Under the Pink

( 16 )

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. ...
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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. She's quaint at first, but rages into a scalding vocal queen. It makes her even more a pioneer for female originality and independence. Singles such as "God" and "Cornflake Girl" are sultry and provocative, depicting that she's everything but shy. Under the Pink is typically melodic, but it contains a heavy desire. Amos is still breaking into something more definitive as both a woman and a singer/songwriter. The lyrical imagery is much more wide open, something that will become Amos' ever-changing swan song.
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Product Details

  • Release Date: 2/1/1994
  • Label: Atlantic
  • UPC: 075678256721
  • Catalog Number: 82567
  • Sales rank: 79,922

Tracks

Disc 1
  1. 1 Pretty Good Year (3:25)
  2. 2 God (3:58)
  3. 3 Bells for Her (5:20)
  4. 4 Past the Mission (4:05)
  5. 5 Baker Baker (3:20)
  6. 6 The Wrong Band (3:03)
  7. 7 The Waitress (3:09)
  8. 8 Cornflake Girl (5:06)
  9. 9 Icicle (5:47)
  10. 10 Cloud on My Tongue (4:44)
  11. 11 Space Dog (5:10)
  12. 12 Yes, Anastasia (9:33)
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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 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
Technical Credits
Tori Amos Producer
John Beverly Jones Engineer
Bob Ludwig Mastering
Paul McKenna Producer, Engineer
Eric Ivan Rosse Producer, Engineer
Cindy Palmano Art Direction
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Customer Reviews

Average Rating 4.5
( 16 )
Rating Distribution

5 Star

(10)

4 Star

(4)

3 Star

(1)

2 Star

(1)

1 Star

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Sort by: Showing all of 16 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Tori is Awesome!

    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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  • Anonymous

    Posted October 1, 2010

    One of the best and most emotional albums of 1994

    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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  • Anonymous

    Posted October 1, 2010

    Feminine Soul Captured ''Under the Pink''

    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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  • Anonymous

    Posted October 1, 2010

    tori amos rules.

    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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  • Anonymous

    Posted October 1, 2010

    Nearly Earthquake's equal

    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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  • Anonymous

    Posted October 23, 2009

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    Posted March 23, 2010

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    Posted December 3, 2008

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    Posted October 17, 2008

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    Posted January 31, 2009

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    Posted November 22, 2009

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    Posted November 22, 2009

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    Posted January 3, 2009

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    Posted February 6, 2009

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    Posted August 13, 2009

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    Posted December 28, 2010

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