Post by Julie on Mar 9, 2005 18:49:45 GMT -5
Bells for Her
and through the life force and there goes her friend
These best friends have been through so much and were so close and now she has left her other half.
on her Nishiki it's out of
time and though the portal they can make amends
Only in fantasies could they ever forgive or work things out.
hey would you say whatever we're blanket friends
I think the concept of blanke(tte) friends is that you have the strongest loyalty to each other. A metaphor for the blanke(tte) friends are that they cover each other - they keep each other safe.
can't stop what's coming can't
stop what is on its way
Everything will happen the way it's suppose to happen.
and through the walls they made their mudpies I've got your mind I said she said
I've your voice
They were so close that they knew what each other was going to say and what the other thought.
I said you don't need my voice girl you have your own
This is when the separation starts.
but you
never thought it was enough of so they went years and years like sisters blanket
girls always there through that and this there's nothing we cannot ever fix I said
Again, with the amazing closeness to each other and plans of a future of being best friends forever and saying they could get through anything.
can't stop what's coming can't stop what is on its way Bells and footfalls and
soldiers and dolls brothers and lovers she and I were
There were so much more than just best friends. They were absolutely everything to each other.
now she seems to be sand
under his shoes there's nothing I can do
Other people are pushing them apart and she feels powerless.
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
Now that they've been apart for so long they don't feel like they are talking to the same person anymore.
and we go at each other like blank ettes who can't find their thread
and their bare
Without your bare, you can't have thread. They feel as though they are nothing or empty without each other.
can't stop loving
No matter what happens, the love will always be there. They will never forgive each other or work things out but they will always love each other unconditionally.
can't stop what is on its way and I see it coming and it's on its way
Here's Tori's description of it:
"...the main thing about Bells is that there is no resolve, and that's what that whole song was saying. Can't stop what's coming, can't stop what is on its way. All I can do is respond truthfully, and the concept that we'll always be friends, or we can always work it out, I would have bet you that I could have worked anything out with this person. I would have bet my hand I could have worked anything out. I'd be missing a hand right now. It'd be the one-armed Tori tour. I couldn't have foreseen this. And I think, how many people, in marriages or families, and they're going, 'Wait a minute. I'm a rational being. This is a rational being, so we think.' Of course, I'm a little -- I'm partial, but I would have thought, yes, we could work it out. And when it got to in the end 'blankettes,' and the spelling changed, and when I was writing it down, I did it 'blankettes' as in -- well, what it means to me is just blank women, chicks. Yet they were making mudpies and creating and it's void now. And if you talk to people that know her, they think she's a together, great babe. And if you talk to people that know me, I'm a together, great babe. And yet we just couldn't do it. So there is a triangle on this record of the betrayal of women. It's not just that relationship. It's many other things in the other tunes. But Bells is the spirit speaking, not the ego speaking, but the part of me that still loves a friend that for whatever reason you can't make a resolve. You just can't do it. The big lesson in this whole year has been that there isn't a resolve for many things. Life isn't about, well, if I just get to this mountain peak, it's over. There are like 5,000 peaks in the distance."
-- Tori; The Baltimore Sun, '94
"Sometimes but not very often I journey to this place of bells I know I'm there when I see blue floodlights and I have no hunger for anything, husks of wedding dresses, horse carts, silver liberty churches-anything that I associate with bells remains unharvested until when I journey to this dimension of bells where I here them like they never tasted before"
-- Tori; Under The Pink Songbook
“That moment is a moment, that song as you hear it was written as it was recorded. I’d been feeling something in my belly all day, and I told Eric, ‘I’m feeling something.’ He goes, ‘Like, when? Do you need to set the mikes up now or what?’ I said, ‘I don’t know, but later. I’ve got to eat first.’ It was around four o’clock, and he said, ‘Are you feeling something yet?’ I said, ‘Not quite yet.’ He goes, ‘Well, like, feel it now, because I’ve been waiting for six hours and I need to record this.’ And I said, ‘Uh.’ He just said, ‘Just go in to the piano. Just go in.’ So I went in, and I was listening to the sonics of the detuned acoustic. All of a sudden, this thing has started that was (inhales deeply) and it came in that moment. Words, music, everything. And for one second, my head went out of it and had to come back in. It was during the instrumental part where I was going, ‘I can’t believe this is happening.’ And when it was over, it was like, ‘Did you get that?’ And he goes, ‘I got it.’ He pushed Record. It’s like, thank you for pushing Record.” [Baltimore Sun - January 1994]
“We are no more than walking plasma, just stuff. That song Bells for Her is one of the most emotional moments on the record, because it handles the end of a friendship. You go through the life force and see how your friend walks out and you can’t stop the things happening because of that, no matter what you try to do. Who tries to resist the life force gets sucked in. When you’re confronted with a painful experience, a shocking deed of betrayal, you must be able to ventilate those feelings of anger and violence somewhere, but there are certain borders. You can’t wound someone and just walk away.” [Oor (Dutch, “Ear”) - January 29, 1994]
“Eric Rosse, who produced the record, had wanted to really work with the piano more than samplers. He (and John Philip Shenale) completely annihilated this upright and made this beautiful creation out of it. They spent two days detuning and muting it, doing all this stuff to the strings.” [Virginian Pilot - July 27, 1994]
“Bells for Her is the loss of a friend. From Cornflake to The Waitress to Bells, Bells is the loss of - and it’s kind of backwards. I do the last thing first, and then the first last. But Bells is the spirit speaking, not the ego speaking, but the part of me that still loves a friend that for whatever reason you can’t make a resolve. You just can’t do it. The big lesson in this whole year is that there isn’t a resolve for many things.” [Baltimore Sun - January 1994]
“Bells for Her is the ending of a friendship, thinking that... this is my best friend forever, that only guys do this to each other.” [St Louis Dispatch - July 15, 1994]
“Whenever they [women] would seemingly instinctively attack men, or whatever, I’d have to say, I don’t automatically feel that way. I’m trying to rise above such feelings. Hatred for men, en masse, is as poisonous a feeling as shame. And Bells for Her is the scream of ‘no’ before you cut the chord and let them go. The song Yes, Anastasia also has lot of that stuff in it.”
