Engineers: Mark Hawkley, Marcel van Limbeek.

Recorded at Martian Engineering, Cornwall, England. Live tracks recorded in 1998.

TO VENUS AND BACK was nominated for the 2000 Grammy Award for Best Alternative Music Performance.

Personnel: Tori Amos (vocals, keyboards, synthesizer); Steve Caton (guitar); John Chamberlain (drums, percussion); Matt Chamberlain (drums); Andy Gray (programming).

Recording information: Martian Engineering, Cornwall E.

Photographer: Loren Haynes.

Originally intended as a rarities collection to tide fans over until she completed the follow-up to From the Choirgirl Hotel, the double-disc To Venus and Back mutated into something entirely different as Tori Amos worked on it. She experienced a sudden creative burst, writing 11 new songs. In light of these new tunes, she decided to devote the first disc of the collection to the fresh material, with the second dedicated to live material recorded during 1998. As such, it provides an interesting contrast. With Choirgirl, she decided to add muscle to her music by working with a full band, which naturally transformed her fragile, intimate songwriting into something weightier, or at least heavier. That much is evident from the live album, Still Orbiting, which puts many old favorites in a new light. The first disc, titled Venus Orbiting, proves that Amos is better in a more intimate setting. Ironically, the album was recorded with her touring band, but the arrangements aren't as showy as the live reworkings, and her songwriting is a bit more straightforward. That's not to say that she has changed direction or ironed out all her quirks -- her lyrics remain almost impenetrably cryptic, her songs follow elastic, unpredictable structures -- but she has returned to her strengths: namely, concentrating on ethereal, dream-like song-poems. She's still expanding her music, but letting it breathe naturally, resulting in her best, most cohesive record since Under the Pink. It's a bit of a shame that it's married to the live album, since that gives the impression that both discs are for hardcore fans. That's not the case at all -- Venus Orbiting will likely win back fans that have strayed from the fold in the past few years. ~ Stephen Thomas Erlewine

TO VENUS AND BACK pairs a disc of studio tracks with a disc of live concert recordings. The first disc features some of Amos' most electronic-sounding productions to date. Though her acrobatic singing is given its usual full rein, many of the studio songs feature intricate, effects-rich orchestrations. The album-opening "Bliss" begins as a windswept soundscape, only to open up into a hook-laden chorus. "Juarez" is an intoxicating stew of disembodied voices, roiling synthesizers, and propulsive percussion. "Glory of the '80s" visits a night of drug-fueled hedonism during a decade that defined excess. "Josephine" is a standout track that will appeal to fans of Amos' more open, piano-centered work.

The second disc culls tracks from Amos' 1998 Plugged Tour. The live rendering of "Cornflake Girl" is a particularly stirring affair, noteworthy for Amos' vocal bravura and for the cascading sheets of piano that she adds during the song's climax. Also featured is "Cooling," a track that Amos has never committed to album. No Tori Amos fan will want to be without TO VENUS AND BACK.