Missundaztood

Pink的首张个人专辑《Can’t Take Me Home》在超级制作人L.A. Reid与Babyface的监制下，首支单曲〈There You Go〉进占告示牌排行榜亚军，并狂销热卖五十多万张，此外，Pink更在2000年全美告示牌大奖中，夺得「最佳新进女艺人」；并同时获得美国音乐大奖「最佳灵魂/节奏蓝调新进艺人」提名肯定，为她的首次出击交出漂亮的成绩单。在参与电影「红磨坊」的主题曲〈Lady Marmalade〉，并顺利夺得一座MTV音乐大奖後，Pink开始展开新专辑《Missundaztood》不但专辑首周夺得Billboard专辑榜Top 9，首支单曲〈Get The Party Started〉更冲上Billboard单曲榜Top 5及英国单曲榜亚军，此外，这首摆脱R&B刻板印象的作品，不但为R&B塑造了全新风貌，也让人对Pink的再次出击，充满信心；至于请到Aerosmith主唱 Steven Tyler献声及Bon Jovi吉他手Richie Sambora跨刀演出的话题作品〈Misery〉，二人高亢的嗓音，在蓝调摇滚音乐中，共谱催泪的抒情功力；由4 Non Blondes主唱Linda Perry共同献唱的〈Lonely Girl〉，则是两人之间的真情对话；此外，包括影射她自己家庭问题的〈Family Portrait〉和金曲制造机Dallas Austin一起合写的抒情摇滚曲〈18 Wheeler〉、提倡女权至上的活泼歌曲〈Respect〉及表明自己拒绝和小甜甜布兰妮相比较的劲爆作品〈Don’t Let Me Get Me〉等，都可发现这张新专辑中的歌词比处女作更多元，不再单纯的只是对男生的爱恋，而是触及家庭问题、寂寞的剖析、对自己的愤怒情绪，及年轻人爱玩的嬉闹性格等，值得你用心倾听！

by Stephen Thomas Erlewine

Pink's debut album was a promising collection of dance-pop, easily lumped into the teen pop boon of 2000 since she was young and sang over savvy, skittering club beats. Those comparisons irked -- hell, angered -- Pink, and she was determined to prove she was real with her second album. So she called up her idol, Linda Perry of 4 Non Blondes fame, to help her rock and write; bared her soul; fought for some artistic control; brought in Steven Tyler; and wound up with M!ssundaztood, a title bound to never show up on Internet search engines. This all sounds like the script for a VH1 movie, but the wild thing is that M!ssundaztood not only works, it works smashingly -- a bewildering amalgam of sounds and attitudes that shouldn't fit together, but defy all odds and do. This record bubbles over with imagination, as hooky pop songs like the title track rub shoulders with glitzy dancefloor anthems like "Get the Party Started" and sexy, swaggering arena rock redux like "18 Wheeler" before delving into weird confessionals like "Family Portrait," "Dear Diary," and "My Vietnam." Forget that this isn't what anybody would have expected Pink to do; it's hard to imagine anybody else that would have the idea and the inclination to blend late-'80s, metal-spiked album rock with modern hip-hop and dance, then dress it up with dazzling modern pop production, all the while not avoiding painful subjects (particularly her dysfunctional family) or melody. If that's not an artistic statement, I don't know what is, and the damn thing is there hasn't been a record in the mainstream this vibrant or this alive in a long, long time.