Tori Amos fought for her songs 30 years ago. Now she’s celebrating them.

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Tori Amos fought for her songs 30 years ago. Now she’s celebrating them.
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The singer is marking the anniversary of her album “Little Earthquakes” with a graphic novel version, which has Margaret Atwood and Neil Gaiman among its contributors

,” her breakthrough album. But an executive at Atlantic Records had listened to it and replied with a directive:“Erase the piano?” Amos says today, recounting the sting and the incredulity. “And replace them all with guitars?” She realized this was a creative crucible.

“I fought the battle with two knights at the Round Table,” she says. One was artist Rantz Hoseley, who was living in her L.A. bungalow while he pursued a storyboard job with the then-fledgling “The Simpsons.” And the other was rising writer Neil Gaiman. ,” also edited by Hoseley, in which dozens of creators produced stories inspired by Amos’s discography. Gaiman says “Comic Book Tattoo” proved influential, drawing other musical acts to the songs-as-comics format. Z2’s other recent art projects have included working with Gorillaz and “Weird Al” Yankovic.Hoseley now wanted to focus on Amos’s “Little Earthquakes” because he is still particularly moved by those songs.

The “Graphic Album” creators delve fully into Amos’s lyrics to produce evocative visions of mothers and mermaids, of anxiety demons and happy phantoms.interpreting Amos’s “Silent All These Years.” In the comic, beautifully rendered by Mack, a mermaid considers when to use her considerable power against a man rather than surrender strength.

The song that Hoseley was most concerned about assigning to a writer-artist was “Me and a Gun,” which Amos wrote about being raped at knifepoint when she was 21. Hoseley took a cassette of the then-unreleased “Earthquakes” songs to 1991’s San Diego Comic-Con and introduced himself to Gaiman. Once back in England, Gaiman popped in the tape of unreleased “Earthquakes” music without expectation and “was transfixed.” He soon was catching Amos perform at the Canal Brasserie in London. Gaiman recounts that life chapter in the book’s “Afterword” comic, in which he describes Amos as “my wisest friend.

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