Customer Reviews

Under the Pink

5 star:		(157)
4 star:		(32)
3 star:		(11)
2 star:		(6)
1 star:		(2)

 

 

'Under The Pink' is the definate mid point in vision between the structured, catchy honest confession of 'Little Earthquakes' and the experimental, often formless cryptic 'Boys For Pele.' I feel that with her debut Tori didn't really show off her lyrical acrobats or experimental fancies as well as she was capable of (great album that 'LE' was.) 'BFP' almost had the opposite problems, Tori was at her creative peak, but at a peak that nobody could understand.

'Under The Pink' however, compromises between pop accessibility and creative progression. The lyrics here are definately more cryptic than Little Earthquakes and although are difficult to understand one can usually catch the general gist of most songs (Space Dog, however still baffles me.)In addition, where Tori's debut is very personal 'UTP' attempts the externalise her scope towards inter relationships in peer groups as well as having a good cheeky jab toward christianity.

Musically the album is at its most schitzophrenic, tempos change drastically, not only from track to track, but also within single tracks themselves. Hence 'Pretty Good Year' 'God' 'Cornflake Girl' and 'Space Dog' switch between fesity rock and soft balladry within a moment's notice. Tori experiements with industrial sounds in 'The Waitress' while in 'Bells For Her' she plays on a deconstructed 'prepared' piano that sounds more like clanging bells than a piano. Of course, it wouldn't be a Tori album without the piano and strings, 'Baker Baker' 'Icicle' and 'Cloud On My Tongue' are brilliant, and to a lesser extent 'Yes Anastasia' (which is technically great but fails to sustain my interest.)

Elsewhere, 'The Wrong Band' sounds like a cut off the Beatle's 'Abbey Road' album (hence its very bouncy and quirky) and Space Dog's upbeart parts sound like Blondie's Rapture. 'Past The Mission' with its impossibly catchy hook line, is perhaps my favorite extract from the album melodic wise. It used to be 'Cornflake Girl', but since I've heard that classic song (that everyone should know by now) so many thousands of times, Im starting to *gasp* tire of it (a year ago I would've considered that last comment impossible.)

Admittedly, I listen to 'Little Earthquakes' more than this one, since its a lot catchier and straight forward its more of an enjoyable listen. However, in terms of artistic vision and creative achievement, Under The Pink is a far superior album. If nothing else, the lyrics to 'God' and 'Icicle' will make you smile (just make sure you're not a god fearing christian.)

Before I begin, I say to people who hate an entire album because they find one song offensive- what do you want her to do, lie about her opinions and beliefs? Just because someone doesn't agree with you doesn't mean they're wrong, bad, or that the musical quality of this CD is compromised. If you want to only hear lyrics that agree with your own particular religious beliefs, go buy some good Christian music or something. *clears throat* Thank you.

Well, Under the Pink is brilliant. I adore Tori Amos for her piano playing as much as for anything else. Pretty Good year starts off the CD- beautiful piano, a light touch of strings, and a very powerful bridge in the middle. Next comes the song with the 'blasphemous' lyrics, God. "God sometimes you just don't come through/do you need a woman to look after you?" Its the fastest, most uptempo song on the CD, you can even dance to it if you feel so inclined. Bells For Her is played on a "pepared" (read 'destroyed') upright piano and is hauntingly beautiful. Past the Mission is the next song, and it has ot be one of my favorites. Guest vocalist Trent Reznor of Nine Inch Nails blends perfectly, making one of Tori's most melodic, gorgeous songs without being slow and sad. Baker Baker, the song after this, reminds me of a lullaby. The Wrong Band is the song after this. Its got a sorta light jazz feel, but Tori feels as if she's holding back on it- something I don't like. The Wrong Band is one of two songs on this CD I dislike. Now we come to "The Waitress". If people want a disturbing song, forget "God", go with "The Waitress". Its odd and a little spooky, but still quite cool. Next comes the best song (in my opinion) of the CD, CORNFLAKE GIRL! Uptempo jazz with the CD's second guest vocalist, Cornflake Girl will have you dancing and singing along. It will be sure to stick in your head for weeks! "Icicle" and "Cloud on my Tounge" are the two songs after this. They are both quite beautiful, girl and piano, sad slow songs. The odd Space Dog and the overly long Yes Anastasia round out the album.

