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4.6 out of 5 stars
4.6 out of 5 stars
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on 23 August 2017
Over the last few years I have been collecting Vinyl. Had to add a few Tori albums to the collection. This album is superb. I know that there were some issues with some pressings of the record but mine is totally fine and the sound is great. Obviously you have to play it loud
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on 13 April 2015
The second of Tori Amos' first set of reissues, "Under the pink" deluxe edition features the album's 12 original songs, adding 8 B-Sides, and 7 live tracks on an extra disc, all remastered for the first time. Presented in a gorgeous 8-panel gatefold digipack, and complete with artwork faithful to the exquisite minimalism of the original and liner notes, completists will treasure this, even though some will complain about certain songs recorded during the Pink sessions but missing from here. Fortunately, this reissue partly restores the mistake Tori regrets: the exclusion of fan-favourite "Honey" from the original tracklist. The song now appears on the second disc. "I kicked it off for "The wrong band". "Under the pink" wept when "Honey" wasn't on, and she still is angry with me about it", says Tori about it. "Black swan", is another welcome inclusion.

The repackage boasts fantastic sound, although some drowned vocals on "The wrong band" and "The waitress" are distracting (it could be my copy, though). Overall the quality has been significantly improved, the softer parts, especially, are transformed by the new dynamics, and the vocals are crystal clear. I, also, love the beautiful design on this, a little more than the "Earthquakes" set. The red-coloured discs make a nice contrast to the grey-coloured layout, yet, cannot help but wonder why could they not have been fittingly pink? Compiled with thought and detail, those minor song omissions, and the small audio issue aside, this is a pure delight to the eyes and ears, a precious collection absolutely worth purchasing, especially by those unable to obtain rare and out-of-print material. Perfect item for Tori beginners, too.

Quiet, cryptic, complex and captivating, "Under the pink" naturally has echoes of Tori Amos' hugely influential debut, despite being less accessible than its predecessor. Her haunting melodies, and quietly subversive lyrics, combined with some incredible piano-playing, and amazingly powerful vocals, make this her most remarkable and accomplished album in terms of artistic vision, and perhaps the most representative of her writing and performing style in the '90s, since she subsequently became a lot more diverse in style. This is one of those rare occasions where the term "life-changing" perfectly describes a record. Tori's unusual songwriting becomes even more fascinating on "Pink", thanks to her intentional, altering pronounciation of words which enhances the poetic and ambiguous nature of her lyrics, further contributing to its allure.

For all her lyrical and vocal eccentricities, though, one cannot fault her unorthodox musical invention, in choosing to base the better part of the album's 57 minutes around only a piano, and effortlessly succeed in sounding totally compelling. Seeing her at her most delicately raw, "Under the pink" exhibits her creative genius, while producing a whirlwind of emotions that remains unmatched ever since by any other artist, including Tori herself. It may require some listens before one realizes and appreciates the multiple meanings behind the songs, the delicate strength, and sheer magnitude of her songwriting, but if I may, allow me to invite you to "Ride on, ride on, friends of the black swan"... You will never forget this pink ride, I assure you.

Note: "Under the pink" holds a special place in this tough guy's fragile heart. So special, in fact, that it is because of this record that pink became my favourite colour. Among the booklet photos, there is one depicting Tori standing on her home planet, reminiscent of Antoine de Saint-Exupery's "The little prince" most well-known illustration. Part of that photo is the cover of this album, which perfectly encapsulates the essence of this record (just like each Tori album cover artwork does). Her choice to pay homage to the book in this way made me love her more, and this particular album to stand out a little more than any other of hers (a look at my amazon profile info will tell all). My name is Greg ("Pretty good year" coincidence), and I confess that I have written this piece about the "Pink" album wearing my favourite pink hoodie, in order to honour this outstanding release :)

