How old is alanis morissettes song

Also in , she celebrated the 20th anniversary of Jagged Little Pill with the release of a four-CD Collector's Edition reissue of the album. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully.

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We did versions of songs that never existed. Ballard: What astonished me was that she was writing stuff in real time. I mean "Perfect" she wrote right in front of me, and the whole concept of a child, sort of the pressure that a child feels from their parents.

I mean, we weren't even writing that song, she wasn't thinking about it, it just kind of jumped into her brain. Ballard: There was so much non-verbal intention in her vocal.

You can hear there's the cry in the sound of her voice. What is that emotion, you know? What are the words that go with that? And somehow, she was able to do it. I mean, it was just an extraordinary thing to witness. And I was sort of hearing her do it as I'm making these tracks, and we're kicking stuff back and forth with the music, but she's just writing furiously, and then singing some, writing, singing, writing, singing, it was great.

Sitting on the floor, never would sit in a chair [laughs]. People think that she was in this heavy state of mind when making it, the opposite was true. I've never been funnier, she laughed at everything I had to say. She was just in a place of wanting fun and laughter, and she was making me laugh, so hard that I couldn't even sit up. Honestly, it was that fun. Morissette: I started to write that song with nothing, and we tried to envelop it with chords and music but it just didn't quite denote that haunted combination of shame and fear and grief and hope and vulnerability.

It just really connotated what was actually happening. Ballard: I thought I had maybe played piano, and actually, it's a song that I played electric guitar on and she sang to, and I just felt electric guitar didn't sound right, we just took it out. So it's a cappella now. Morissette: Some of that was fictional obviously, I'm not that creepy, but some of it was based on my having stayed at this person's house, whom I was dating, and just how awkward I felt being in this person's house and everything was so vulnerable and out in the open.

I had really good boundaries back then in that sense, but it was my fantasy of, unfortunately, things that wound up happening later, prophetically [laughs]. But it was a little haunted. That was actually probably the only fictionalized moments on the whole record.

And that might've been why we had it be a hidden track, too. Ballard: And we wanted to scare people. It comes on a minute into the sequence. So it doesn't turn off the CD, but if you were just sitting around, you've heard the record and 30 seconds, 45 seconds go by and you think it's over, you're thinking about something else, and you hear her singing.

It's spooky. It's scared me a few times, I love it. We're grateful to everybody who sticks around to hear it [laughs]. Ballard: Every now and then, when something like that happens, it can't be stopped. And this couldn't be stopped. Lord knows, I tell you, at the end of , right at Christmas, I was deeply depressed.

We had all these songs. Alanis had to go back to Canada, and no one had signed it. I actually didn't know if I was actually going to see her again, and it was just like what a bummer, you know? Morissette: We had started the process of [shopping it around], but I actually put a stop to it because I was taking meetings with people and they were saying things like, "Well how do you perform live?

They'll see. Ballard: [We shopped it to] all the major record companies. Every single one. Every one. Interscope almost signed it, Atlantic, there was this guy at Atlantic named Steve Greenberg who loved it, he couldn't get his bosses to sign it. Warner Brothers passed, even though they [had] it up on Reprise.

All the majors, I mean everybody, honestly, because we had a lot of people, we had enough connections to get people to hear it. Honestly, it was different. People sort of liked it, but it was like, that doesn't mean anything [laughs]. Are you gonna sign it or not? You're not a little bit pregnant. And nobody wanted to get us pregnant. It didn't matter. Honestly, how could it have been any better? It worked out perfectly. Morissette: I was in the studio writing "All I Really Want" with Glen in my sweatpants [laughs] and we got a call from Ken Hertz, who was a partner of one of the lawyers I was working with.

He said, "You've gotta come with me right now, meet me at Maverick. Ballard: I drove Alanis to Maverick and we walked in the front door, Beverly Boulevard, and we played Guy a couple songs and he was like, "Oh man," immediately he didn't play any games, he just loved it. Guy Oseary started working for Maverick Records at 17 years old in the early '90s.

Today, he manages Madonna and U2. Oseary: They both walked into my office, I didn't know if they were a band, actually. I didn't know anything, really — when I saw Glen I didn't have background, I didn't know Alanis's background. I didn't know anything about them. The first song they played me was the demo of "Perfect.

I was already blown away and never heard anything like it and wanted to sign her. That was really it, for me. Morissette: Guy was maybe two or three years older than me at the time. Ballard: I think we needed that, you know? And so it was enormously encouraging, and the next thing you know he was convincing everybody in that building: this is what Maverick Records should sign. And he convinced everybody. I mean honestly, the music did a lot of the convincing, but it was not without everybody feeling that this could work.

