Tori Amos, FATHER LUCIFER – Speed Breakdown and How To Use Tempo Training – bpm maps, frequencies, YouTube explanation and performance of a sweet song in C# minor

declassified by matherton 08-13-2016

The song Father Lucifer as performed by Tori Amos was measured for tempo by undisclosed elements of the meanspeed® music company, a nonprofit, free and open place to learn math, music, and whatever else your family takes away from issues that some popular music and images may come up..


The reason I chose to highlight this song for measurement in a style that is a little perverse.  I say “perverse” having not to do with the song but with the care I take to get the tempo as “right” as I can.


Uploaded on May 28, 2010

Please read below the COMPLETE info about Tori thanks…..Amazing piano intro, makes me to fly , Tori Amos i looove you¡ LYRICS:Hi, hi… hmm…
Father Lucifer you never looked so sane.
You always did prefer the drizzle to the rain.
Tell me that you’re still in love with that Milkmaid.
How the Lizzies, how’s your Jesus Christ been hanging, ha.

Nothing’s gonna stop me from floating.
Nothing’s gonna stop me from floating.

Heh. He says he reckons I’m a watercolor stain.
He says I run and then I run from him and then I run.
He didn’t see me watching from the aeroplane.
He wiped a tear and then he threw away our appleseed.

Nothing’s gonna stop me from floating.
Nothing’s gonna stop me from floating.

Hey… yes…
Every day’s my wedding day.
Though baby’s still in his comatose state.
Die my own Easter eggs.
Just don’t go yet, just don’t go.
And Beenie lost the sunset but that’s okay.
Does Joe bring flowers to Marilyn’s grave?
And girls that eat pizza and never gain weight,
Never gain weight, never gain weight…

Go away where only glass Georgy Girl-
Your favorite skiddly-dee, and I’m G., yes,
Never go, go so fast…
Go wait, girl, on bead glass,
Georgy- she was your favorite,
There she goes… there she goes…
There she even goes home…

Maybe she’s hiding in her hideout.
Get a peek hiding her truffles.
Wearing those purple garters.
And girl I’ve got a condo in Hoboken.

Hi, mmm, mmm, yes… hum… mmm… hmm…
Father Lucifer you never looked so sane.
You always did prefer the drizzle to the rain.
Tell me that you’re still in love with that Milkmaid.
How the Lizzies, how’s your Jesus Christ been hanging. Hum, mmm…
Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American pianist, singer-songwriter and composer. She was at the forefront of a number of female singer-songwriters in the early 1990s and was noteworthy early in her career as one of the few alternative rock performers to use a piano as her primary instrument. Some of her charting singles include “Crucify”, “Silent All These Years”, “God”, “Cornflake Girl”, “Caught a Lite Sneeze”, “Professional Widow”, “Spark”, “1000 Oceans”, and “A Sorta Fairytale”, her most commercially successful single in the U.S. to date.
As of 2005, Amos had sold 12 million albums worldwide. She has been nominated for 8 Grammy Awards. Amos was also named one of People Magazine’s 50 Most Beautiful People in 1996.
Pandora’s Project was partly inspired by Tori Amos, a sexual violence survivor and the founder of RAINN, a US nationwide hotline for rape and abuse survivors (1-800-656-HOPE). When I was 19 years old and starting to come to grips with my own rape, it was the music of Tori Amos that brought me comfort. If I felt painfully alone, I would listen to her Little Earthquakes album on repeat; there was nothing more comforting than feeling like someone understood. I started Pandora’s at this time, as a way to reach out to others.
Tori said in an interview several years ago that often healing is “about realizing, painfully, you’ve kept that voice inside yourself, locked away from even yourself. And you step back and see that your jailer has changed faces. You realize you’ve become your own jailer.” That hit me hard, and I knew that while I was once a victim with no control over someone’s choice to rape me, I was now the one in the driver’s seat. I was a victim of rape, but I would only continue to be a victim of what happened if I allowed it. So I stopped letting it control me,It was in Los Angeles that Tori’s nightmare would happen. After playing a gig, she was approached by a male fan who needed a ride home. What would transpire over the next few hours is both deep tragedy, and music history. I will use a quote from Tori herself lay out the horror of that night for you. “I’ll never talk about it at this level again but let me ask you. Why have I survived that kind of night, when other women didn’t? How am I alive to tell you this tale when he was ready to slice me up? In the song I say it was Me and a Gun but it wasn’t a gun. It was a knife he had. And the idea was to take me to his friends and cut me up, and he kept telling me that, for hours. And if he hadn’t needed more drugs I would have been just one more news report, where you see the parents grieving for their daughter. And I was singing hymns, as I say in the song, because he told me to. I sang to stay alive. Yet I survived that torture, which left me urinating all over myself and left me paralyzed for years. That’s what that night was all about, mutilation, more than violation through sex.” Tori would bury this trauma deep inside herself for many years

