September 29, 1984 Dear so and so
Gather me up because I’m lost
Or I’m back where I started from
I’m crawling on the floor rolling on the ground
I might cry I won’t go home
I am turning up in circles
And I’m spinning on my knuckles
Don’t forget that there are circles left undone
And very close to me
Forgive me comfort me
I’m crawling on the floor rolling on the ground

There’s a blanket wrapped around my head
I’m moving in a line that’s shaped like this
I’m holding in my breath
I have a room
Can you tell if I am lying
Don’t forget I’m living inside the space where walls and floor meet
There’s a box inside my chest
An animal stuffed with my frustrations
Can you hear me?

Don’t forget that I’m alone when you’re away
You make me act like other people do forgive me
Comfort me You comfort me You make me die
I’m gonna cry I won’t go home

Don’t kill the god of sadness
Just don’t let her get you down
See the man inside this book I read can’t handle his own head
So what the hell am I supposed to do?
I wonder how he died
My hands are shaking don’t you love me anymore
I only need a person, keep my shoulders
Stand around lie down move your hand above the floor

Gather me up because I’m lost
Or I’m back where I started from
I’m crawling on the floor rolling on the ground
I’m gonna cry you look for me

Love Kristin
P.S. keep them coming

For those who don’t know what Lou Reed’s A Perfect Day is about. In the words of Avril Lavigne – can I make it any more obvious?

If you know Tori Amos, you’ll know how critical Led Zeppelin was to the evolution of the what and the how of Tori’s musicianship. This piano/voice cover of Thank You comes from the UK release of Winter (or the US release of Crucify). Take your pick.

“I think it’s great that Zeppelin is getting played a lot, I think they’ve inspired so much music….and people go back to those records, because they are a bench-mark, no different than The Beatles. It’s very similar. Well I try, again, when I do a cover, I try and approach it from… OK, the piano will look at me sideways and she’ll go, ‘How can we put this in our language, and honour it?’, because their version is always, you know, the definitive. And now how can we bring it to this instrument? The piano, which I think has been stigmatized. The piano isn’t given her due. And a lot of times she’s relegated to sappy-crappy pop music, or you know, just strict classical music.”
Tori Amos, Interview On JJJ FM Radio, Australia, 26 February 1996