The album isn't as cohesive as most of Tori's other works. Whereas Boys for Pele is tightly arranged, Pink seems helter-skelter in track arrangement, grouping songs that, in my opinion, would be better off next to songs on the other end of the album. But because the actual musical quality is so good, I give this CD 4 1/2 stars. Her second best work, after Boys for Pele, in my opinion, and one definently not to be missed, even if you only like Tori Amos a little bit. And remember, if you are offended by it, just don't listen to it! If you want a real shock, check out Boys for Pele, this CD makes that one look like a Sunday School Picnic when lyrics come into play. ^__^ Thanks for reading!

At some point in 1993, the year after her first solo record, Little Earthquakes, took both the US and UK by surprise, Tori Amos spent some time in the high desert. In Taos, New Mexico, no more (and perhaps less) than 200 miles from where I was living at the time (oh, if only I had known!), Tori recorded the tracks that would become her second masterpiece, Under the Pink. It was released the following February, to the great pleasure of yours truly and other odd people with superior taste, giving us a clear indication that this angel/daemon woman who had so blown our minds in '92 was planning on sticking around.
Right from the beginning, Under the Pink is as offbeat and intense as its predecessor. 'Pretty Good Year' opens with a whisper of soft piano and sweet sarcasm, erupts into a violent wail about 2/3 of the way through, then slips back into a peaceful melody on the way out. It's an amazing song, centred upon a letter Tori got from a male fan, complaining about how he didn't know what women wanted, and perhaps also commenting upon the quality of 1992 from her perspective. Next on the agenda is a bracing, rhythmic piece of experimental guitar rock, appropriately titled 'God,' suggesting that the seemingly P.O.ed Patriarch could use some TLC from a good woman, instantly alienating all fundamentalist Christians in four minutes or less, leading all of us who love Tori to breathe a sigh of relief. At least this ensures that we won't be pestered by pamphlet-carrying Protestants at any of her shows. . .
Next is one of the most musically gentle songs she ever wrote: 'Bells For Her,' which seems to be describing the difficulty of seeing either a close female friend or relative get her spirit stifled by some pushy male creature. The hauntingly mysterious 'Past the Mission' follows, featuring uncharacteristically soft backing vocals on the chorus from Trent Reznor. It is a beautiful song, one of my early favourites, and I refuse to even attempt to interpret its literal meaning. Listen to it, and do that for yourselves. 'Baker Baker' is the next one, another very pretty song detailing the difficulty of opening up to someone and being 'whole again' when great damage has been done to you. Those of us who know her story had no trouble interpreting this one; Tori was still dealing with the long aftershocks of a sexual assault in her past at this time. But one need not be a woman to understand this; many of us, male and female, have been hurt deeply by the aggression and general inhumanity of others, especially in a culture that rewards aggression and the tendency to distance oneself from others in so many ways. Tori has lead the way for many of us who are or were struggling to overcome one kind of other-inflicted damage or another; we are all more than grateful that she chose to share her own struggle through her art with the rest of us, as we are all closer to healing for it.
'The Wrong Band,' which has been described in other places as a cabaret song, is about a Washington, D.C. hooker Tori used to know who was involved with high officials and had her life threatened by them for knowing too much. It's a subtle indictment of the gangsters and hypocrites who call themselves our leaders that cuts like a scalpel: you don't feel it right away, but it most certainly bleeds. 'The Waitress' follows, a very funny song with a violent edge to it, perhaps about the kind of woman who either ignores or mistreats others of her own gender, saving all of her politeness and sweetness for men. The next song, 'Cornflake Girl,' is also about the evil that women do to other women; in fact, that's a theme that permeates much of this record. 'Icicle' comes next, a lovely song about masturbation to the image of Christ. Ah, Tori continues her sweet overtures to the Christian right. . .
I've never been sure what 'Cloud On My Tongue' is about; I'm convinced that 'Space Dog' is a commentary on our Presidents in general (it reminds me very much of Bush, Sr. for some reason), but the last song will get the rest of my time here. 'Yes, Anastasia' is a symphonic epic from the perspective of one of the red guards who killed the Romanovs in 1918 (I think. Maybe it was 1917.), detailing the whole scene. I think it still stands as one of the best things she's ever done. The last line is a good one not only for anyone approaching execution, but for anyone just delving into the work of Tori Amos: 'We'll see how brave you are.' And I think I'll leave you with that, encouraging you to come on in, but warning you at the same time. Can you deal with what Tori can show and tell you? Can you deal with what this music might bring up in your own heart and soul?
We'll see how brave you are.

