With your Es
and your ease
and I do one more
need a lip gloss boost
in your America
is it God's
is it yours
sweet saliva
with your Es
and your ease
and I do one more
I know we're dying
and there's no sign of a parachute
we scream in cathedrals
why can't it be beautiful
why does there gotta be a sacrifice
just say yes
you little arsonist
you're so sure you can save
every hair on my chest
just say yes
you little arsonist
with your Es
and your ease
and I do one more
well I know we're dying
and there's no sign of a parachute
in this chapel
little chapel of love
can't we get a little grace
and some elegance
we scream in cathedrals
why can't it be beautiful
why does there gotta be a sacrifice
Additional lyrics from live performances
November 14, 1998:
I know you understand
understand the way I feel
you shove it, you shove it
in my face
I know you understand
the way I feel, but
you took, you took
my little girl
I know you understand
the way I feel, don't you
if you understand,
understand the way
well then, why
then why
iieee...
Tori Quotes
"iieee" [pronounced eye eye ee] has a Native American influence in it, when you hear the rhythm. And yet, there's a little of that New Mexican, driving in an old dilapidated Mustang, and you're just on your own, and you drive for days and days and days, and you think you're at the end of the earth, and it's just you. And I think that feeling... "iieee" is very much about dying and about sacrifices. [from the choirgirl hotel electronic press kit video]
Some of you know that we like really good wine. So, I wasn't quite sure if um, the things I was seeing was from that, or if they were really happening. And uh, it was a strange time, I had just uh, I had a bad pregnancy and I lost the baby. And I started having this vision of this little Pueblo boy everywhere I went. And we knew it wasn't a little boy, so... I really didn't know who he was. And uh, the wine really wasn't that good, you know what I mean? So um, I would close my eyes when he would appear and I would follow him and he would say things like, Come, rabbit, come on. And I would go. And we had this 1959 convertible and he was a Zuni boy, Zuni or Pueblo boy. And he would sit in the back with his arms like that [spread out] and we would drive for hours and hours and hours. And I would sit there and we didn't know where we were going, but when we would get there, nobody would be alive. So um, it was a strange thing, it was like being in, I don't know, a bad Dustin Hoffman killer virus movie, you know. And I didn't know what we were supposed to do, so we would leave the town and uh, he would tell me to build a campfire. Um, and I'm an arsonist so I, I really like that bit. So I would build this thing and um, he would start dancing. And um, he would say, you know, "We failed today but we have to go to the next town tomorrow." And this happened over and over and over again. And we were always too late. Um, and he would sing this thing in my head. And he would go, he would pat me on the head and he'd say, "It's okay... iieee, iieee, iieee..." [VH1 Storytellers - October 24, 1998]
Live Versions
"iieee"
November 14, 1998 - New York, New York Sessions at West 54th
"iieee" / "Band on the Run" (Paul McCartney/Wings)
November 17, 1998 - Lowell, Massachusetts
"iieee"
April 25, 2003 - San Antonio, Texas
"iieee"
June 12, 2014 - Warsaw, Poland
"iieee"
September 13, 2017 - Amsterdam, Netherlands
t o r i p h o r i a tori amos digital archive yessaid.com
