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Hotel

Lyrics by Tori Amos

Met 'em in a hotel
Met 'em in a hotel
Beneath ground
tell me that he's missing
tell me this is one for
Lollipop Gestapo

You were wild
where are you now
You were wild
where are you now

give me more
give me more
give me more
I have to learn to let you crash down
I have to learn to let you crash

Met 'em in a hotel
Met 'em in a hotel
you say he's the biggest thing
there'll be this year
I guess that what I'm seeking
I guess that what I'm seeking
isn't here

Met him in a hotel
Met him in a guess world
guessed anyone but you
You were wild
where are you now
You were wild
where are you now

give me more
give me more
give me more
I have to learn to let you crash down
I have to learn to let you crash

where are the velvets
where are the velvets
where are the velvets
when you're coming down
where are the velvets
where are the velvets
where are the velvets
when you're coming, coming down

You were wild
where are you now
You were wild
where are you now
You were wild

King Solomon's Mines
Exit 75
I'm still alive
I'm still alive
I'm still alive...


Tori Quotes

I think as you're getting married, all the loves, even 10-minute loves, are popping up. Hotel was really like feeling like an agent -- a spy -- in that he was the greatest guy at one time and they were giving me time behind enemy lines. Even though she knows they can't be lovers because it's a whole other life, she just can't let him go. [Alternative Press - July 1998]

You haven't talked much about this song over the years. What the hell is going on in it? From the production that sounds like a computer game shoot-'em-up to the cascading piano section to the strange light organ coda, it doesn't sound like anything else before or since.

During the sessions of From the Choirgirl Hotel we were creating our own loops. There was a small group of us pushing each other and it was an experimental time. 'Cruel' was one of my favourites from that time. With 'Hotel', "she" wanted to be her own sonic destination and was really making it clear that "she" would accept nothing less than that. On the one hand, there is always a question being asked -- what is the intention of the song and how do we take that etheric expression and turn that into a tangible form? I began to see the songs as feminine geometrical shapes -- not floral, but there was a perfume about them, and yes, they can contain male protagonists within them.

Then on the other hand there is the technical side. Mark [Hawley] is telling me that Matt [Chamberlain] and I tracked 'Hotel' together; Matt had a click in his head and I played the keyboard and the piano and sang to his drums. There was a group of five of us during tracking in the studio that was made up of Matt, Mark, Andy Gray, Marcel van Limbeek and myself. Then other players would come in after basic tracking with the five of us -- one by one once we had the drums, piano, vocals, and programming locked in. [The Quietus - June 19, 2014]


"Hotel"
September 24, 1999 - Las Vegas, Nevada




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