Post by Julie on Mar 22, 2005 11:21:25 GMT -5
Horses
I got me some Horses
to ride on
to ride on
they say that your demons
can't go there
so I got me some Horses
to ride on
to ride on
as long as your army
keeps perfectly still
and maybe I'll find me a sailor
a tailor
and maybe together
we'll make mother well
so I got me some Horses
to ride on
to ride on
as long as your army
keeps perfectly still
you showed me the meadow
and Milkwood
and Silkwood
and you would if I would
but you never would
so I chased down your posies
your pansies in my hosies
then opened my hands
and they were empty then
off with Superfly
sniffing a Sharpie pen
honey it's Bill and Ben
off with Superfly
counting your bees
oh me honey like
one two three
the camera is rolling
it's easy like
one
two
three
and if there is a way to find you
I will find you
but will you find me if Neil
makes me a tree an afro a pharaoh
I can't go
you said so
and threads that are golden
don't break easily
I think this song is about exploring the dark side of yourself. The contrast between Winter and Horses being part 1 and 2 is that Winter is about finding the good in someone or yourself and now we have Horses which finds the darkness, not necessarily the bad, but the part that makes you think things or want to do things or have done things that you wouldn't normally do. It's the discovery of this being in you and it's a journey on these dark horses.
Here's Tori's description of it:
"The record [Boys For Pele] begins with the horses from Winter coming back to take me on this journey and we ride and go find the demons..."
-- Tori; Making Music, Jan 1996
"It's as if the horses have come to take us back, to descend, to find the dark side. By dark I mean what's hidden, not necessarily satanic."
-- Tori; Billboard, 01/13/96
"It was a church in Delgany. And they had built this structure where I would go into and there were holes in the structure...only holes that would fit the keys of the Bösey and the double manual of the harpsichord and everything else was sealed up...except my pedals of course came in but everything around them...it was sealed, so that the sound...again, the instruments could work completely off the ambiance of the church and my vocal wasn't drivin' down those microphones. So I knew that "Horses" was coming and I knew that I had to get a Leslie, so finally this rickety-rackety thing gets brought in, and we had to put it out in the graveyard because we couldn't fit it anywhere in the church without it interfering so they miced it up in the graveyard and they had little blankets over the mic cause of the wind and the rain. And Beauty Queen and Horses came in one take. It was all done as you hear it, live with the pedal of the Leslie."
-- Tori; The World Café WXPN, Mar 1, 1996
"You dream of this when you’re a little kid.... You wish you could play with people you can marvel at, and I’m lucky enough to have that opportunity. I’m also hearing some of the old songs transform. I’m doing songs from the other records, like a trance version of Horses."
-- Tori; Detroit Free Press, Apr 28, 1998
"Sometimes, it's like, 'No, I want a Leslie. Where are we gonna put it?' The techs go, 'We're gonna put it in the graveyard cause there's no place else.' Does it matter that it's raining and the wind is blowing 50 m.p.h.? No! We get blankets. We put the Neumanns under the blankets. They put the Leslie out in the graveyard and we roll tape, and that's what's on Horses."
-- Tori; Modern Rock Live, Feb 4, 1996
“Horses is part two of Winter.”<br>
“The record begins with the horses from Winter coming back to take me on this journey and we ride and go find the demons. The music keeps broadening out - whether it’s Father Lucifer, which is tongue in cheek style, or something else.” [Making Music – Jan 1996]
“Well, I felt the day that this song [Horses] was coming -- I’m talking about the recording part now [not the writing] -- that I knew a Leslie needed to come in there. And I talked about it with my live guys -- my live guys were very important on this record -- and I said, “I think I’m feeling Leslie,” and so they said, “Well, give us a couple days,” and I said, “No, no. I think I’m feeling it by four o’clock.” And we were in County Wicklow, which means we had to go to Dublin or we had to fly one in from London. But we did get one from Dublin and it was probably the oldest Leslie in Ireland (laughs)... Leslie cabinet, and they brought it in and part of it wasn’t working which was just fine. But they set it up in my little box cause I recorded in a... I was in a little box while the instruments were opened up to the church... It was a church in Delgany. And they had built this structure where I would go into and there were holes in the structure... only holes that would fit the keys of the Bösey and the double manual of the harpsichord and everything else was sealed up, except my pedals of course came in but everything around them... it was sealed, so that the sound... again, the instruments could work completely off the ambiance of the church and my vocal wasn’t drivin’ down those microphones. So I knew that “Horses” was coming and I knew that I had to get a Leslie, so finally this rickety-rackety thing gets brought in, and we had to put it out in the graveyard because we couldn’t fit it anywhere in the church without it interfering so they miced it up in the graveyard and they had little blankets over the mic cause of the wind and the rain. And “Beauty Queen” and “Horses” came in one take. It was all done as you hear it, live with the pedal of the Leslie.” [World Café (radio) – March 1, 1996]
“We couldn’t go to Blood Roses, who we needed to go to first, because she’s the one that is crawling on her knees, and has given it all away just to be accepted. And has gotten defecated on to the point where she’s in the middle of the stench going, ‘How could I have let myself be so degraded, how could I have degraded myself by letting certain events happen. But we had to go to her, we had to travel. And it was very important that Beauty Queen/Horses took us there.” [World Café (radio) – March 1, 1996]
: Knees of my Bees - Alanis Morissette
I got me some Horses
to ride on
to ride on
they say that your demons
can't go there
so I got me some Horses
to ride on
to ride on
as long as your army
keeps perfectly still
and maybe I'll find me a sailor
a tailor
and maybe together
we'll make mother well
so I got me some Horses
to ride on
to ride on
as long as your army
keeps perfectly still
you showed me the meadow
and Milkwood
and Silkwood
and you would if I would
but you never would
so I chased down your posies
your pansies in my hosies
then opened my hands
and they were empty then
off with Superfly
sniffing a Sharpie pen
honey it's Bill and Ben
off with Superfly
counting your bees
oh me honey like
one two three
the camera is rolling
it's easy like
one
two
three
and if there is a way to find you
I will find you
but will you find me if Neil
makes me a tree an afro a pharaoh
I can't go
you said so
and threads that are golden
don't break easily
I think this song is about exploring the dark side of yourself. The contrast between Winter and Horses being part 1 and 2 is that Winter is about finding the good in someone or yourself and now we have Horses which finds the darkness, not necessarily the bad, but the part that makes you think things or want to do things or have done things that you wouldn't normally do. It's the discovery of this being in you and it's a journey on these dark horses.
