Amanda Palmer Steps Out From the Dresden Dolls to Discuss Her Listening Habits

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Photo by Beth Hommel

Amanda Palmer is just as theatrical on her 2008 solo album, Who Killed Amanda Palmer?, as she’s been as half of the Boston duo Dresden Dolls. But Palmer’s solo debut borrows more from Broadway and Tin Pan Alley than the Kurt Weill songbook that inspires the Dresden Dolls’ cabaret pop. Here’s what Palmer’s been listening to recently.

Tegan and Sara, Sainthood (Sire, 2009)

It’s growing on me fast, dude, it’s growing on me. The Con, their last one, is hard to beat, but this one is a weird ’80s-fest of pure joy. Not the ’80s you’re thinking of, either—the other ’80s, the forgotten ’80s. I love them.

Frank Sinatra, Come Dance With Me! (Capitol, 1959)

For whatever reason, I put this record on about a year ago and it stuck. I’ve tried other Frank, but this is it. This is the one.

...And You Will Know Us by the Trail of Dead, Worlds Apart (Interscope, 2005)

I’ve been re-listening to this one. Man alive, what a great album. Too overlooked for my taste—it should’ve been huge. Did their name scare people away?

Andre Previn conducting the Royal Philharmonic Orchestra, Tchaikovsky’s Piano Concerto No. 1 (Telarc, 1986)

Punk rock classical ear orgasm. I dare you to listen to the first 30 seconds of this after three glasses of wine and not at least sort of feel like crying or hugging a stranger. I’ve been working on playing this one for my New Year’s appearance with the Boston Pops Orchestra at Symphony Hall. It’s a bastard.

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