Under the Pink

Under the Pink

4.4 16
by Tori Amos
     
 

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Tori Amos'second full-length solo effort has often been considered a transitional album, a building on the success of Little Earthquakes that enabled her to pursue increasingly more adventurous releases in later years. As such, it has been unfairly neglected when in fact it has as good a claim as any to be one of the

Overview

Tori Amos'second full-length solo effort has often been considered a transitional album, a building on the success of Little Earthquakes that enabled her to pursue increasingly more adventurous releases in later years. As such, it has been unfairly neglected when in fact it has as good a claim as any to be one of the strongest, and maybe even the strongest, record she has put out. Able to appeal to a mass audience without being shoehorned into the incipient "adult album alternative" format that sprang to life in the mid-1990s, Amos combines some of her strongest melodies and lyrics with especially haunting and powerful arrangements to create an artistic success that stands on its own two feet. The best-known tracks are the two contemporaneous singles "God," a wicked critique of the deity armed with a stiff, heavy funk-rock arrangement, and "Cornflake Girl," a waltz-paced number with an unnerving whistle and stuttering vocal hook. While both memorable, they're actually among the weaker tracks when compared to some of the great numbers elsewhere on Under the Pink (other numbers that more openly misfire are "The Waitress," a strident and slightly bizarre rant at such a figure, and "Yes, Anastasia," which starts off nicely but runs a little too long). Opening number "Pretty Good Year" captures nostalgia and drama perfectly, a simple piano with light strings suddenly exploding into full orchestration before calming again. "Bells for Her" and "Icicle" both showcase what Amos can do with prepared piano, and "Past the Mission," with Trent Reznor guesting on gentle, affecting backing vocals, shifts between loping country and a beautifully arranged chorus. The secret winner, though, would have to be "Baker Baker," just Amos and piano, detailing the story of a departed love and working its cooking metaphor in just the right way.

Product Details

Release Date:
02/01/1994
Label:
Atlantic
UPC:
0075678256721
catalogNumber:
82567
Rank:
121920

Tracks

Album Credits

Performance Credits

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   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

Technical Credits

Tori Amos   Producer
John Beverly Jones   Engineer
Paul McKenna   Producer,Engineer
Eric Ivan Rosse   Producer,Engineer
Cindy Palmano   Art Direction

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Under the Pink 4.4 out of 5 based on 0 ratings. 15 reviews.
Anonymous More than 1 year ago
Guest More than 1 year ago
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.
Guest More than 1 year ago
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.
Guest More than 1 year ago
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''.
Guest More than 1 year ago
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.
Anonymous More than 1 year ago
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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