This cd is a brilliant follow up album to "Little Earthquakes." Every single song on here is a masterpiece. All the songs are genius, lyrically and musically!

"Pretty Good Year" is just gorgeous and bitter sweet.

"God" questions the idea of why do bad things happen to good people. It also has a really nice rock edge to it.

"Bells for Her" is about the abuse that a friend of hers suffered, and the piano is absolutely haunting. The piano was deconstructed and then reconstructed and various metal cans and ball bearings were put in it to give it that sound.

"Past the Mission" has a jazzy sort of sound to it, kinda like carnival music and would be the type of song that would be radio friendly. Very beautiful. Trent Reznor from NIN also sings backup to Tori on this one.

"Baker Baker" is absolutely heart wrenching. Anyone who has ever had a tough breakup with someone will fall to pieces when hearing this.

"The Wrong Band" is another great song. A really great sound to this song.

"The Waitress" has such a hilarious song lyric in it. You'll have to hear for yourself, but once you hear it and laugh a bit, it's message is quite strong and has a lot of meaning behind it.

"Cornflake Girl" of course is the single of the album, a really radio friendly song and it is great to rock out to. Tori really goes to town on the piano in this one. Great music and really catchy lyrics! Great song to drive to!

"Icicle" has got to be one of my favorites from this album if not the favorite. The lyrics in this are just priceless. It's about realizing one's sexuality and growing up. A really beautiful song with nice piano work and Tori's voice is amazing.

"Cloud on my Tonge" is another gorgeous song. This one is sung with so much emotion.

"Space Dog" can only be described as funky and quirky. The lyrics are a bit off the wall, but that is what makes the song loveable.

"Yes, Anastasia" is a wonderful end to the cd. The lyrics and music are very dramatic.

Overall, this is such an incredible album! Rolling Stone magazine listed this as one of the essential albums to have in your cd collection, and I would also agree!

Tori Amos at her finest. I love all 4 Tori albums, but 'Under The Pink' is by far the best and most deliciously blasphemous. Tori adds different styles of playing, especially a classical style that would even make Bartok raise an eyebrow. Her piano ballads, like "Pretty Good Year", "Baker Baker", and "The Wrong Band" are quiet and refined, then suddenly explode with feral delight. Tori's vocals range from angelic and subtle to ferocious in upbeat songs like "The Waitress", "Past The Mission", the blasphemous "God", "Space Dog", and the evocative "Cornflake Girl". The piano cascades over Tori's emotional voice in "Bells For Her", "Cloud On My Tongue", and the intimately irreligious "Icicle". The most powerful song on the album is the 9:33 long "Yes, Anastasia". I love every song on this album. I give it the top rating and my utmost recommendations.

Tori Amos is either insane or a genius, or maybe a bit of both. Her lyrics are very interesting but you have to question if a normal person would think of such strange and at times deep statements. For example who other than Tori would say "racing turtles the grapefruit is winning". The way she plays piano reminds me of how an insane person thinks. It starts slow, than out of no where it goes crazy then its normal again. Normal people don't write songs like this.

Weather she's insane or genius, she uses it to make great music. This one of her best albums. Its probably her most quite and low kee. The album combines weird but undeiably entraping lyrics with original piano styles for a one of a kind album. Every song is great except "Cloud on My Tongue" (which is still a good song just not particularly innovative).