“A part of the music just comes by sitting down, playing and trying things out. But the best and most important work comes sailing into me like a spirit. Then I’m not the initiator, but merely an instrument. That’s how for instance Bells for Her came to be. One day in our hacienda I said to Eric, our producer, ‘I think something will happen today.’ But all day nothing happened. I was standing in the kitchen, cooking something. I didn’t dare to sit behind the piano. Because at such a session you must close out your critical judgment. It just happens to you: the music comes, the words, the chords, the singing notes. There is no time to think ‘Oh God, that wasn’t a good chord’, because then you’re already on your way to the next one. When you feel something like that coming it is difficult to empty out yourself and to dedicate yourself to the process, before your producer. But if you break that enchantment, that’s the most stupid thing you can do. Then I’m out of it for weeks. But that means you didn’t have enough faith. So... Then Eric came to the kitchen and said, ‘Hey, the day is almost over, when will it come?’ So I went and played a little on the piano, and there it was. Eric had pushed the ‘record’ button just in time, it was on it in one take. That was Bells for Her. Now I must learn to play it again so I can play it live, because I haven’t played it since.” [St Louis Dispatch - July 15, 1994]
: Somebody - Bonnie McKee
and through the life force and there goes her friend
These best friends have been through so much and were so close and now she has left her other half.
on her Nishiki it's out of
time and though the portal they can make amends
Only in fantasies could they ever forgive or work things out.
hey would you say whatever we're blanket friends
I think the concept of blanke(tte) friends is that you have the strongest loyalty to each other. A metaphor for the blanke(tte) friends are that they cover each other - they keep each other safe.
can't stop what's coming can't
stop what is on its way
Everything will happen the way it's suppose to happen.
and through the walls they made their mudpies I've got your mind I said she said
I've your voice
They were so close that they knew what each other was going to say and what the other thought.
I said you don't need my voice girl you have your own
This is when the separation starts.
but you
never thought it was enough of so they went years and years like sisters blanket
girls always there through that and this there's nothing we cannot ever fix I said
Again, with the amazing closeness to each other and plans of a future of being best friends forever and saying they could get through anything.
can't stop what's coming can't stop what is on its way Bells and footfalls and
soldiers and dolls brothers and lovers she and I were
There were so much more than just best friends. They were absolutely everything to each other.
now she seems to be sand
under his shoes there's nothing I can do
Other people are pushing them apart and she feels powerless.
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
Now that they've been apart for so long they don't feel like they are talking to the same person anymore.
and we go at each other like blank ettes who can't find their thread
and their bare
Without your bare, you can't have thread. They feel as though they are nothing or empty without each other.
can't stop loving
No matter what happens, the love will always be there. They will never forgive each other or work things out but they will always love each other unconditionally.
can't stop what is on its way and I see it coming and it's on its way
Here's Tori's description of it:
"...the main thing about Bells is that there is no resolve, and that's what that whole song was saying. Can't stop what's coming, can't stop what is on its way. All I can do is respond truthfully, and the concept that we'll always be friends, or we can always work it out, I would have bet you that I could have worked anything out with this person. I would have bet my hand I could have worked anything out. I'd be missing a hand right now. It'd be the one-armed Tori tour. I couldn't have foreseen this. And I think, how many people, in marriages or families, and they're going, 'Wait a minute. I'm a rational being. This is a rational being, so we think.' Of course, I'm a little -- I'm partial, but I would have thought, yes, we could work it out. And when it got to in the end 'blankettes,' and the spelling changed, and when I was writing it down, I did it 'blankettes' as in -- well, what it means to me is just blank women, chicks. Yet they were making mudpies and creating and it's void now. And if you talk to people that know her, they think she's a together, great babe. And if you talk to people that know me, I'm a together, great babe. And yet we just couldn't do it. So there is a triangle on this record of the betrayal of women. It's not just that relationship. It's many other things in the other tunes. But Bells is the spirit speaking, not the ego speaking, but the part of me that still loves a friend that for whatever reason you can't make a resolve. You just can't do it. The big lesson in this whole year has been that there isn't a resolve for many things. Life isn't about, well, if I just get to this mountain peak, it's over. There are like 5,000 peaks in the distance."
