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*FREE* Direct Download - Tori Amos - Under the Pink (1994)192bkps[Ahashare].torrent

Category: Music » Pop
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Tori Amos - Under the Pink

Year 1994

1. Pretty Good Year 3:26
2. God 3:54
3. Bells For Her 5:21
4. Past The Mission 4:06
5. Baker Baker 3:18
6. The Wrong Band 3:03
7. The Waitress 3:10
8. Cornflake Girl 5:05
9. Icicle 5:47
10. Cloud On My Tongue 4:43
11. Space Dog 5:12
12. Yes, Anastasia 9:33

Under The Pink was Tori Amos' follow up to the sensationally successful Little Earthquakes and demonstrates that she had by no means run out of faeries and demons to sport with. Amos herself describes it as her "impressionistic" album,her piano playing is perfectly attuned to the subtle, shifting colours of her lyrical moods on "Bells For Her", while "Past The Mission" indicates her growing use of distinctive arrangements to illustrate her songs. Highlights include "God", in which Amos demonstrates her often missed humour, openly taunting the Almighty for his indifference to humanity, asking "Do you need a woman to look after you?"
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 ratherthan channel her talents. Some of the emotional push and pull of this early artistic catharsis peeps through in the wayAmos and co producer Eric Rosse approach the multiplicity of piano sounds which inhabit UNDER THE PINK sounds which symbolise 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 melangeof 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 oftenchilly world. UNDER THE PINK maps the inner journey of post-modern women and signals the arrival of a singular new singer songwriter.
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