The first track "Pretty Good Year" is a great example of what I mean by fast then slow. It starts out very sad and gloomy then the bridge is steaming with anger then it goes right back into its gloominess. It's an amazing composition. "God" is a great song with more of rock sound. Some other Tori fan was saying this track was metal. Um, no. Anyways real good song, I love the way it has the quick little piano chords after she says "God sometimes you just don't come through". "Bells for Her" is indescribable. Its played on a old, jacked up piano to make one of the most haunting songs I've ever heard. "Past the Mission" is an interesting song with more of a poppy sound to it. Trent Reznor from Nine Inch Nails is featured on this song and is a good addition. The male vocals sound good here with Tori's give a strong feel. "Baker, Baker" is a song that will grow on you after time. The song is an amazing metaphor lyrically. Some of Tori's smartest lyrics on the album. "The Wrong Band" is a real swanky song. What I love about Tori is that she makes songs that other artists would shy away from cuz there not radio frenly or mainstream. This is a good example of that. "The Waitress" is a song about how Tori want to kill a waitress at a restaurant she works at but it's against her beliefs. It's one of her most aggressive songs to date. I never got why everyone loved "Cornflake Girl" so much but then one day it hit me how amazing the piano is in it. Very complex and original. "Icicle" is a highlight of the album. The piano is flat out amazing. The vocals feel like they're entering my body especially on the part "breeding the monster in our Easter dresses". "Space Dog" is another great track that shows what I mean by slow-fast change ups. The lyrics are highly entrapping. All the insterments sound very good on this track. One of the best all around songs. "Yes, Anastasia" is another song where the fast slow aspect comes into effect. The strings are very well composed. This song seems like it should be a theme song for some dramatic movie. Eerie thing I noticed although I'm sure most Tori fans noticed it a long time ago, is that end of the song Tori makes some weird clicking noise on the piano (not playing the piano I have no idea what it is) and the on Horses, the first track of the follow up album she make the same noise. Just a cool foot note.

Few albums have the power that this one has. I would have to say this is my second favorite Tori album, "Choir Girl" being first and "Little Earthquakes" being third. I know everyone loves "Little Earthquakes" and granted its a great album but I really think she textured her music much better on this album as well as this one being more cut down, less produced. Although I'm not one of those people who hates anything produced I just really like the raw feel of this album. Anyways if you like Tori Amos at all this is a must.

This is actually the first album of Tori Amos's that i bought. I didn't really know an awful lot about her music, so i didn't know what to expect. "Cornflake Girl" was the only song i had heard but i loved it so much i wanted to hear what else the girl can do. And, let me tell you, i was so impressed.

The Songs...

[1] Pretty Good Year

This song is such a great way to start the album. As soon as i heard the melody i was captivated, it's beautiful. I was listening to it with headphones on, so i had turned it up quite loud because it seemed to be a soft song. But wow, i was so surprised when it burst into a loud, powerful sound as she sings "Hey what's it gonna take till my baby's alright?" I love the unpredictability of that, it really makes the song have an impact on the listener, makes you sit up and pay attention.

[2]God

Another great song, very smart and sassy lyrics "God sometimes you just don't come through / do you need a woman to look after you?" It has a nice scratchy guitar sound and good beat/rhythm which sounds even better when played loud.

[3] Bells For Her

This one, although good, took me a little while to get into, probably because it was very quiet and muffled. Admittedly, this is deliberate, and creates the moody effect of the song, but i think it takes a few listens to warm up to. I like it now :)

[4] Past The Mission

I like the tune of this one, it's quite uplifting after the soft, subtle Bells For Her. Not too sure what it's about mind you, but i think that's part of the fun of Tori's music, different people can read differently into things and find different meanings.

[5] Baker Baker

Such a sad song. And yet i really like it. The lyrics are lovely and i love the simplicity of just the piano and Tori's voice. Her voice is really emotional and expressive and...gorgeous. Sorry i'm not very articulate. I particularly like the way it ends with "If you see him say...hi" it kind of breaks my heart...in a good way...i mean, it's touching.

[6]The Wrong Band

Heh heh, this one makes me jolly. It has a lively tune and i love singing along to it. I think it's about prostitutes, which is an interesting topic to sing about...and that's why I like it. It's...quirky.

[7] The Waitress

Okay at first this one didn't appeal to me at all. It's strange...i'm not at all good at defining musical techniques and instruments but there's some kind of weird shifting sound and eerie "uh-huh" voices and a big burst of noise for the chorus "But i believe in peace, bitch". Certainly different. Despite my initial reaction to it, however, the more i listen to it, the more i like it. It's really experimental and works well for what she's singing about. If you don't like it, keep trying and it might grow on you..perhaps.

[8] Cornflake Girl

Ahhh, my beloved Cornflake Girl. Not much to say apart form the fact that I love it. Love the tune. Love the funky whistling sound. Love the lyrics. Love it.

