, and Cruel is one of those songs that just hooks you from the beginning because of the way she sings it. Black Dove is amazingly well- done and the overall feel of the song is powerful. Raspberry swirl is just overall fun and catchy. Jackie's Strength was a grower too but it grew to be a very beautiful song that I do enjoy hearing.

And Northern Lad...I feel is probably one of her best, if not the best, song ever made by her. It is moving, beautiful, powerful and overall convinced me the most to buy this album. I love this song it is one of my ultimate fave songs so I got thank Tori for that.

Yet then there are some songs that I do not like on here...like iieee- this song makes me shudder. Liquid Diamonds is...meh. Nothing interesting and She's Your Cocaine is just all right but she uses her voice I feel real fingernails- on- a- chalkboard like and it drives me to quickly change tracks. Sometimes Tori uses her voice in the wrong way to me. In songs like Northern Lad I can hear a beautiful voice but then other times she uses it badly. The other tracks I didn't mention I don't listen to much either. But overall it is a three star album. The bad songs and the real good songs even it out.

I love this album. Tori has been a constant companion of mine since I first heard "Silent All These Years" on VH1 while I was an adolescent.

Her style has always been raw; violent and smooth, jerking changes in her songs and most often just her and a piano intersperced with cool guitar tricks, heavy cymbals and deep bass beats.

Here in this album you still find the piano slinger style with "Black Dove" "Northern Lad" and "Pandora's Aquarium" but there are new styles.

The production on ths album blows me away. Songs like "Raspberry Swirl" are a completely new style with typical Tori lyrics and a dance beat that is still pure, raw emotion.

I like to put this album in on nights when I can't sleep and I'm driving around town enjoying the night.

This opus is Tori's coming of age musically where she incorproates all her styles seamlessly. Never heard Tori? Start here. Been a longtime fan? YOU MUST OWN THIS ONE!

"Spark" and "Jackie's Strength" remind me of the "Little Earthquakes" LP, "Cruel" is a little more "Under the Pink". This album is missing some of the darkness you found on the "Boys for Pele" LP but her heartfelt lyrics more than make up for it.

Enjoy!

I Honestley had problems with this album when it came out back it 98. I liked alot of the songs fine but it seemed to be lacking the emotion I wanted more from my her. I guess I thought my Tori Trance was wearing off but then I heard some of the songs live again and realized she still rocks! I havent had a problem with this album since and with all that said this is one of my favorite Tori Amos albums. Liquid Diamonds has remained one of my favorite songs Tori has ever recorded as well as Pandora. I always Thought it was a Crime that IIee was not put on the venus live album. Hotel remains a classic as well. you won't want to miss this one!

I have a hard time when someone asks me about my favorite Tori Amos album. Which one is it this week? I will say I do actually love all of her albums, but BOYS FOR PELE and FROM THE CHOIRGIRL HOTEL usually fight it out. Most of the times CHOIRGIRL is the winner.

Electronica Tori is a beautiful experiment. She still features her lover, the piano but took advantage of the sound at the time. The amazing thing is that CHOIRGIRL doesn't sound dated like most electronica albums do now. Actually I think it would probably be even more successful now than her current release. Don't get me wrong, I do love THE BEEKEEPER and I listen to it often. I just feel a deeper connection with this album. Lyrically it is one of Tori's best works. She's confused and inspired so many by her lyrics, CHOIRGIRL speaks to me in a entirely different way. I love every song.

Buy the cd for these songs alone...Cruel, Black-Dove, Raspberry Swirl, Iieee (especially this one!), Liquid Diamonds, Playboy Mommy....
Of coarse these are excellent tracks...Spark, She's Your Cocaine, Northern Lad, Hotel, Pandora's Aquarium...
Jackie's Strength is not my favorite song on the album and seems to be the black sheep (or should I say the white sheep considering the other girls are black sheep hiding out in the CHOIRGIRL HOTEL). It's still a good song, just doesn't quite fit in.

The only thing I would add to CHOIRGIRL would be two b-sides from the Spark single. Bachelorette and Purple People. These tracks would fit perfectly in the HOTEL. If you do not own these songs, look for the Spark single with them on it. This is mandatory. These songs are some of the best b-sides ever to be called b-sides. You won't regret it.

FROM THE CHOIRGIRL HOTEL artwork is my favorite of all the Tori albums. Such a dark and gothic feel.
If you only buy one Tori Amos cd, make this the one. You won't be disappointed.

This is the only album I own which doesn't have a dull track.
Ironically, I have sooooooo many albums where I think to myself: "If this dull track wasn't there, this CD would really be special....."