-- Tori; The Baltimore Sun, '94
"Sometimes but not very often I journey to this place of bells I know I'm there when I see blue floodlights and I have no hunger for anything, husks of wedding dresses, horse carts, silver liberty churches-anything that I associate with bells remains unharvested until when I journey to this dimension of bells where I here them like they never tasted before"
-- Tori; Under The Pink Songbook
“That moment is a moment, that song as you hear it was written as it was recorded. I’d been feeling something in my belly all day, and I told Eric, ‘I’m feeling something.’ He goes, ‘Like, when? Do you need to set the mikes up now or what?’ I said, ‘I don’t know, but later. I’ve got to eat first.’ It was around four o’clock, and he said, ‘Are you feeling something yet?’ I said, ‘Not quite yet.’ He goes, ‘Well, like, feel it now, because I’ve been waiting for six hours and I need to record this.’ And I said, ‘Uh.’ He just said, ‘Just go in to the piano. Just go in.’ So I went in, and I was listening to the sonics of the detuned acoustic. All of a sudden, this thing has started that was (inhales deeply) and it came in that moment. Words, music, everything. And for one second, my head went out of it and had to come back in. It was during the instrumental part where I was going, ‘I can’t believe this is happening.’ And when it was over, it was like, ‘Did you get that?’ And he goes, ‘I got it.’ He pushed Record. It’s like, thank you for pushing Record.” [Baltimore Sun - January 1994]
“We are no more than walking plasma, just stuff. That song Bells for Her is one of the most emotional moments on the record, because it handles the end of a friendship. You go through the life force and see how your friend walks out and you can’t stop the things happening because of that, no matter what you try to do. Who tries to resist the life force gets sucked in. When you’re confronted with a painful experience, a shocking deed of betrayal, you must be able to ventilate those feelings of anger and violence somewhere, but there are certain borders. You can’t wound someone and just walk away.” [Oor (Dutch, “Ear”) - January 29, 1994]
“Eric Rosse, who produced the record, had wanted to really work with the piano more than samplers. He (and John Philip Shenale) completely annihilated this upright and made this beautiful creation out of it. They spent two days detuning and muting it, doing all this stuff to the strings.” [Virginian Pilot - July 27, 1994]
“Bells for Her is the loss of a friend. From Cornflake to The Waitress to Bells, Bells is the loss of - and it’s kind of backwards. I do the last thing first, and then the first last. But Bells is the spirit speaking, not the ego speaking, but the part of me that still loves a friend that for whatever reason you can’t make a resolve. You just can’t do it. The big lesson in this whole year is that there isn’t a resolve for many things.” [Baltimore Sun - January 1994]
“Bells for Her is the ending of a friendship, thinking that... this is my best friend forever, that only guys do this to each other.” [St Louis Dispatch - July 15, 1994]
“Whenever they [women] would seemingly instinctively attack men, or whatever, I’d have to say, I don’t automatically feel that way. I’m trying to rise above such feelings. Hatred for men, en masse, is as poisonous a feeling as shame. And Bells for Her is the scream of ‘no’ before you cut the chord and let them go. The song Yes, Anastasia also has lot of that stuff in it.”
“A part of the music just comes by sitting down, playing and trying things out. But the best and most important work comes sailing into me like a spirit. Then I’m not the initiator, but merely an instrument. That’s how for instance Bells for Her came to be. One day in our hacienda I said to Eric, our producer, ‘I think something will happen today.’ But all day nothing happened. I was standing in the kitchen, cooking something. I didn’t dare to sit behind the piano. Because at such a session you must close out your critical judgment. It just happens to you: the music comes, the words, the chords, the singing notes. There is no time to think ‘Oh God, that wasn’t a good chord’, because then you’re already on your way to the next one. When you feel something like that coming it is difficult to empty out yourself and to dedicate yourself to the process, before your producer. But if you break that enchantment, that’s the most stupid thing you can do. Then I’m out of it for weeks. But that means you didn’t have enough faith. So... Then Eric came to the kitchen and said, ‘Hey, the day is almost over, when will it come?’ So I went and played a little on the piano, and there it was. Eric had pushed the ‘record’ button just in time, it was on it in one take. That was Bells for Her. Now I must learn to play it again so I can play it live, because I haven’t played it since.” [St Louis Dispatch - July 15, 1994]
: Somebody - Bonnie McKee
