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Pop - Released April 26, 2019 | RCA Records Label

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In the fourth song of her eighth album, Pink alludes to the “attic” in which she locks up everything she keeps secret. But if there is one thing that the Family Portrait vocalist wishes to get out in the open, it is indeed her love for music, regardless of the genre. Through the soul and retro infused Hustle and the electronic nature of Love me Anyway, Pink proves yet again that she is the queen of stylistic variety. For this last track, she pairs up with country singer Chris Stapleton, whilst for Can We Pretend, she is surrounded by electro trio Cash Cash, (who released the sensational Take Me Home in 2013). Among the (numerous) other features on this album are Wrabel on 90 Days, Khalid on Hurts 2B Human, as well as Beck on We Could Have it All. Pink not only adores music in the broad sense of the term, but also appreciates her fellow artists who help her to produce such eclectic musical pieces – much like the multicolored album cover. © Nicolas Magenham/Qobuz
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Pop - Released October 13, 2017 | RCA Records Label

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Pop/Rock - Released September 14, 2012 | RCA Records Label

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Pop/Rock - Released April 4, 2006 | LaFace Records

Although it hardly deserved it, Try This -- P!nk's 2003 sequel to her 2001 artistic and commercial breakthrough, M!ssundaztood -- turned out to be something of a flop, selling considerably less than its predecessor and generating no true hit singles. Perhaps this downturn in sales was due to the harder rock direction she pursued on Try This, perhaps the songs she co-wrote with Rancid's Tim Armstrong weren't quite pop even if they were poppy, perhaps it was just a matter of timing, but the album just didn't click with a larger audience, through no fault of the music, which was the equal to that on M!ssundaztood. When faced with such a commercial disappointment, some artists would crawl back to what made them a star, but not P!nk. Although she does pump up the dance on 2006's I'm Not Dead, it's way too simple to call the album a return to "Get the Party Started" -- P!nk is far too complex to do something so straightforward. No, P!nk is complicated, often seemingly contradictory: she tears down "porno paparazzi girls" like Paris Hilton just as easily as she flaunts her bling on "'Cuz I Can"; she celebrates that "I Got Money Now"; she'll swagger and snarl and swear like a sailor, then turn around and write sweet songs of support to a teenager, or a knowingly melancholy reflection like "I Got Money Now"; she'll collaborate with Britney Spears hitmaker Max Martin on one track, then turn around and bring in the Indigo Girls for support on a stripped-down protest song. She'll try anything, and she does on I'm Not Dead. It Ping-Pongs between dense dancefloor anthems and fuzzy power pop, acoustic folk-rock and anthemic power ballads, hard rock tunes powered by electronic beats and dance tunes sung with the zeal of a rocker. It's not just that P!nk tries a lot of different sounds, it's that she seizes the freedom to hurl insults at both George W. Bush and a sleazoid who tried to pick her up at a bar, or to end a chorus with a chant of "Ice cream, ice cream/We all want ice cream." Far from sounding cow-towed by the reaction to Try This, P!nk sounds liberated, making music that's far riskier and stranger than anything else in mainstream pop in 2006. And it's a testament to her power as both a musician and a persona that for this record, even though she's working with singer/songwriter Butch Walker, Max Martin, and Teddy Geiger's cohort, Billy Mann -- her most mainstream collaborators since LA Reid and Babyface helmed her 2000 debut, Can't Take Me Home -- she sounds the strangest she ever has, and that's a positively thrilling thing to hear. That's because she not only sounds strange, she sounds stronger as a writer and singer, as convincing when she's singing the bluesy, acoustic "The One That Got Away" as when she's taunting and teasing on "Stupid Girls" or "U + Ur Hand" or when she's singing a propulsive piece of pure pop like "Leave Me Alone (I'm Lonely)." In other words, she sounds complex: smart, funny, sexy, catchy, and best of all, surprising and unpredictable. This is the third album in a row where she's thrown a curve ball, confounding expectations by delivering a record that's wilder, stronger, and better than the last. And while that's no guarantee that I'm Not Dead will be a bigger hit than Try This, at least it's proof positive that there are few pop musicians more exciting in the 2000s than P!nk. ~ Stephen Thomas Erlewine
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Pop - Released February 20, 2019 | RCA Records Label