Here's Tori's description of it:
"The record [Boys For Pele] begins with the horses from Winter coming back to take me on this journey and we ride and go find the demons..."
-- Tori; Making Music, Jan 1996
"It's as if the horses have come to take us back, to descend, to find the dark side. By dark I mean what's hidden, not necessarily satanic."
-- Tori; Billboard, 01/13/96
"It was a church in Delgany. And they had built this structure where I would go into and there were holes in the structure...only holes that would fit the keys of the Bösey and the double manual of the harpsichord and everything else was sealed up...except my pedals of course came in but everything around them...it was sealed, so that the sound...again, the instruments could work completely off the ambiance of the church and my vocal wasn't drivin' down those microphones. So I knew that "Horses" was coming and I knew that I had to get a Leslie, so finally this rickety-rackety thing gets brought in, and we had to put it out in the graveyard because we couldn't fit it anywhere in the church without it interfering so they miced it up in the graveyard and they had little blankets over the mic cause of the wind and the rain. And Beauty Queen and Horses came in one take. It was all done as you hear it, live with the pedal of the Leslie."
-- Tori; The World Café WXPN, Mar 1, 1996
"You dream of this when you’re a little kid.... You wish you could play with people you can marvel at, and I’m lucky enough to have that opportunity. I’m also hearing some of the old songs transform. I’m doing songs from the other records, like a trance version of Horses."
-- Tori; Detroit Free Press, Apr 28, 1998
"Sometimes, it's like, 'No, I want a Leslie. Where are we gonna put it?' The techs go, 'We're gonna put it in the graveyard cause there's no place else.' Does it matter that it's raining and the wind is blowing 50 m.p.h.? No! We get blankets. We put the Neumanns under the blankets. They put the Leslie out in the graveyard and we roll tape, and that's what's on Horses."
-- Tori; Modern Rock Live, Feb 4, 1996
“Horses is part two of Winter.”<br>
“The record begins with the horses from Winter coming back to take me on this journey and we ride and go find the demons. The music keeps broadening out - whether it’s Father Lucifer, which is tongue in cheek style, or something else.” [Making Music – Jan 1996]
“Well, I felt the day that this song [Horses] was coming -- I’m talking about the recording part now [not the writing] -- that I knew a Leslie needed to come in there. And I talked about it with my live guys -- my live guys were very important on this record -- and I said, “I think I’m feeling Leslie,” and so they said, “Well, give us a couple days,” and I said, “No, no. I think I’m feeling it by four o’clock.” And we were in County Wicklow, which means we had to go to Dublin or we had to fly one in from London. But we did get one from Dublin and it was probably the oldest Leslie in Ireland (laughs)... Leslie cabinet, and they brought it in and part of it wasn’t working which was just fine. But they set it up in my little box cause I recorded in a... I was in a little box while the instruments were opened up to the church... It was a church in Delgany. And they had built this structure where I would go into and there were holes in the structure... only holes that would fit the keys of the Bösey and the double manual of the harpsichord and everything else was sealed up, except my pedals of course came in but everything around them... it was sealed, so that the sound... again, the instruments could work completely off the ambiance of the church and my vocal wasn’t drivin’ down those microphones. So I knew that “Horses” was coming and I knew that I had to get a Leslie, so finally this rickety-rackety thing gets brought in, and we had to put it out in the graveyard because we couldn’t fit it anywhere in the church without it interfering so they miced it up in the graveyard and they had little blankets over the mic cause of the wind and the rain. And “Beauty Queen” and “Horses” came in one take. It was all done as you hear it, live with the pedal of the Leslie.” [World Café (radio) – March 1, 1996]
“We couldn’t go to Blood Roses, who we needed to go to first, because she’s the one that is crawling on her knees, and has given it all away just to be accepted. And has gotten defecated on to the point where she’s in the middle of the stench going, ‘How could I have let myself be so degraded, how could I have degraded myself by letting certain events happen. But we had to go to her, we had to travel. And it was very important that Beauty Queen/Horses took us there.” [World Café (radio) – March 1, 1996]
: Knees of my Bees - Alanis Morissette