***** for the album
***** for this edition
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on 16 October 2002
The pop sound of Little Earthquakes, and the big-selling singles, cast Tori Amos as a slightly unbalanced, fragile woman in an evil man's world. Under The Pink sees Tori regrouping and pushing ahead with a quirkier, more unique sound that owes less to conventional verse-chorus songwriting and the exorcism of her personal demons than her debut. Here, we get Tori the storyteller, leading us through tales of murder (Past The Mission), lost love (Baker Baker), female jealousy (The Waitress), and a number of quirky, off-beat songs that appear to owe nothing to anything other than Tori's vivid imagination.
Fortunately, this vivid imagination also extends to the songwriting, and in terms of musical invention, I think this is Tori's finest album. No need to play with keyboard effects and synthesisers like her later albums - this is pretty much Grand Piano only, with a band and string section backing her up through all except the haunting 'Bells For Her'. And although you can conceivably criticise Tori Amos for her lyrical "kookiness", you cannot fault anyone that makes playing piano so well sound so effortless. Although the album's key song (and hit single) was 'Cornflake Girl', this isn't where you find the long-lasting and haunting music. The range of musical expression across the closing four tracks, from Icicle to the classical-pop of Yes Anastasia, are worth the asking price alone and give more of an insight into the dark but beautiful world inside the head of the remarkable Tori Amos.
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on 11 August 2007
Under the pink is an album packed with great songs that is quite similar in sound to little earthquakes.
1.Pretty good year-This is an amazing piano ballad that changes into a rock tune halfway through and then turns back into a ballad again!Only Tori could pull that off!
2.God-This is a song questioning religion(Something Tori is well known for)in a funk style,combining a ska guitar and a funk bass with Tori's great vocals and piano skills.
3.Bells for her-This is a song that like the name points out is played on a piano that makes bell noises.This song is so hauntingly beautiful with an extremely sad story about sexual abuse-it creeped me out the first time I heard it!
4.Past the mission-My favourite song on the album is this song which is all about feminism in the christian church and it is a really beautiful pop/rock song.
5.Baker baker-A sad piano based song that once gotten into is beautiful.
6.The wrong band-This is a stange song that may also take a while to get into but I'm glad I did now.
7.The waitress-This song starts off in a slow jazz theme,before rushing into a heavy rock chorus.
8.Cornflake girl-The song everyone knows is a country song played with an amazing piano part and amazing vocal attitude from Tori.
9.Icicle is a piano based song that may also take a while to get into as its to more of a classical vein.
10.Cloud on my tongue-This is a wistful ballad that must be heard.
11.Space dog-A jazzy song with a funky bass and piano parts that runs into a ballady piano part-Beautiful.
12.Yes,Anastacia-Another song with a classical bend but that changes styles so much.This song really shows off Tori's talent at singing and playing piano.
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on 28 February 2007
I am so glad that people below like this CD.

When I bought this CD back in 1994, people used to say her previous 'Little Earthquakes' was far better and this new CD was not as good, which spoiled my excitement to have met this great CD (well, I was 23 and fresh from Tokyo. I just thought I didn't comprehend foreign (to me) music).

After 13 years on, I still listen to 'Under the Pink'. When I play "Pretty Good year" "God" "Bells for her" and "Baker Baker", I feel there are no other songs resemble those songs. What an amazing originality. Most of pop songs sound out of date after a half year, but her songs will never go out of fashion - so I think.

"God sometimes you just don't come through .... Do you need a woman to look after you?"
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on 12 August 2017
Excellent album, perfect in almost every way. My only qualm is that there is a small crack on the spine of the case, although this was probably due to the fact that this and another CD were in the cardboard letter without any protection (this may be Amazon's fault, not the sellers).
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I admit, when Tori was around in the early 90s, I was amongst those who just saw her as an inaccessable, slightly strange American. I think part of that analysis was due to me not being mature enough to appreciate her music and her creativity (I was only appraoching my early teens, so I was more at home with boy band music). My attitude towards Tori and her music took a dramatic turn when I heard her album SCARLET'S WALK, when I was in my early twenties. Now I love her and her music, she has gone from being a kooky redhead to a goddess, in my opinion. In my world, she is easily the most talented artist that I can think of.

UNDER THE PINK was Tori's second release after LITTLE EARTHQUAKES. In many ways, you can easily find the similarities between the two. In songs such as "God", she once again brings aspects of religion into her music. Even though she challenges God - "God sometimes you just don't come through" - it is done in an intelligent way, a way in which I am sure many people can relate to, whether they have faith or not.
"Past the Mission" sees a guest appearance from Trent Reznor. As on LITTLE EARTHQUAKES which had some songs sampling a male voice aswell as Tori's, the addition of Trent's voice gives the track something more. A depth, perhaps, certainly another layer.
"Baker Baker" is my favourite song from the album. Tori's voice is amazing, as usual, but there is fragility here, almost so much so that ther song could be described as tragic. I read in Jay S. Jacob's biography, "Pretty Good Years", that this song was about the coming undone of her relationship with Eric Rosse. Looking at the lyrics to the song, it seems as though Tori shoulders a lot of the 'blame' herslef:-
"he says that behind my eyes I'm hiding and he tells me I pushed him away that my hearts been hard to find".
It is truly a beautiful song.
The album also examines how women betray other women. Three of the songs are specifically made up of this theme - "Cornflake Girl", "Bells for Her" and "The Waitress". The latter of these being a mix of subdued piano playing, which then builds into a crescendo, almost a mad frenzy, for the chorus.