Anyway, now to the review.
Spark is the the lead single of the album and it peaked at #16 in the UK. It is the opener and is mine and most peoples favourite on this album. I especially like the third verse when the song gets faster. It is probably the climax of the whole album. 10/10
Cruel follows and is another outstanding song. It was the fourth single (although like all of the other singles from this album except Spark, was only released in the US). It is the most 'darkest' songs of Tori's career and is one of the main reasons why I like it so much. 10/10
Black Dove follows and it is particularly..... chilling when she sings "On the other side of the galaxy....." - it is another climax. 9.5/10
Raspberry Swirl is the only dance song on this album and is has a great video. It was the third US single. One of my all time favourite Tori lines is" "If you want inside her well, boy you better make her raspberry swirl". Classic. 9/10.
Jackie's Strength is my all-time favourite Tori Amos ballad (except for maybe Horses, but that really isn't a ballad that much..... and I also love Mohammad My Friend, but this is not a BFP review!.....) Now to get on-topic again. I really like the meaning of this song and it was the third single taken from this album 10/10
Iieee is another standout. It could almost be a rock song, as it features a VERY strong an lous chorus, like Precious Things..... 10/10
Liquid Diamonds is underrated. It is the longest song on this album going for more than 6 minutes, but this is always a positive thing! Whilest most chorus are usually more up-tempo than the chorus, this song is the opposite significantly which makes it original. 9.5/10
She's Your Cociane is a lot more up-tempo and thus different from the other tracks and 'thus' took a while to grow on me. Compared with the other songs it is great, but not fantastic. It has some funny lines. I especially like the line "Bring you sister...." 9/10
Northern Lad is one of my least favourite but it is still very good. It is the song which gave the CD a 'This recording contains explicit language which may cause offense" label here in Australia. 8.5/10
Hotel is one of my three favourites on the album. The chorus is just so unique, and almost operatic. I still don't know the time signiture for it..... It may be just randomness, who knows. It is definatly the most origianl on the album. 10/10
Playboy Mommy (mummy) is my fourth favourite and usually the fans favourite with Spark. If I was Tori, I would have cut the next track (Playboy mommy which is the lowpoint, but far from average) because this song sounds so much like a closer, and it is also fantastic, and not a ballad, and most Tori albums end with a ballad, so this one could be different......

Therefore, this is a very very very good album and is my second favourite Tori album. I only have 6 (they are so closely ranked) and there ranked as below
Boys For Pele
From The Choirgilr Hotel
Under The Pink
Scarlets Walk
The Beekeeper
Little Earthquakes (which I absolutely love)
I really look forward to purchasing To Venus And Back and Strange Little Girls as Tori IS my favourite artist/band etc of all time, after Bjork and Goldfrapp.

96%

Thankyou.

Tori Amos' works have always explored the human soul, going deep and trying to emerge with some kind of light. This album however came from a much more personal place. Prior to recording Choirgirl, she suffered three miscarriages and a subsequent period of depression. The album documents the journey of the character and her effort to feel alive again. And it is an effort that is every bit as heart-wrenching, haunted and desperate as can be.
Using the concept of a hotel, each song being a character who lives in it, Tori Amos creates a mosaic of astonishing insight and depth.
The album is inspiring. Like great works of art, it makes the listener feel soothed and much less alone, while tackling themes such as loss, grief, abuse, a ruined childhood, sexual manipulation, rejection and codependence.
Sonically, it incorporates many elements of electronic music and the band has much more of a role to play on this album compared to her previous, piano based works. Lyrically, her poetic voice is stronger than it's ever been despite coming from a person broken into pieces.
I cannot rave highly enough about this album.

Highlights: Black Dove (January), Liquid Diamonds, Pandora's Aquarium

I can't believe I didn't listen to this album sooner. This is truly a wonderful, solid piece of work. Every track is a masterpiece. It's hard to pick out my favorites. If you don't know any of Tori's work, this would be a good place to start. I would certainly recommend this CD.

If you are not familiar with Tori, this is an excellent starter album. Her first with a band, the music has a rocking, dark sound. A couple of the songs are about Tori's miscarriages (including my absolute favourite, "Spark") and "Pandora's Aquarium" is about one of her best friends who was raped by her father. If you like songs with heavy, intellectual meaning, you will enjoy Tori's wonderfully poetic lyrics.
Great Tracks include but are not limited to:
Spark
Raspberry Swirl
She's Your Cocaine
Playboy Mommy
All of her albums are excellent as well. I reccomend each and every one.

Spark - 10/10
Cruel - 10/10
Black-Dove (January) - 10/10
Raspberry Swirl - 10/10
Jackie's Strength - 10/10
i i e e e - 10/10
Liquid Diamonds - 10/10
She's Your Cocaine - 9/10
Northern Lad - 10/10
Hotel - 10/10
Playboy Mommy - 10/10
Pandora's Aquarium - 9/10

118/120

My Top 5...
1) Cruel
2) i i e e e
3) Black-Dove (January)
4) Spark
5) Jackie's Strength

Out of all Tori's albums, I would say that this is the one I took to the quickest. It is also, at this moment, my favourite Tori Amos record. After the critical and commercial success of her first three studio albums "Little Earthquakes," "Under The Pink" and "Boys For Pele," Tori Amos returned in 1998 with her fourth album "From The Choirgirl Hotel." It was an album that divided a few fans, but the majority of fans loved it and Tori also picked up a large new audience because she dabbled with electronica on this album. This record took a very big turn from anything Tori had done in the past, and instantly reminded me of Alanis Morissette's "Supposed Former Infatuation Junkie." Since that is one of my favourite albums ever, I knew that this was going to become my favourite Tori Amos album!