Understanding that even a single note leaves millions of overtones, which means that a band playing a song is not going to have ONE precise tempo running through it.  In fact, though, I always felt a “groove” running through my favorite songs, and as I’ve grown to be, like, really old, most people I’ve spoken with or read about or in any way heard from Simon Cowell to my favorite aunt (Jersey shore of course – lifetime, born, raised, proud of), it is the “groove” of a band of a song that defines it as one where you give it that more than 2 seconds you give any other song, the song you’ll listen to.  The last band this happened for me was the Dave Matthews Band, where in the summer of 1995 I asked my from Grier to put some Phish on, as I heard about them but never actually heard them.  Grier puts on a CD – something about it stuck to, and with me right away.  Four seconds later, Grier removes the CD for a replacement, a Phish double CD from some venue or other.  The Phish played through, and with all due respect to that band, I liked the songs – did not love them, and I didn’t listen to much Phish afterwards.  I asked Grier, “Dude, what was that CD you put it before you put in the Phish CD?”


“Oh, that was Dave Matthews.  You said you wanted to hear some Phish so I took that right out.”  “Who is Dave Matthews?” I asked.  “Oh, that’s some band out of Virginia.”

Two weeks later, in the days when there were “record stores” where one went to “buy CDs” Going to retail stores was way modern then, the idea of digital music, the crispness of the sound was the best thing to happen to music since  stereo.  I remembered out of nowhere, since I was with “the Joe,” who always pays for music, oh, lemme ask the guy here, I heard of this guy named Dave Matthews in Philadelphia a couple of weeks ago.”


Turns out they had the CD, Under The Table And Dreaming, and when I got it home I played it nonstop from 5 pm until 4 am.  The song I had heard was ‘The Best Of What’s Around’ and the songs on the album were so fresh I thought about stopping this marathon until I read that their was no keyboard player in the band nor did one “appear”on the album.  The usual keyboard range was being taken by the person to whom this page was dedicated on the day he died in August 2008 (though the page has been up since August 2004).  The reason the reed and horn section of a band could earn the dedication of me, who’s like, a decent amateur drummer, a decent+ amateur keyboardist is that the drumming instruction video by Dave’s drummer, the amazingly fabulously great Carter Beauford and his priceless, but you can still but it for whatever amazon is getting for it now, instructional CD set.  Those instructional CDs – from that of a Carter, I was expecting more razzle-dazzle than Neil Pert on a bottle of speed.  What I saw and heard were the precise opposite.  I saw carter making the song so Full by laying down a reliable beat on a metronome (which one could never tell by naked ear, a sign of what a great musician can do – serious on that) that had a full tone, and as a member of the rhythm section had to have a special relationship with the melody section.  Well, as far as dave, his voice gives chances to syncopated with drums by voice, but by his own forthright admission that for him, his “[guitar is a rhythmic instrument].”


What that did for me was learned to truly listen*.  A drummer learns that there’s more to listening to the soloist and where they need help and where than there is in being the bug guy in the band just out to “put out a beat” – to me bands looking for that type of drummer never had much of a band anyway.


Lest I digress – it isn’t Twitter so I feel like taking off a wet bathing suit full of sand after a 45 minute uncomfortable car ride in traffic coming from a beach and being showed and naked and dry.  No limits on characters.  Oh boy.  Just a spell check.

In Father Lucifer, I heard a song that with hearing the lyrics sounded as though the piano in the left hand with perfectly voiced chords in C# minor and inventive beautiful counterpoint melody on top, complete when Tori uses a half step slur that a piano is always happy to hear (we can’t bend notes – Keith Jarrett wiggling his finger on the keys notwithstanding) when it does not sound gimmick-like or as a cheap blues slur, not that use any cheap tricks on the piano, as you have to – piano players are not very friendly with their tricks  even the YouTube videos with the keyboardists: they are always going to give that big trick, like, the one you hit Play for, in their next video, which, say it all together: never come.

And so I saw the words Father Lucifer and heard the song allowing the listener to  infer any imagined form of Satanism or at least benign atheism.  Hearing that just re-affirmed my personal taste and belief that the groove and rhythm and tone and melody all come before lyrics in the so-called “meaning” of a song.  It is still difficult for me not to hear the song as a sort of crush or smitten state of being happy and satisfied.