Personnel: Fiona Apple (vocals, piano, Optigon); Jon Brion (guitar, harp, tack piano, Chamberlin, dulcitone, Optigon, vibraphone, marimba); Rob Laufer (guitar); Greg Leisz (pedal steel guitar); Ralph Morrison, Claudia Parducci (violin); Evan Wilson (viola); Larry Corbett (cello); Patrick Warren (piano, Chamberlin); Dan Rothchild, Greg Richling, Sara Lee (bass); Matt Chamberlain, Danny Frankel (drums, percussion); George Black (drum programming); Amber Maggart (background vocals).

Recorded at Sony Music Studios, Ocean Way Recorders and 4th Street Recording, Los Angeles, California.

Fiona Apple was nominated for the 1998 Grammy Award for Best New Artist. "Criminal" won the 1998 Grammy for Best Female Rock Vocal Performance and was nominated for the 1998 Grammy for Best Rock Song.

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

Personnel: Fiona Apple (vocals, piano); Amber Maggart (vocals); Jon Brion (guitar, harp, piano, tack piano, chamberlin, vibraphone, marimba); Rob Laufer (guitar); Greg Leisz (steel guitar); Claudia Parducci, Ralph Morrison (violin); Evan Wilson (viola); Larry Corbett (cello); Patrick Warren (piano, chamberlin); Matt Chamberlain (drums, percussion); George Black (drums, drum programming); Danny Frankel (drums).

Audio Mixer: Mark Endert .

Recording information: 4th Street Recording, Santa Monica, CA; Ocean Way Recording Studios, Hollywood, CA; sony Music Studios.

Photographer: Nathaniel Goldberg.

Unknown Contributor Role: Evan Wilson.

Judging from the songs that litter her debut, this 18-year-old singer-songwriter is at odds with every situation in which she finds herself. While exotic beats and luscious pop textures decorate the space around her, Apple takes a defiant stance with everyone she addresses. In song after song, she looks for her "own hell to raise" or "to take flight"; or else she paints herself as a "Shadowboxer" or "Criminal." Over and over, Apple presents herself as a hard-to-please emotional invalid, a societal outcast for whom songwriting is the only release.

Apple masks this confessional writing with simple-but-arty, piano-based melodies that recall Tori Amos. There are also jazzy touches to much of the presentation, which hint she might be a Rickie Lee Jones for an alternative nation. At times, particularly on "Slow Like Honey," which combines her husky, up-close-and-quiet voice with Jon Brion's tasteful vibraphone, a surprisingly subtle, smoky atmosphere develops. But, as with the rest of Apple's presentations, it becomes a dark lounge filled with Alanis-like notions of sexual politics.