Under The Pink (Remastered) Tori Amos

• 1Pretty Good Year03:25
• 2God03:58
• 3Bells For Her05:20
• 4Past The Mission04:05
• 5Baker Baker03:20
• 6The Wrong Band03:03
• 7The Waitress03:09
• 8Cornflake Girl05:06
• 9Icicle05:47
• 10Cloud On My Tongue04:44
• 11Space Dog05:10
• 12Yes, Anastasia09:33
• Total Runtime56:40

Info for Under The Pink (Remastered)

It's been a long time since an artist as quirky and defiantly personal as pianist-vocalist Tori Amos exploded upon the pop charts. With her debut effort „Little Earthquakes“, Amos avoided popular trends and convenient pigeonholes: all at once she evokes an era of thrush-like sopranos, folkish confessionals, and daring new wave artists. The resulting music on her second Atlantic release, „Under The Pink“, is brimming over with innocence and sensuality, spirituality and heresy. That she is able to confront all of these contradictions, let alone try to resolve them, makes for remarkably powerful music.

In fact, „Under The Pink“ owes much of its potency to the feeling that we're watching Amos grow up before our very eyes. The daughter of a Methodist preacher, Tori Amos was a child prodigy on the piano, gifted with an exceptionally quick ear and a solid rhythmic feel. However, while pursuing her formal studies, she ran dead up against the rigidity of classical protocol, and her teachers tried to break her rather than channel her talents. Some of the emotional push and pull of this early artistic catharsis peeps through in the way Amos and co-producer Eric Rosse approach the multiplicity of piano sounds which inhabit „Under The Pink“--sounds which symbolize the many feminine rites of passage depicted throughout the album.

There are the child-like, half-remembered musings of 'Bells For Her' and 'Icicle' ('I think the good book is missing some pages'), and the vigorous attack of 'The Waitress,' 'Cornflake Girl' and 'God' ('God sometimes you just don't come through/Do you need a woman to look after you'). Here Amos' sense of alienation, rage and betrayal is echoed in offbeat rock textures and swooping vocal refrains suggesting the work of fellow traveller Kate Bush on THE DREAMING. Elsewhere, her vibrant vocal range and lush harmonies suggest early Joni Mitchell and even the ethnic-new age melange of Enya. The characters in her songs, however, are neither flower children nor navel gazers, but strong, vulnerable women coming to terms with their needs and longings in an often chilly world. „Under The Pink“ maps the inner journey of post-modern women and signals the arrival of a singular new singer-songwriter.

„This extraordinary album was quite different from its predecessor, Little Earthquakes. It was finally titled Under The Pink, after another title - God With A Big G - was contemplated and rejected. Propelled by the early January release of the anxiously awaited new single Cornflake Girl, Tori went straight to number one in the UK. The album was recorded in New Mexico and Los Angeles; strings were added in Los Angeles and mixed in London.“

'More difficult and ambitious than her critically acclaimed debut, the core of 'Under the Pink' reveals the strong, stark presence of a compelling singer-songwriter at her piano.' (AMG)

Under The Pink was nominated for Best Alternative Music Performance in the 37th Annual Grammy Awards.

Tori Amos, vocals, piano
Trent Reznor, vocals
Steve Caton, guitar
John Wittenberg, violin
Chris Reutinger, violin
Ezra Killinger, violin
Francine Walsh, violin
Michael Allen Harrison, violin
Nancy Roth, violin
Cynthia Morrow, viola
John Acevedo, viola
Jimbo Ross, viola
Nancy Stein-Ross, cello
Melissa 'Missy' Hasin, cello
Dane Little, cello
John Philip Shenal, strings
Carlo Nuccio, drums
Paulinho Da Costa, percussion
Eric Rosse, programming
Paul McKenna, programming

Recorded fromFebruary - October 1993 at The Fishhouse, New Mexico and Westlake Studios, LA
Engineered by Eric Rosse
Produced by Tori Amos, Eric Rosse

Digitally remastered

Tori Amos
Tori Amos has an extraordinary fan base. It’s not unusual to hear her listeners explain how a song changed their life, through its ability to alter perspective and heal. Or even that a song might have saved their life. Since the release of her debut Little Earthquakes 20 years ago in 1992, where she smashed apart boundaries with her piano rock and raw, confessional poetry, Amos continues to be adored, picking up new fans along the way, romanced by her messages of empowerment, tenderness, acerbic assertiveness, and that utterly unique sound.

Even before her commercial breakthrough at 28, the enigmatic sides of her personality were being realised: years of classical training at the Peabody Conservatory in Baltimore, singing in clubs and bars from the age of 13 and, then, fronting synthpop band Y Kant Tori Read. A taste for pushing limitations and stretching her talent and imagination had already been planted.

Although her signature remains swelling, filigreed piano rock, she has experimented with different musical styles and instruments over the last twenty years, from the baroque dusk of Boys for Pele (1996), the electronic experimentalism of From the Choirgirl Hotel (1998) and To Venus and Back (1999) to her return to the classical world with the classically inspired song cycle Night of Hunters (2011). She managed to achieve the rarely possible with a successful concept album (American Doll Posse, 2007) and an acclaimed Christmas record (Midwinter Graces, 2009) while retaining her artistic integrity. Gold Dust is her 13th studio album, a varied selection of works from her songbook all newly arranged for vocals, piano and orchestra, recorded with the Metropole Orchestra for Deutsche Grammophon/Mercury Classics.

Amos, never one to shy away from the reality of life in her lyrics, has tackled the breadth of life's subjects over the last two decades. Although her writing is confessional and she has famously put her own experiences, both positive and harrowing, into song, the way she does it leaves the door open for the listener to join in.

Each of the 12 albums Amos has released so far have been layered with symbols, history and dimensions, that make them stand out as true works of art. The Beekeeper (2005) circles around topics of death, loss and adultery; Scarlet's Walk (2002) maps and re-calibrates the American psyche after 9/11 seen through a prism of the writer's Cherokee roots; Abnormally Attracted to Sin (2009) is accompanied by a set of short films, each a visualisation of one of the albums songs, whilst Boys for Pele, her first self-produced album, is a virile feminist totem through which she binned the patriarchy and snatched back her independence.

In interviews Amos has spoken of the way she sees herself as a vehicle for a higher musical power or muse. Perhaps it is this unusual humility that has kept her creative force safe for twenty years.

This album contains no booklet.