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Pop - Released October 24, 2018 | Atlantic Records

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Pop - Released November 12, 2010 | LaFace Records

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Pop - Released April 15, 2016 | RCA Records - Walt Disney Records

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Pop - Released August 10, 2017 | RCA Records Label

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Pop - Released September 15, 2017 | RCA Records Label

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Pop - Released January 1, 2001 | Arista

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Pop - Released October 5, 2017 | RCA Records Label

Pop/Rock - Released September 18, 2012 | RCA Records Label

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Pop - Released April 25, 2019 | RCA Records Label

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Despite the evident angst within its title, Hurts 2B Human is generally a light affair from P!nk, especially when compared to its predecessor, Beautiful Trauma. On that 2017 album, P!nk seemed ready to settle into her encroaching middle age, favoring polished productions that veered ever so slightly toward the staid. Such politeness is generally eschewed on Hurts 2B Human. P!nk still indulges in empowering pop and soul-searching power ballads, producing glistening AAA pop that easily slides onto adult contemporary radio, but she's also keenly aware of shifting trends, enlisting a number of noteworthy collaborators. What's interesting about her choice of guests is that they're not limited to new stars. Khalid may show up on the title track and Cash Cash on "Can We Pretend," while Wrabel helps P!nk drift toward moody electronica on "90 Days," but she also brings in Beck -- who penned her old 2003 hit "Feel Good Time" -- for "We Could Have It All" and duets with Chris Stapleton on "Love Me Anyway," a ballad that proves she has country chops. P!nk is savvy, opting for stylistic hybrids instead of hopping from genre to genre, and that gives Hurts 2B Human a cohesion even if the individual moments are quite disparate. Occasionally, the songs can be a little strident -- a collaboration with Nathaniel Ruess of Fun., "Walk Me Home," is a bit too insistent in its anthemic reach -- but these moments are balanced by such lithe, funky numbers as "Hustle" and the Max Martin-produced "(Hey Why) Miss You Sometime," along with slower songs that can cut to the quick ("Love Me Anyway," "The Last Song of Your Life"). It all adds up to an album that cleverly feels stylish and fashionable without abandoning the emotional gravity P!nk has accumulated over the years. ~ Stephen Thomas Erlewine
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Pop/Rock - Released October 5, 2010 | LaFace Records

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Pop - Released October 20, 2017 | RCA Records Label

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Pop - Released October 13, 2017 | RCA Records Label

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Five years separate Beautiful Trauma from its predecessor, 2012's The Truth About Love -- a half-decade P!nk generally acknowledges in lyrical themes, not musical terms. Chalk this up to a general maturation -- the singer/songwriter is a happily married mother of two, creeping up on her 40th birthday -- but her decision to do little more than nod at contemporary musical trends is deliberate, a reflection of how her hits and audience have crept toward the adult contemporary charts. P!nk isn't entirely ready to enter Adele territory: She's still as liable to curse as croon, she makes the occasional feint toward EDM pop, and has the sense to hire Jack Antonoff, the hitmaker du jour of 2017, as a collaborator. These modern moments are bunched up at the beginning of the record, coalescing around "Revenge" -- a catchy bit of clean funk mussed up by a wildly inappropriate Eminem verse that seems culled from outtakes of The Eminem Show -- giving the false impression that Beautiful Trauma is a livelier album than it is, but once the record slides into the piano-anchored ballad "But We Lost It," it enters an extended stretch where diva showstoppers alternate with delicate folk tunes and icy midtempo pop. Every one of these styles is executed well -- the productions are crisp, not chilly, they're undergirded with genuine feeling that P!nk conveys with her measured performances -- but the cumulative feel is somewhat less than the individual parts. Maybe the culprit is that Beautiful Trauma feels too controlled, with every element in its right place. There's none of the emotional mess that has enlivened some of P!nk's best work, and while this sense of calm may be well earned, it does result in a tamer record. ~ Stephen Thomas Erlewine
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Pop/Rock - Released May 5, 1997 | Arista - LaFace Records

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Pop - Released November 12, 2010 | LaFace Records

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Pop/Rock - Released November 3, 2008 | LaFace Records