[9] Icicle

The piano starts off playing a really soft, gentle tune...a bit like a children's lullaby or something...really innocent sounding. Then it kind of builds up into quite a menacing pounding on the keys (which in my opinion sounds really good)
And then the main tune comes in, it's simple but captivating. I really like it, but i tend to skip it if a member of my family is in the room because...i think the words might worry them a bit! Bless them.

[10] Cloud On My Tongue

Seems to run on from Icicle effortlessly. I think this has a lovely melody, and her voice sounds so pretty. I especially like it when she sings "Don't stop now what you're doing..." It sounds really sweet and child-like.

[11] Space Dog

This one has a funky beat that makes me bop (yes, i bop) Not too sure what she's singing about, but the lyrics are interesting, "There's Colonel (sp?) Dirtyfishydishcloth" and "Racing turtles the grapefruit is winning" Perhaps it's about drugs? I don't know, but i like it alot.

[12] Yes, Anastasia

Now, i don't think this song gets enough credit. I really really really love it. Yes, that's three reallys. It is a big epic beast of a song, and it inspires me. It's got a varied structure...not predictable at all, always changing. The piano is hypnotising. And i love the contrast between her sweet singing, such as in "Show me the ways to button up buttons that have forgotten they're buttons..." and her rather more serious, almost menacing voice when she sings "we'll see how brave you are / we'll see how fast you'll be running" There's also a contrast in the piano playing itself, sometimes a light, breezy tune and at other times a powerful strong buildup of sound along with violins and things.

Although it's nine minutes long, i actually feel it's over the quickest out of all the songs on the album, probably because i love it so much. It ends the album on such a great note, and when she holds out the "we'll seeeeeee" note at the end, it leaves me breathless and gives me goosebumps. So stunning.

Conclusion...

As you can probably see, i am rather obsessed with this album. I think it's hypnotising, you have to give it your full attention in order to properly appreciate it. I bought Little Earthquakes after this one, and i love that one so much too, but i think Under The Pink will always be special to me because it was the album that first made me fall in love with Tori Amos and her amazing music. The music itself, the poetic lyrics and her voice...it's just perfection.

Sorry if i have bored you! I tend to go on a bit.
By the way if it interests you, i am 17 years old, so Tori can appeal to younger people. Mind you none of the people at my school have heard of her...
They don't know what they're missing out on!

xxx

Tori Amos is either insane or a genius, or maybe a bit of both. Her lyrics are very interesting but you have to question if a normal person would think of such strange and at times deep statements. For example who other than Tori would say "racing turtles the grapefruit is winning". The way she plays piano reminds me of how an insane person thinks. It starts slow, than out of no where it goes crazy then its normal again. Normal people don't write songs like this.

Weather she's insane or genius, she uses it to make great music. This one of her best albums. Its probably her most quite and low kee. The album combines weird but undeiably entraping lyrics with original piano styles for a one of a kind album. Every song is great except "Cloud on My Tongue" (which is still a good song just not particularly innovative).

The first track "Pretty Good Year" is a great example of what I mean by fast then slow. It starts out very sad and gloomy then the bridge is steaming with anger then it goes right back into its gloominess. It's an amazing composition. "God" is a great song with more of rock sound. Some other Tori fan was saying this track was metal. Um, no. Anyways real good song, I love the way it has the quick little piano chords after she says "God sometimes you just don't come through". "Bells for Her" is indescribable. Its played on a old, jacked up piano to make one of the most haunting songs I've ever heard. "Past the Mission" is an interesting song with more of a poppy sound to it. Trent Reznor from Nine Inch Nails is featured on this song and is a good addition. The male vocals sound good here with Tori's give a strong feel. "Baker, Baker" is a song that will grow on you after time. The song is an amazing metaphor lyrically. Some of Tori's smartest lyrics on the album. "The Wrong Band" is a real swanky song. What I love about Tori is that she makes songs that other artists would shy away from cuz there not radio frenly or mainstream. This is a good example of that. "The Waitress" is a song about how Tori want to kill a waitress at a restaurant she works at but it's against her beliefs. It's one of her most aggressive songs to date. I never got why everyone loved "Cornflake Girl" so much but then one day it hit me how amazing the piano is in it. Very complex and original. "Icicle" is a highlight of the album. The piano is flat out amazing. The vocals feel like they're entering my body especially on the part "breeding the monster in our Easter dresses". I always think this song has a strings onit when I hear it in my head but when I listen to it I realize its all the piano. "Space Dog" is another great track that shows what I mean by slow-fast change ups. The lyrics are highly entrapping. All the insterments sound very good on this track. One of the best all around songs. "Yes, Anastasia" is another song where the fast slow aspect comes into effect. The strings are very well composed. This song seems like it should be a theme song for some dramatic movie. Eerie thing I noticed although I'm sure most Tori fans noticed it a long time ago, is that end of the song Tori makes some weird clicking noise on the piano (not playing the piano I have no idea what it is) and the on Hoarsest, the first track of the follow up album she make the same noise. Just a cool footnote.