Although UNDER THE PINK has echoes of LITTLE EARTHQUAKES, there is a definite change between the two. As always, Tori's piano playing is fantastic, absolutely top notch. Personally I think one difference is that UNDER THE PINK has songs which may not be as easily accessible as LITTLE EARTHQUAKES. You may have to listen a few times to some before you get the 'meaning' behind them. This aspect of her music is one I have come to appreciate and love above all else. I like having the pieces with me, taking time over them, getting to know them and seeing different things in them depending on how I feel when I listen to them.
While some people may still see Tori as a strange, kooky redhead, to me she is much more than this. Strangeness, in relation to Tori, translates as genius in my world.
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on 14 April 2015
This would have been almost perfect if it wasn't for the terrible remastering. Tori's vocal drops out of one of the channels mid-word, part-way through 'The Wrong Band', becoming drowned out somewhat by the backing and continues through 'The Waitress', becoming fully restored in 'Cornflake Girl'. This, coupled with the fact that the live version of 'Upside Down' is NOT the 1994 performance as stated, taken from the Past The Mission single, but the 1998 performance from the Bliss single (which has even been edited to remove the banter at the beginning!), makes this re-release feel less than deluxe, given that the original album itself as presented here is rendered unlistenable. It has been confirmed that these errors are present on the CD, vinyl and download versions, so we can only hope Rhino recall the physical formats and issue a repress.
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on 3 May 2015
I've bought this LP twice now and been disappointed to no end. This is one of my favourite Tori albums and by no means deserves one star but the vinyl remaster is just shocking!

Side a starts to buzz a couple of tracks in right to the end and then there is a hideous dragging sound right at the end of Yes Anastacia on side b that shouldn't be there... maybe a little more care should have been taken during this remaster....
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on 24 December 2002
So Tori Amos is famed for three things outside her fanbase:
1 - That Boys For Pele album cover
2 - Faeries, demons and witches
3 - Cornflake Girl
This isn't fair. Amos is a true genius, an inventive songwriter, a talented lyricist and a great arranger. In 1992 - PJ Harvey released Dry, Amos released Little Earthquakes. Both were hugely influential albums, both were 'take-no-sh*t' whirlwinds from wronged women. The feminists might not like me saying that, but it's true.
Here, Amos refined her sound a little, while broadening her horizons. True, she sometimes loosens her hold on the tune to fit all her syllables in, but that doesn't make her any less of a songwriter - Dylan did it, Cohen did it - why can't we cut her some slack?
Highpoints to this album - in short, the reasons to buy it - include:
Pretty Good Year - Rippling piano intro, note-perfect vocals, the story of one seriously bad year... what more could you want? Certainly kicks the album off on a high note.
God - Amos brings out her black humour. Chiding the Lord for his indifference to mankind, she tries to make him human while keeping him at arms length. The mad, squally shrieks that back a lovely piano vamp and some beautiful harmonies are unfortunately, everything that Amos' detractors say is wrong with her music. The two elements - the natural tunefulness and the forced disharmony - sit uneasily together, but this, strangely, detracts little from the song.
Past The Mission - Trent Reznor. Singing. In tune. An achievement in itself. This song's reggae-tinted verses and smooth, plangent chorus are everything Amos is good at. Lyrically inspired and beautifully sung, it gets better with every play.
Baker, Baker - This is possibly my favourite song on the album. Tori's voice is so heavy with emotion it almost makes you weep to hear it. Utterly perfect, it also showcases her ability to fill out a song using just her voice and a piano. Other accompaniment is sparse, and surplus to requirements.
The Waitress - Mad. But that doesn't make it any less worthy.
Cornflake Girl - Rightly heralded as one of her best songs, this is probably the high-point on the album. Featuring a guest spot from Merry Clayton, this is white-girl soul du jour. It also proves, beyond any shadow of a doubt, that Amos is one hell of a pianist. About two minutes of Cornflake Girls' length are devoted to piano improv, and another three could have gone that way without it dragging. Truly brilliant stuff.
Space Dog - The balance between chugging verse and tuneful chorus is perfect here. The fade-out, where she sings the chorus over another verse, is one of her very best moments.
Yes, Anastasia - What a way to end an album.
Don't listen to the naysayers. Just make up your own mind. This is the good stuff.
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