We went from just being the unwanted stepchild to being Cinderella. Morissette: That's why I wasn't as crestfallen as perhaps I could've been during that process of rejection after rejection is that I just thought well, someone's gonna get it.

Glen got it. Kurt Dinney [who connected Ballard and Morissette] got it. And we had a small group of people who really got what we were up to so I thought it's possible to have people understand this music so I just won't stop until someone does. And then Guy did. Oseary: I didn't even understand what "Perfect" meant. When I finally understood it, when I finally had a chance to listen to it, it blew me away even further, right?

I mean that song is unbelievable, lyrically and musically, it is pure. And so well written, and so well sung. But for me it just, I can't explain it. It just clicked. Very quickly, and I really fell in love.

I fell in love with Alanis, she warmed my heart. Ballard: It's a sweet vindication when a small label like Maverick and a young genius like Guy Oseary hears one song and wants to sign it. I mean, after everybody had heard all of it and passed. So you know, we just had to wait for that moment, and it was kind of like it needed to happen that way.

Morissette: I think there was something to be said for the fact that [Guy] was my age, right? He was my generation and so those lyrics resonated with him in a way that perhaps a year-old at the time didn't get.

They were scared of me [laughs]. But the people who were younger were high-fiving me. Oseary: I feel even though a lot of people passed on Alanis, I don't feel like, "Oh I'm the guy who said yes," I feel as if I'm the fortunate guy she said yes to.

Again, I only found out about a lot of it later that everyone else passed. I didn't care about any of that. I just loved it and was really happy that she believed in me, this kid that was an up-and-coming kid who believes in her.

It was really mutual, and it was really great. It's one of those things that just felt right all around. Ballard: We had to get the record really ready quickly and we didn't really do much else to it. We had six or seven other tracks, we added some musicians to it, but essentially every song it started with our demo, and whatever we added to it still is the demo. Morissette: There were a couple of pieces of feedback, not from Guy but from some other people in the company who wanted to hear different versions of songs and I begrudgingly, we re-recorded some of them and then when Maverick heard it they just said, "Ew, no no no, we want the originals.

Ballard: There was a sense, especially with Alanis, and I think with Guy, to try and not overproduce it. I mean my instinct was like OK we'll recut everything but boy, that would've been the wrong thing. With a keen interest in yoga and spirituality, the media portrayed the singer as some kind of new age guru, which, coupled with her outspoken personality, allowed them to frame her as a left-field, wild card kind of character.

Crazy allowed the singer to celebrate her unusualness, reframing it as a necessary coping mechanism and something to be encouraged. This euphoric and joyous cover version showed a different side to Alanis Morissette , allowing her to intelligently use her media-imposed image to her advantage and deliver an excellent and thought-provoking oddity of a track.

You Learn was the fourth single to be released from the effortlessly flawless Jagged Little and the track even contains a title-drop during its first pre-chorus.

This track sees Alanis Morissette reflect on how every experience in life — both positive and negative — is a learning experience, helping you to become a more rounded human being. This resulted in her suffering from panic attacks and ended in hospitalization, but eventually, the artist learned to channel her emotions and distress into her music.

There can be little doubt that this experience had a profound influence on the lyrics of You Learn, which give Alanis Morissette a cathartic opportunity to rid herself of the stress of her attack and try to get something positive from it. The song begins with some sunny pop-rock chords, which permeate the majority of the song.

This atmosphere is completely contrasted by the frantic and shrieked bridge, which, accompanied with a funky and edgy guitar solo, brilliantly represents the kind of negative experiences such as the mugging which give us an opportunity to grow. The song ends on an extended vocal run, gradually increasing in pitch.

You Learn is a gorgeous — somehow cleansing — track, which accurately displays the genuine healing qualities that music can have. The track features a blend of chunky, broad riffs as well as some mellow, melodic and thoughtful chords, even incorporating glittering chimes at one point. In fact, Havoc and Bright Lights was written just after the singer had given birth to her first child, and represents a previously unseen soft and maternal side to Alanis Morissette.

It is not surprising that motherhood might tame the Jagged Little lioness since it is undoubtedly a fundamentally life changing event. Guardian represents a more grown up but equally brilliant side to the singer, and must not be ignored.

Precious Illusions was the second single from Under Rug Swept , and it is a sweet and bright pop-rock track. The song makes it clear that, although it will be hard, parting with these fantasies is necessary to grow as a person, and that finding true happiness in life is entirely down to you and no one else.

While some artists might make heavy handed attempts to incorporate this duality into the instrumental, Alanis Morissette keeps her music appropriately sweet and uncomplicated, using understated simplicity to excellent effect.

What sets this apart from other songs about this topic is the shocking specifics discussed in the track — it is about a young, presumably underage, Alanis being in a relationship with an older man who works in the music industry.