Few albums have the power that this one has. I would have to say this is my second favorite Tori album, "Choir Girl" being first and "Little Earthquakes" being third. I know everyone loves "Little Earthquakes" and granted its a great album but I really think she textured her music much better on this album as well as this one being more cut down, less produced. Although I'm not one of those people who hates anything produced I just really like the raw feel of this album. Anyways if you like Tori Amos at all this is a must.

There is no reason on earth why I should like this record. But I love it. And I have from the opening tinkling of Pretty Good Year the first time I heard it.

I don't know exactly what to say about this album. It is not only her best it is one of THE best I've heard in 10 years.

What I really love about this record is that you can listen to it straight through hundreds of times (I have), and still discover new layers to both the sound and the meaning. What keeps bringing me back, and what raises this record above (though not far above) her others, is not only the beauty of it, but its mystery. It is an evasive, complicated record that may at first sound monotonous to some, but reveals itself in phases with consecutive listenings.

I realize the pretention I'm assuming when I talk to lovingly about such a "feminine" record/ artist. Now forget what I just wrote. This record is not about women and how they hate and love men. Nor is it about women and how they hate and love women. Here comes the free cheese: it's about human relationships. And few musicians are saying things the way she is with the passion and god-given talent that Tori Amos is. See her live if you question the "talent" bit.

First things first: Under the Pink is not as good as Little Earthquakes. But considering Little Earthquakes is one of the most beautifully heartfelt albums I've ever heard (6/5 stars by Amazon's ratings), it's not like Under the Pink stood much of a chance. Nonetheless, it captures plenty of emotional power between Tori's emotive and elegant singing, her deeply personal lyrics, and her expressive piano playing.

Under the Pink is less accessible than Little Earthquakes. For the first several listens it's merely good, but it seems like the album's true greatness is bubbling below the surface, just explode and inundate the listener. The first 1/3 or so of the album hits you right away. "Pretty Good Year" is a gentle tune, and it moves into the witty and rocking "God," whose chorus contains an amazing hook. The beautiful "Bells for Her" is played on a weirdly tuned piano, but strangely enough the effect is chilling and stirring all at once. That harrowing chorus gives me goosebumps every time I hear it. "Past the Mission" features guest vocals by Trent Reznor from Nine Inch Nails, of all people. Surprisingly, he's a big contributor to the greatness of this track. The bouncy, light feeling choruses are juxtaposed with that slow, somber, and delicately sung chorus. During the chorus, Reznor's own whispered vocal lines layer Tori's lovely voice. The effect is very cool.

And then most people might listen to the rest of the album and not be excited. "What a good album this could have been," some will say, and go listen to something else. These people will not know what they missed. Although the later portion of the album are less approachable, it also offers the best songs in the long run. The astonishing 10 minute ballad "Yes, Anastasia" is particularly incredible, as is the one-two emotional punch of the back to back ballads, "Icicle" and "Cloud on My Tongue." The jazzy feel of "The Wrong Band" makes for a fun track, while "Space Dog" and "Cornflake Girl" are both hook-laden rockers. "Baker Baker" is a pretty song, and even my least favorite song on the album, "The Waitress," is enjoyable.

At first I thought Tori had toned down on the personal and emotional side of her songs, but it's just more subtle than before. The great stuff here is just as good as the good stuff on Little Earthquakes, and everything else is pretty darn close. A worthy, but not quite equal, follow-up to the yet unparalleled Little Earthquakes.