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Tori Amos is a very respected singer and songwriter, however in the thirteen years since her solo debut she has become a little pigeon-holed by her own distinctive style.  It may seem unfair to take the fact that Amos is extraordinarily talented in creating ethereal piano ballads as a negative, however a certain section of the listening public has taken sort of a been-there, done-that attitude to some of her more recent albums.  Not that Amos was not aware of that and trying to branch out in different directions — from the electronica of To Venus and Back to the faux-rock of some of the covers on Strange Little Girls like "Heart of Gold."  Amos returned to what she does best on her last album Scarlet's Walk — it was a sonic novel that flittered upon different styles but was couched in the familiar songcraft that has been her stock in trade.

So it is nice to report that while The Beekeeper keeps its eyes on Amos' strengths, it may be her most diverse recording so far, and yet her musical side trips seem organic.  It is also her most accessible album ever — and one of her best.  The first single, "Sleeps With Butterflies," signals the musical changes.  It is a simply gorgeous pop tune that is spiced with her other-worldly vocals.  "Sweet the Sting" has a charming bossa nova vibe which suits Amos' sultry vocals surprisingly well.  In "Witness," Amos sounds — dare I say it? — funky, which is not an adjective that often is trotted out for her.  "The Power of Orange Knickers" with guest vocalist Damien Rice starts off with a surprisingly simple sing-song nature before the instrumentation, vocals and production become more and more complex. 

The dramatic structure of "Ribbons Undone" give it the feeling of an abnormally savvy Broadway show tune.  "Cars and Guitars" has a sweet country swoon that is frankly sabotaged by Amos' sometimes-affected vocal, which distracts from the tune.  The traditional sweet gothic tinklings for which Amos is known for are represented in songs like the lovely "Original Sinsuality" and "General Joy." 

The Beekeeper is a nice little reminder that Tori Amos can still surprise us.  (3/05)

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Amos’ third album is her most commercial effort yet, which is not necessarily to say her best. Boys For Pele (named after an ancient God, not the South American Soccer star) is a good album, but like her second album, Under The Pink, it toils mightily under the shadows of her incredible debut album, Little Earthquakes.

It’s not fair to expect all of her work to live up to that apex, so let’s discuss the new one on its own merits, shall we? Musically and vocally the album is very strong. Amos makes the most of her compositions like the medley “Beauty Queen/Horses” with downshifts from an astringent intro into a soothing ballad. “Blood Roses” rides on a piano line that almost sounds like it is played on a harpsichord or organ. The rocker “Caught A Lite Sneeze” will be Amos’ biggest hit yet, fitting perfectly with the AAA format. Despite a few slow patches on Boys To Pele, Amos is still a talent to be reckoned with. (5/96)

Tori Amos-Under the Pink (Atlantic)