| Tori Amos | Primary Artist, Piano, Vocals |
| Michael Allen Harrison | Violin |
| John Acevedo | Viola |
| Steve Caton | Guitar |
| Paulinho Da Costa | Percussion |
| Melissa "Missy" Hasin | Cello |
| Ezra Killinger | Violin |
| Dane Little | Cello |
| Cynthia Morrow | Viola |
| Carlo Nuccio | Drums |
| George Porter Jr. | Bass |
| Chris Reutinger | Violin |
| Trent Reznor | Vocals |
| Jimbo Ross | Viola |
| Nancy Stein-Ross | Cello |
| John Philip Shenale | Strings, Hammond Organ |
| Francine Walsh | Violin |
| John Wittenberg | Violin |
| Nancy Roth | Violin |
| Tori Amos | Producer |
| John Beverly Jones | Engineer |
| Bob Ludwig | Mastering |
| Paul McKenna | Producer, Engineer |
| Eric Rosse | Producer, Engineer |
| Cindy Palmano | Art Direction |
Anonymous
Posted October 1, 2010
I haven't listened to this album in about 14 years, and I was wondering if it would hold up. I think that I might even appreciate it more now, which is hard to believe because my tape deck almost ate this cassette the first time around -- it was played so often! Remember sticking the pinky finger in the spiked holes of the cassette trying get all that black tape back around those wheels??????
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Posted October 1, 2010
Certainly, Tori Amos is compared with Kate Bush and Joni Mitchel. However, in my own opinion, she is also a sort of ''Female Morrissey with a Piano''. Like Morrissey, Tori combines poetic lyrics that move between the intimate/mope, the evocative and the incomformistic (and sometimes even agressive and provocative), combining those lyrics with sweet, accessible melodies. Unlike him, Tori changes the Mozzer's occasional sexual ambiguity for her ocassional proud feminism. ''Under the Pink'' confirmed the promise made by ''Little Earthquakes'', of having between us one of the most unique talents of the musical spectrum of our time. The themes here gained more complexity than in ''Little Earthquakes'', and the lyrics, if still intimate, were as based in Tori's observation as it was in her own experiences. This is one of the most intimate albums of 1994, along with Morrissey's ''Vauxhall and I'' and Portishead's ''Dummy''. The former is definitely ''Under The Pink'''s closest sibling (basing on the dates of release of both albums, sometimes I wonder if ''Vauxhall'' is Moz's answer to ''Pink''). Both albums combine an exquisite, witty lyricism full of an imagery that is evocative as much as disturbing, with very sweet and delicate, yet complex melodies. But let's concentrate now in ''Under The Pink''. Among its highlights, we can count here, the nostalgic ''Pretty Good Year'', the darkly moving ''Bells For Her'', the sweetly violent ''Past the Mission'' in which NIN's Trent Reznor's whispering voice sounds witty while joining Tori's; the emotional ''Baker Baker'' and (the Winter-like) ''Cloud on My Tongue'', both causing a melancholic effect with a cleverly managed piano and string section; the violent ''The Waitress'', a very rocker song, the daring ''Space Dog'' and the irreverent ''God'' and ''Icicle''. In short, ''Under The Pink'' is a unique album, full of emotion, clever lyricism and witty romanticism, highly recommended for those who look for music with depth and beauty.
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Posted October 1, 2010
Tori Amos' second release ''Under the Pink'' is also coincidentally her second best album, behind her debut, the classic ''Little Earthquakes''. ''Pink'' isn't as stark and topically it's all over the map (femininity, religion, sexuality), but there are a number of beautifully rendered songs, including the best she's ever written, ''Pretty Good Year''.
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Posted October 1, 2010
this cd is very good. lots of songs with just tori and her piano, then some great ones with the band, cornflake girl, for example. excellent.
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Posted October 1, 2010
1994¿s Under The Pink would be no mere Earthquakes aftershock; it would have a sound and a soul all its own. The songs¿ edges were sharper; the footholds fewer and less forgiving. And the lyrics, well, let¿s just say: The lyrics got weirder. Essentially a series of oblique soliloquies, Pink reveled in its own relentless eclecticism ¿ fusing the soufflé-fragile ¿Baker Baker¿ with the how-many-clowns-can-you-fit-in-a-phone-booth calliope accoutrements of ¿The Wrong Band¿; and wedding the venomous ¿The Waitress¿ to the jaunty call to non-conformity ¿Cornflake Girl¿ ¿ one of a half-dozen of Amos¿ signature songs. ¿Come along now, little darlin¿/Come along now with me¿ Amos playfully prompted on the nine-and-a-half minute closing opus ¿Yes, Anastasia.¿ ¿We¿ll see how brave you are/We¿ll see how fast you¿ll be running.¿ Indeed, a certain reserve of blind faith and bravery would prove indispensable when delving into Amos¿ next schizophrenically scattershot song-cycle, Boys For Pele.
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Posted November 22, 2009
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Posted January 31, 2009
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Posted October 17, 2008
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Posted December 28, 2010
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Editorial Reviews
All Music Guide - MacKenzie Wilson
After sharing personal and emotional accounts on her stunning debut, Little Earthquakes, Tori Amos stirs those sensations up for an eclectic yet beautiful account of female security on Under the Pink. Being a woman, she's always in question of her actions, calling out and interrogating the opposite sex for her own pleasure. But it's not necessarily with a scolding tone. She's playful with her signature piano accompaniment, but allows for a twisted mess of guitars, violins, and bass loops, which are quite enigmatic like Kate Bush as well. "Baker Baker" and "Bells for Her" are aching with ballad-esque beauty, but the seething "The Waitress" sparks Amos' inner devil. ...