Tori Amos remixed, part two.

This remix took weeks and weeks and weeks to complete. It's not perfect but, hey, it's an amateur remix. Basically, the music was "removed" and the vocal track kept.

This is Bells for Her, by Tori Amos, from her beautiful album Under the Pink (1994).

Remixed by yours truly.

And through the life force and there goes her friend

On her Nishiki it's out of time

And through the portal they can make amends

Hey, would you say whatever we're blanket friends

Can't stop what's coming

Can't stop what is on its way

And through the walls they made their mudpies

I've got your mind, I said

She said, I've your voice

I said, you don't need my voice girl

You have your own

But you never thought it was enough of

So they went years and years

Like sisters blanket, blanket girls

Always there through that and this

There's nothing we cannot ever fix, I said

Can't stop what's coming

Hey, can't stop what is on its way

Bells and footfalls and soldiers and dolls

Brothers and lovers she and I were

Now she seems to be sand under his shoes

There's nothing I can do

Can't stop what's coming

Can't stop what is on its way

And now I speak to you

Are you in there?

You have her face and her eyes

But you are not her

And we go at each other like blankettes

Who can't find their thread and their bare

Can't stop loving

You

Can't stop what's coming

Can't stop what is on its way

And I see it coming

And its on its way

Click.

Tori Amos Remixed part 1.

Yeah, so not rid of those dreadful, painful Tori entries. ;)

Today's pick, first pick, is i i e e e - I do not have an absolutely favorite Tori Amos song (that's just impossible, sir), but i i e e e certainly ranks in my top 5 all-time-Tori-favs.

i i e e e was born some time in 1996, but was included in my fav album, from the choirgirl hotel, in 1998. To me, it talks about this raw ripped-open woman who is looking for answers and, at the same time, about being in denial when it comes to fucking up something that has beauty in it and well, pretty much everyone can relate to the feeling of the song and its lyrics. 

Musically, I do not believe Tori has done anything remotely alike. Also, the live version from Sessions at West 54th is, by far, the most heart-felt and impressive. That damn coda is otherwordly!! If you understand the way I feel, the whyyyiieee???? Gut-wrenching, I tell ya.

I'm including the airfetys version of this song, as well as the remixed (A Piano, box set, 2006) instrumental version and the original (from the choirgirl hotel, album, 1998) instrumental version. All three of these remixed by me.

Airfetys version: No cons. :) The changes are very subtle, but the piano and backing vocals are very upfront.

Remixed/Remastered instrumental: Pros: There is a guitar which is seemingly not present in the original version, towards the beginning of the song. The backing vocals are loud and clear. The main vocals all gone. The piano is very clear. Cons: The strings sound a bit muffled. Rats!

Original instrumental version: Pros: Strings are a bit clearer. It's a fucking mess. Cons: The main vocal track is very hard to get rid of, so I tried my best.

And just for kicks

Sessions at West 54th version.

Original lyrics:

with your E's 

and your ease

and I do one more

need a lip gloss boost

in your america

is it God's

is it your's

sweet saliva

with your E's

and your ease

and I do one more

I know we're dying

and there's no sign of a parachute

we scream in cathedrals

why can't it be beautiful

why does there

gotta be a sacrifice

just say yes

you little arsonist

you're so sure you can save

every hair on my chest

just say yes

you little arsonist

with your E's 

and your ease

and I do one more

well I know we're dying

and there's no sign of a parachute

in this chapel

little chapel of love

can't we get a little grace

and some elegance

no we scream in cathedrals

why can't it be beautiful

why does there

gotta be a sacrifice.

Stab at lyrics: I believe "E" is a reference to ecstasy, maybe?

"Need a lip gloss boost in your america" - I think she is talking about, again, patriarchy and how beauty is "the way to be accepted" in america (or, you know, "developed" socities). Which beauty can also be a metaphor for a general standardized way of looking at women.

Is is God's, is it yours? Sweet saliva (why is there an apostrophe in the booklet?) - I think she wonders if this way of thinking, referring back to beauty and society, is god-made or man-made.

I guess the rest is pretty self-explanatory - She, the arsonist, knows her demise. Yet, she is playing with fire. She knows that, at some extent, her decay is her own fault, but also blames God for it.

Happy listening. ;)

Kate Bush Instrumental.

There Goes a Tenner

Click

Okay, remember

Okay, remember

That we have just allowed

Half an hour

To get in, do it, and get out.

The sense of adventure

Is changing to danger;

The signal has been given.

I go in-

The crime begins.

My excitement

Turns into fright.

All my words fade

What am I gonna say?

Mustn't give the game away.

We're waiting-

We're waiting-

We're waiting.

We got the job sussed;

This shop's shut for business;

The lookout has parked the car,

But kept the engine running-

Three beeps means trouble's coming.

I hope you remember

To treat the gelignite tenderly for me.

I'm having dreams about things

Not going right-

Let's leave in plenty of time, tonight.

Both my partners

Act like actors:

You are Bogart,

He is George Raft,

That leaves Cagney and me.

("What about Edward G.?")

We're waiting,

We're waiting,

We're waiting.

You blow the safe up-

Then all I know is I wake up,

Covered in rubble,

One of the rabble.

Needs mummy-

("What's all this then?")

The government will never find the money.

("What's all this then?")

I've been here all day,

A star in strange ways.

Apart from a photograph

They'll get nothing from me,

Not until they let me see

My solicitor.

Ooh, I remember

That rich, windy weather

When you would carry me,

Pockets floating

In the breeze.

Ooh, there goes a tenner.

Hey, look! There's a fiver.

There's a ten-shilling note.

Remember them?

That's when we used to vote for him.