Personnel: Tori Amos (vocals, acoustic & electric pianos, keyboards); Jef Scott, Steve Caton (guitar, bass); John Chamberlin (mandolin); Eric Williams (ukulele, dulcimer); Will McGregor, Matthew Seligman (bass); Eric Rosse (drums, programming); Ed Green, Carlo Nuccio, Chris Hughes (drums); Paulinho DaCosta (percussion).

Producers: Davitt Sigerson, Tori Amos, Eric Rosse, Ian Stanley.

Engineers include: John Beverly Jones, Ian Stanley, Eric Rosse.

Includes music videos, live footage, and an interview.

With her haunting solo debut Little Earthquakes, Tori Amos carved the template for the female singer/songwriter movement of the '90s. Amos' delicate, prog rock piano work and confessional, poetically quirky lyrics invited close emotional connection, giving her a fanatical cult following and setting the stage for the Lilith Fair legions. But Little Earthquakes is no mere style-setter or feminine stereotype -- its intimacy is uncompromising, intense, and often far from comforting. Amos' musings on major personal issues -- religion, relationships, gender, childhood -- were just as likely to encompass rage, sarcasm, and defiant independence as pain or tenderness; sometimes, it all happened in the same song. The apex of that intimacy is the harrowing "Me and a Gun," where Amos strips away all the music, save for her own voice, and confronts the listener with the story of her own real-life rape; the free-associative lyrics come off as a heart-wrenching attempt to block out the ordeal. Little Earthquakes isn't always so stomach-churning, but it never seems less than deeply cathartic; it's the sound of a young woman (like the protagonist of "Silent All These Years") finally learning to use her own voice -- sort of the musical equivalent of Mary Pipher's Reviving Ophelia. That's why Amos draws strength from her relentless vulnerability, and that's why the constantly shifting emotions of the material never seem illogical -- Amos simply delights in the frankness of her own responses, whatever they might be. Though her subsequent albums were often very strong, Amos would never bare her soul quite so directly (or comprehensibly) as she did here, nor with such consistently focused results. Little Earthquakes is the most accessible work in Amos' catalog, and it's also the most influential and rewarding. ~ Steve Huey

With this debut, Tori Amos rose above the inevitable Kate Bush/Joni Mitchell comparisons, producing a stunning set of brutally honest and emotionally wrought songs. A skilled and imaginative pianist, Amos also proved a versatile vocalist, moving from whisper to scream in an instant. She concentrates on intimate stories of her religious upbringing, childhood traumas, and predominantly, sex, self-discovery and unhappy relationships. "Silent All These Years" was the first to hit a nerve with the public on single release, but all the tracks--memories of her father in "Winter," the bittersweet "Happy Phantom," the harrowing account of her own rape, "Me And A Gun"--combine to make this inspiring, if rarely comfortable, listening.

Rolling Stone (4/2/92, p.46) - 3.5 Stars - Very Good "...Amos' songs are smart, melodic and dramatic; the deeper you listen, the hotter they get... a gripping debut..."

Spin (9/99, p.134) - Ranked #31 in Spin Magazine's "90 Greatest Albums of the '90s."

Spin (9/99, p.134) - Ranked #31 in Spin Magazine's "90 Greatest Albums of the '90s."

Q (12/99, p.74) - Included in Q Magazine's "90 Best Albums Of The 1990s." Village Voice (3/2/93, p.5) - Ranked #36 in the Village Voice's list of the 40 Best Albums Of 1992.

Q (1/93, p.68) - Included in Q's list of the 50 Best Albums Of 1992.

Q (2/92, p.82) - 4 Stars - Excellent - "...[Amos can] write seemingly effortless melodies...Lyrically, she's something special: a granite-like hardness with a journalist's eye for detail and compassion..."