Happy Birthday American Doll Posse! Today you are 10! I can’t believe it! And you are more relevant than ever, perhaps. We’ll see if the theory of Native Invader being your sister record prevails. I lived in my favorite apartment in 2007 and remember walking to Target with amazing anticipation. I was worried they wouldn’t have it out right at opening (this is the day I discovered Target opens at 9:00, not 10:00)They only had the standard version though, which was great, but I wasn’t going to listen until I had both the standard and deluxe, which I couldn’t get until later in the day. But what an adventure! You may not be my fave Tori record, but the dolls are one of Tori’s finest achievements. Dragon and Smokey Joe are two of the best Tori songs ever. I always said if Father’s Son was any closer to Riders On the Storm melodically, She might get sued-but the similarity is part of why it’s another favorite. Big Wheel instantly reminded me of Sweet Home Alabama, and Teenage Hustling of Queen. It’s a testament to Tori’s genius that she can so deftly draw on these influences, and pay homage to them on a way that is so unique, so…Tori! Roosterspur Bridge is one of the best sad songs ever. Big Wheel and You Can Bring Your Dog are two of the most fun. You rock!! Here’s to many more amazing years to come. You might be the most important Tori record for helping us through the foreseeable future, so, cheers!! ❤️❤️

Photos 2-3 courtesy of Opal In The Rough, Omaha 2007


My instrumental cover of Smokey Joe is now available on YouTube!

“Big Wheel” is an iconic track and the lead single from Legentori Slaymos’ 9th studio album, American Doll Posse, released to critical acclaim in 2007, with Sputnik Music calling the album a “return to form— sort of,” while Rolling Stone praised Amos’ innovation, stating that “if you can ignore her fake posse, you’ll find this is Amos’ best album in many years.”

The song is a pounding power rock anthem that advocates for female autonomy, gives a confessional look into the dynamics of female sexuality, and speaks out against misogyny in the music industry. Amos reveals that she is dynamic, ever inventive, ever changing, and can rely on herself to stay on top— and ahead of her competition in the industry. 

The song, too hot for the radio, censored its most iconic moment by editing out Tori’s self-proclaimed “MILF” to “MIMI.” (Not to be confused with the pedestrian alter-ego of Mariah Carey). As a result, sales of the song plummeted, and “Big Wheel” didn’t even make the Billboard 100.

In light of the recent release of Unrepentant Geraldines, we are urging you to give a chance to the song that could have been.

Purchase copies on iTunes, gift them to your gay friends, request it on the radio!


What I’m trying to tell other women is they have their own version of the compartmentalised feminine which may have been repressed in each one of them. For many years I have been an image; that isn’t necessarily who I am completely. I have made certain choices and that doesn’t mean that those choices are the whole story. I think these women are showing me that I have not explored honest extensions of the self who are now as real as the redhead.


this version of ‘Devil and Gods’ is far more beautiful than the one that’s on her album.