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Under the Pink

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Under the Pink album cover
01
Pretty Good Year (LP Version)
3:26
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02
God (LP Version)
3:54
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03
Bells For Her (LP Version)
5:22
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04
Past The Mission (LP Version)
4:06
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05
Baker Baker (LP Version)
3:19
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06
The Wrong Band (LP Version)
3:03
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07
The Waitress (LP Version)
3:10
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08
Cornflake Girl (LP Version)
5:05
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09
Icicle (LP Version)
5:47
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10
Cloud On My Tongue (LP Version)
4:44
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11
Space Dog (LP Version)
5:12
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12
Yes, Anastasia (LP Version)
9:33
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Album Information
EDITOR'S PICK

Total Tracks: 12   Total Length: 56:41

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Wondering Sound

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Caryn Ganz

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Caryn Ganz is the editor of the Yahoo! blog The Amplifier. She's previously worked as an editor at RollingStone.com, SPIN and MTV News, and cowrote the book Foo...more »

03.01.10
An early Amos masterpiece full of dark corners and lithe melodies
1994 | Label: Atlantic Records

On her debut, Little Earthquakes, Tori Amos sang about different types of girls; on its follow-up Under the Pink, she became them. The singer-songwriter's 1994 sophomore album is a grander, fiercer statement, one where Amos allows herself murderous shrieks (the seething tempo-shifter "The Waitress") and moments of feminist religious doubt (the slickly groovy "God"). But she still crafts a handful of beautifully evocative slices of life, like opener "Pretty Good Year," where a circular piano… read more »

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They Say All Music Guide

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. – MacKenzie Wilson

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