This album is my favourite one by Tori because it works so well as a whole. Sure, Tori's best ever songs aren't all on this album, but as an entire album it's a total work of art. It's powerful, evocative, sorrowful, emotional and harrowing. The album art work is also absolutely beautiful and so striking - the images of Tori are amazing and the way the lyrics are arranged and printed is very aesthetically pleasing. I know you shouldn't judge a book (or album) by it's cover, but the art work of this album is so perfect for the music on here.

The album opens with the beautiful "Spark." This song is Tori's account of her unfortunate miscarriage a year before this album was released. Tori is questioning her ability to be a mother and also her realisation of what has happened. I love this song because Tori took something so harrowing and personal to herself and shared it with her adoring fanbase. For that, we love her all the more for having the strength to do so. "Cruel" is amazing and the way the instruments are arranged is awe-inspiring. The song has an incredibly dark feel to it as Tori questions her hatred that she sometimes feels towards people, and how she cuts herself off from anyone. The beat is dark and relentless, Tori's vocals strong and direct. There's also a great bridge section with lots of wailing. "Black-Dove (January)" is definitely one of the best songs of Tori's entire career. It starts off all dense and almost foggy, before Tori's sunlit vocals make things clearer. The way this song shifts mood is incredible and when you hear Tori singing "On the other side of the galaxy!" you're left feeling truly warmed by the sheer love she radiates!

"Raspberry Swirl" is a brilliant foray into dance-electronica, no doubt influenced by the success of the dance remix of "Professional Widow" which not only became a huge UK No.1, but pretty much revolutionized the club scene. This song has fast beats and shimmering, primal backing vocals. The lyrics are swift, sharp, controversial, saucy and most definitely acid-tongued! Tori rocks this song to the core. "Jackie's Strength" is definitely one of the best songs on the album, and one of the best ballads of Tori's career in my opinion. This is a near-perfect composition with a very beautiful piano introduction. Tori sings of how Jackie Kennedy coped with the assassination of JFK. Of course, this is Tori's interpretation of it and she really makes it very emotional. The addition of the strings in the chorus is a beautiful touch. "Iieee" is one of my favourites on the album. I just love the way the song begins with a really cool beat that just rolls in out of no where! The way Tori sings "I-i, eee-i-i, eee-i-i, eee-i-i!" is so cool, she sounds like a total Goddess. Well, she is, but you get my meaning! The rocking break out halfway through is amazing too.

What I love about "Liquid Diamonds" is the way it starts off, just with a superb bass that pounds and echoes, just out of no where, gradually becoming louder and louder. This song runs for more than six minutes, but I suppose it's the true epic of the album. Slow, but not too slow. It picks up pace but has a hook to it which keeps it balancing. "She's Your Cocaine" is a fantastic, funky, feel-good rocking anthem with a dirty bass and some eccentric vocals from Tori. She wails, "She's your cocaine, she's got you shaving your legs!" The bridge where everything becomes 'perfect' and harmonious is great, before things break down and Tori brings the listener back to her world. The song closes with the superb screeching of "Pleeeeease don't help me with this!" This was my favourite song when I first listened to the album, but not so much anymore. "Northern Lad" is a great ballad, very heavy with emotion and beauty. Tori sings about the basic break up of a relationship, but what makes this song so special to me is the way her vocals rise and fall ala Kate Bush-style in the chorus as she wails, "Because of the rain!" She also sings, "I feel this cake just isn't done," which could be a reference to "Baker Baker" from 1994's Under The Pink.

"Hotel" is a return to the electronica-style she perfected (yes, she bloody perfected it!) on this album. The programming is very evocative, and reminds me so much of something from Madonna's "Ray Of Light" which was released - interestingly - around the same time. The way the verses change in contrast to the operatic-vocal style of the chorus is great as well. A song that achieves the feeling of a wide, open space, as if Tori is on top of a mountain in the middle of the night in a storm. "Playboy Mommy" speaks for itself really. It's a classic, and a definite fan favourite. Another song about Tori's miscarriage, but this one is more blunt and to the point. Tori's vocals here are so strong and emotional. You can sense that raw, undiluted passion in her lyrics, especially as she sings, "Don't judge me so harsh little girl. You've got a playboy mommy, come home...But I'll be home, I'll be home, to take you in my arms." The album closes with "Pandora's Aquarium" which I feel is very underrated. I just can't help but adore Tori's vocals on this song. The lyrics are so visual and evocative, especially "Line me up in single file with all your grievances."

OVERALL GRADE: 10/10

This is one of the few albums where I love every song on it. Of course some are better than others, but the overall standard of this immaculate production is perfect. This was the first album where Tori used a full percussion set on most of the songs. The songs have a fuller effect to them, which also makes them more accessible. This isn't the reason why it's such a good album, though. It's such a good album based on the simple fact that the songs are exceptional. I'd definitely recommend From The Choirgirl Hotel or Little Earthquakes as the first album to buy if you're looking to get into Tori Amos and her life-changing music.